Cusco Cathedral

Overview
Built in 1560 and taking nearly 100 years to complete, Cusco Cathedral is an emblematic feature of
Cusco’s main colonial square – Plaza de Armas. In 1928, Cusco Cathedral was granted Minor
Basilica status, and became the official seat of the diocese (under the supervision of a bishop). The
full name of the Cathedral is “The Cathedral Basilica of the Assumption of the Virgin.”
Furthermore, the cathedral was designated a UNESCO World Heritage Site under the City of
Cusco listing in 1983.
Layout of the Cathedral
Cusco Cathedral has a rectangular floor design and has 3 large wooden doors on its façade.
Thestructure is made 14 cruciform pillars carved from Andesite stone (hard stone) which support
24 ribbed arched or star shaped ceilings. Many of the stones used in the construction of the outer
walls of Cusco Cathedral were taken from the nearby Inca site of Saqsayhuman. The central nave is
dominated by the principle altar which is embossed in silver and consecrated to Our Lady of the
Assumption. To the rear of the central nave are the beautifully crafted choir stalls, made from pure
cedar wood. The cathedral has 14 side chapels which house various artworks, paintings, alters and
statues of saints and virgins.
The cathedral is flanked by 2 smaller churches: The Sagrada Familia (Sacred Family Church)
which is to the left hand-side of the cathedral façade and constructed in 1723; to the right-hand side
of the cathedral façade is Triunfo (Church of Triumph), which the Spanish constructed on top of the
site of the Inca building – Santurhuasi – after the Inca up-rising and siege in 1536.
What to See:
o Crypts – Below the main altar in the Basilica is a small crypt that holds the ashes of many of
Cusco’s deceased archbishops. An entrance door to the small arched crypt can be found below
the right-hand side of the altar. In the Triumph church is the small crypt of Garcilaso de la Vega
(1539 – 1616). Born to a Spanish conquistador – Capitan Sebastian Gacilaso de la Vega, and an
Inca noble lady – Princessa Inca Isabel Chimpu-Ocllo, Garcilaso de la Vega wrote the famous
chronicles “The Royal Commentaries,” which depict the Inca Empire before and around the
time of the Spanish conquest of Peru. The crypt holds half of his ashes in a small sliver urn
whilst the other half of his ashes are located in Spain where he died.
o Sala de la Plateria – Meaning “The Silver Room,” this small side chapel holds a rich and
varied collection of religious silver artefacts dating back hundreds of years. Among the items is
anembossed silver bier used to carry the statue of Señor de los Temblores dating back to 1712.
Another impressive item is a large trellis in the form of a small temple. Wooden framed and
covered with more than 166 KG’s (370 Lbs.) of Silver, the trellis used during the celebration of
Corpus Christi features a silver pelican piercing his own heart with his beak, symbolizing
supreme love and abnegation.
o Painting of the Last Supper – On the wall between Cusco Cathedral and the sacristy, there is
an unusual painting of the Last Supper. Measuring approximately 5 x 4 meters (16 x 13 feet)
and painted by Cusco Master – Marcos Zapata, the painting has several peculiarities. The
strangest of all of them is that the traditional representation of the Paschal Lamb is replaced by a
Viszacha, a wild Andean chinchilla (and not a guinea-pig as many think). The Viszacha was the
spiritual guardian of the lakes and mountains, according to Andean mythology.
o Choir Stalls – Located in the lower central nave of Cusco Cathedral, the choir stalls are a must
visit. Crafted in the “plateresque” or “neo-archaic” style popular in Spain in the 15 – 17
centuries, the stalls are made from pure cedar.
o Señor de los Temblores – the black statue of the crucifixion of Jesus is one of the most
emblematic symbols of Christianity in Peru. According to ancient legend during its journey
from Europe to Peru the ship carrying the statue encountered a horrific storm which threatened
to kill everyone on-board. In desperation of imminent death the crew raised the statue into an
upright position and the storm miraculously and quickly passed. After the great earthquake of
Cusco 1650, the statue became a shrine to the Andean people who placed hundreds of candles
beneath the statue in spiritual vigil. It is said that over hundreds of years the smoke from the
candles turned the skin of the statue black.
o Sacristy – To the right hand-side of the main altar is the sacristy of the Cathedral. Among the
traditional robes and vestments used in the cathedral, the walls of the sacristy are dominated by
portraits of past bishops of Cusco starting with Vicente de Valverde (life: 1499 – 1541). The
sacristy also holds a large retablo entitled “Cristo de la Agonia,” a large cedar wood carving in
baroque style with no guiding. Painted by the Cusco Master – Marcos Zapata, the retablo holds
8 paintings which each represent the passages of the life and miracles of Saint Peter.

A squatter on the site of Viracocha Inca’s palace, the cathedral was built using blocks
pilfered from the nearby Inca site of Sacsaywamán. Its construction started in 1559 and
took almost a century. It is joined by Iglesia del Triunfo (1536) to its right and Iglesia de
Jesús María (1733) to the left.
El Triunfo, Cuzco’s oldest church, houses a vault containing the remains of the famous Inca
chronicler Garcilaso de la Vega, who was born in Cuzco in 1539 and died in Córdoba,
Spain, in 1616. His remains were returned in 1978 by King Juan Carlos of Spain.
The cathedral is one of the city’s greatest repositories of colonial art, especially for works
from the escuela cuzqueña (Cuzco school), noted for its decorative combination of 17th-
century European devotional painting styles with the color palette and iconography of
indigenous Andean artists. A classic example is the frequent portrayal of the Virgin Mary
wearing a mountain-shaped skirt with a river running around its hem, identifying her with
Pachamama (Mother Earth).
One of the most famous paintings of the escuela cuzqueña is The Last Supper by Quechua
artist Marcos Zapata. Found in the northeast corner of the cathedral, it depicts one of the
most solemn occasions in the Christian faith, but graces it with a small feast of Andean
ceremonial food; look for the plump and juicy-looking roast cuy (guinea pig) stealing the
show with its feet held plaintively in the air.
Also look for the oldest surviving painting in Cuzco, showing the entire city during the great
earthquake of 1650. The inhabitants can be seen parading around the plaza with a crucifix,
praying for the earthquake to stop, which it miraculously did. This precious crucifix, called
El Señor de los Temblores (The Lord of the Earthquakes), can still be seen in the alcove to
the right of the door leading into El Triunfo. Every year on Holy Monday, the Señor is taken
out on parade and devotees throw ñucchu flowers at him – these resemble droplets of
blood and represent the wounds of crucifixion. The flowers leave a sticky residue that
collects smoke from votive candles lit beneath the statue: this is why he’s now black.
Legend has it that under his skirt, he’s lily white.
The sacristy of the cathedral is covered with paintings of Cuzco’s bishops, starting with
Vicente de Valverde, the friar who accompanied Pizarro during the conquest. The
crucifixion at the back of the sacristy is attributed to the Flemish painter Anthony van Dyck,
though some guides claim it to be the work of the 17th-century Spaniard Alonso Cano. The
original wooden altar is at the very back of the cathedral, behind the present silver altar,
and opposite both is the magnificently carved choir, dating from the 17th century. There are
also many glitzy silver and gold side chapels with elaborate platforms and altars that
contrast with the austerity of the cathedral’s stonework.
 The huge main doors of the cathedral are open to genuine worshippers between 6am and
10am. Religious festivals are a superb time to see the cathedral. During the feast of Corpus
Christi, for example, it is filled with pedestals supporting larger-than-life statues of saints,
surrounded by thousands of candles and bands of musicians honoring them with mournful
Andean tunes.

THE CATHEDRAL

OF CUSCO CITY

"The whole structure is magnificent and it can be said that the Cusco
Cathedral is one of the most beautiful and significant monuments of America.
Its proportions have unique amplitude. Its towers are separated by a distance
that exceeds the permitted limits in any Western example, so as to grant this
first Spanish temple in the Incas capital a greater front and settling."
(Héctor Velarde, Arquitectura Peruana, 1946)

The Cathedral
The first Cusco Cathedral was built in 1539 at the Suntur
Wasi, current Iglesia del Triunfo, but in 1560 there was an
order to build a new cathedral on the Kiswir Kancha lot, palace
of Inca Wiracocha. The actual Cathedral was declared built in
1664, more than a century after.

The design is constituted by a latin-cross base, the façade has

a Renaissance style, very ornamental, and it contains the best
manifestations of colonial goldsmith and wood carving, as well
as a valuable collection of canvases from the Escuela
Cusqueña (Academy of Cusco). There are two auxiliary
chapels on its both sides: Capilla del Triunfo and Jesus, Maria
y Jose.

The building process had two stages. First, they constructed

the Capilla del Triunfo over the old Suntur Wasi (House of
God) temple.
Afterwards, they erect the cathedral over the Palace of Inca Wiracocha. The Renaissance style is predominant in
the façade and the inside the building, the inner decoration is rich in cedar and alder carvings. The choir and the
pulpit stand out due to their beauty. It keeps an important collection of the Academy of Cusco and repoussé-silver
objects.

History
The main Cusco church, arisen after the conquest and Spanish foundation of the city, had two emplacements
before being erected on its current location. In October 1534, the first council meeting assigned it the site nowadays
occupied by the Iglesia del Triunfo, in the old Sunturhuasi. Due to its small size, in 1541 it was decided to grant it a
wider space in the Cusipata area, in front of the market and the Mercedarians Convent. This closeness resulted
inconvenient, and in 1522 they acquired the plots of Quishuarcancha or the Palace of Huiracocha, next to the
primitive temple.

The architects
In 1559, the first stone was put and the architect Juan Miguel Veramendi, residing in Chiquisaca, was convoked to
conduct the works. Then, Juan Correa continued the works until 1564, when they were interrupted due to the lack
of funds. In 1585, the Estremadura master Francisco Becerra, author of the Cathedral of Lima, probably carried out
the definite design. After that, Bartolomé Carrión and Miguel Gutiérrez Sencio took part as main masters. The
construction advanced v
ery slowly until 1644, when the Bishop Juan Alonso de Ocón gave it a great impulse. Even though it was not
concluded in 1650, the earthquake of that year did not affect the structure's solidity and it could be totally finished in
1669.

Style and design

Due to the crucial period when it was constructed, the Cusco Cathedral inherits the Gothic-Renaissance hybridism
of the great Spanish Cathedrals of the XVI century, adding to that the irruption of the patent baroque style in its
enormous front-altarpiece and its monumental towers.

Just as in Lima, its storey-lounge is composed by three aisles with two sections of side chapels and a plane front
wall. Its ribbed vaults, taken from the late Gothic, lay over the cross-shaped columns of Renaissance style. Here
everything is made of stone and it gives the sense of great solidity, which constitutes the main difference with the
characteristic lightness of the Lima Cathedral.

Many of its stone blocks have an Incan origin and were brought from the neighboring fortress of Sacsayhuamán.

Richness of Altars and Chapels

The main altar, made of silver, is one of the latest works of the whole structure. It has the shape of a baldachin and
it represents the introduction of the neoclassic style to the city. It was constructed in the 1792-1803 period by the
architect Villegas and the silversmith Pinelo, under the sponsorship of the Bishop Bartolomé María de Las Heras.

In spite of the sobriety of its columns, many of its decorative elements seem to stick to the baroque traditions so
established in the city. All the lateral chapels are enclosed by amazing golden railings and crowns with carvings
allusive to the titular invocation. It's worth it to mention the altars of the venerated Señor de los Temblores (Lord of
the Tremors) located at the Epistle side (right), which are rich in gold and silver offerings, as well as the altar of the
Virgen de los Remedios (Virgin of the Remedies), Valencian devotion introduced by the Spaniard Alonso de
Monroy y Cortés. In this side we can also find the so-called "capilla de la Platería" ("Silversmith Chapel"), where we
can appreciate an amazing demonstration of the Cathedral treasures. Its most precious jewel is the enormous silver
small temple that is used as a processional portable platform for the Corpus Christi. It was a gift from the Bishop
Friar Bernardo de Serrada in 1731.

On the other side or the Gospel side (left), we must highlight the chapels of Virgen Inmaculada (Immaculate Virgin),
called La Linda (The Pretty), official patroness of the city since the XVI century; and the Capilla del Apóstol
Santiago (Apostle Santiago Chapel). In the front wall, the altar of the Saint Trinity encompasses the famous Virgen
del Halcón (Virgin of the Falcon) painting, a work of the Bernardo Bitti circle.

Pictorial Series
At the time of the Bishop Mollinedo, the Church received the greatest decorative contributions, regarding both
altarpieces and paintings made by important indigenous masters. The Bishop's favorite was Basilio Santa Cruz,
author of the large canvases that decorate both arms of the transept made between 1691 and 1693. Those are
impressive baroque creations that develop theological allegories or the devotions promoted by the
Counterreformation. Some of the most remarkable works are "La Imposición de la Casulla a San Ildefonso"
("Imposition of the Chasuble to Saint Ildefonso") and "El Milagro de San Isidro Labrador" ("The Miracle of San Isidro
Labrador").

The famous Zodiac series corresponds to Diego Quispe Tito, rival of Santa Cruz, which was finished in 1681 and is
currently kept in the Capilla de la Platería. It is a mature work that shows the enormous technical skill of the master
and its adjustment to the Flemish constitutive models and coloring.

Some of the central columns exhibit the paintings of another indigenous artist, Antonio Sinchi Roca, a descendant
of the Incan nobility originating from Maras. His paintings represent the Israelite evangelists, prophets and kings.

The main pictorial work of the XVIII century is constituted by the fifty canvases about the Lauretan Litanies
executed by the master Marcos Zapata in 1755. These canvases decorate all the upper part of the Cathedral,
covering the arcs both from the aisles and the sacristy. Their formal conventions as well as the predilection for red
and blue characterize Zapata's style, which was a great influence for the region.

The choir
According to the layout of the main Spanish Cathedrals, the choir's ashlar is located in the main aisle facing the
main altar. Its rich baroque carving, attributed to master Giménez de Villarreal, dates from the end of the XVII
century and is one of the most magnificent works of the Cusco joining. In the retro choir there are some chapels,
such as the one dedicated to Nuestra Señora de la Antigua (Our Lady of the Ancient), and the external sides are
decorated with large paintings of Basilio de Santa Cruz about the Virgin of Belen and the Virgin of Almudena, with
the Bishop Mollinedo and the Monarchs of Spain as donors.

The sacristy
One of the most luxuriously decorated precincts of the entire building is the sacristy that, from the entrance,
displays a collection of allegoric paintings about the church executed by Marcos Zapata in the middle of the XVIII
century. In the inside, the furniture, carvings and paintings create a baroque environment of great effect. One of the
walls is covered by a huge altarpiece that frames a famous painting of the "Cristo de la Agonía" (Christ of the
Agony), traditionally known as the Christ of Van Dyck, since its based on a model of this Flemish master. A
complete gallery of portraits of the bishops that have governed the diocese, from Friar Vicente de Valverde, is also
kept here.

Adjacent churches
At both sides of the Cathedral, but in a deeper level, there are two small churches that were constructed afterwards:
"Jesús, María y José" church on the left side, and "El Triunfo" church on the right side. Their stone façades, with
simple fronts and niches, perfectly harmonize with the main temple.

El Triunfo
This small temple reminds us of crucial events during the history of the conquest. Its name itself constitutes a
reminder of the final victory of the Spaniards besieged by Manco Inca's troops in this place- the ancient
Sunturhuasi- when, according to the tradition, they received the miraculous help of the Virgin and the Apostle
Santiago. Here they constructed the primitive main church, erecting the building, which can be currently seen,
during the 1729-1733 period. The promoter of this work is the bishop Friar Bernardo de Serrada, whose shield
decorates one of the lateral fronts. Its main altar is made of a finely carved stone and the main niche encompasses
the "Cruz de la Conquista" ("Cross of the Conquest"), in where the ashes of Inca Garcilaso de la Vega have been
resting for several years.

Jesús, María y José

Even though the first stone of this temple was positioned in 1723, its definite construction could only take shape
during the 1733-1735 period, after El Triunfo church was used for the first time. Just as El Triunfo church, its main
façade has niches with images of the Sacred Family that, in this case, are flanked by small three-bell gables. Its
cross setting is simple and harmonious, entirely made of freestone. This structure contrasts with the decorative
profusion of altarpieces and paintings. Its main altar, baroque and golden, was concluded in 1737.

It has a rich front and other silver pieces donated by the Marquis of Valleumbroso in 1745. There are several
canvases of Antonio Sinchi Roca and the portrait of the viceroy Gabriel de Arregui is placed on the high choir.

CHURCH OF THE

COMPANIA DE JESUS

"The temple (of the Society) is from Cusco in spite of its intense Spanishness (…) The imafronte, armed as if it had
silver pieces, the original composition of the towers with their naked bases, just like all the bases in Cusco, and its
central cupola covered by enameled bricks and surprising that monument".
Héctor Velarde, Arquitectura Peruana, 1946.

The original church was constructed in 1571 on the plots of the ancient
Amarukancha, palace of Inca Wuayna Qhapaq. The earthquake of 1650 caused
a terrible damage to the building and it had to be reconstructed about 1688. The
original design and the façade are examples of the Andean baroque. The
altarpiece-type front is decorated with medium-height towers and its stone walls
had been carefully worked. The main altar of three sections and wreathed
columns, the wooden pulpit and the numerous baroque, plateresque and
churrigueresque altarpieces stand out in the entrance. Among the most
important art pieces that are kept in the church "El Matrimonio de Martín García
de Loyola con Beatriz Clara Coya" ("The Marriage of Martín García de Loyola
with Beatriz Clara Coya") is remarkable.
The construction dates from 1576. It was started by the Jesuit order at Amarukancha or
Palace of Inca Wuayna Qhapaq. Due to its architecture, the Compania de Jesus
Church is considered one of the best examples of the colonial baroque in America.
This is reflected in its spectacular façade entirely made of stone and a beautiful altar
covered by gold leaf that has been constructed over an underground chapel. The
church also has a collection of sculptures and paintings that are worth admiring. One of
most significant works is about the marriage of Saint Ignatius of Loyola's nephew and a
Ñusta of Incan lineage.

One of the most modern and largest palaces that surround the main square of the
great Qosqo belonged to Wuayna Qhapaq. This palace, called Amarukancha, was
granted to Hernando Pizarro after the Spanish invasion.

Later on, this property was purchased from the conqueror's inheritors by Diego de Silva
and his wife Teresa Orgoñez, who donated it to the Jesuits after their arrival to this city
in 1571; so they could be able to build a church. The founder of the "Compania de
Jesus" or the Jesuit Order was Saint Ignatius of Loyola.

Together with other regular clergymen, he supported the accountant's reform that
tended to strengthen the church and fight against the heretical and schismatic thesis.
The Jesuits arrived in Peru in 1568 and consequently to this city. Just after their arrival,
they started to build their first chapels for the "Indians", one of them is called "Nuestra
Señora de Loreto" ("Our Lady of Loreto"). The main church was constructed then, but
in 1650 it was destroyed by an earthquake. We don't know designed the current
church, which was constructed during 17 years and was inaugurated in 1668. Jesuits
became materialists and cruel persons, their main fortunes were acquired through
malicious and dark ways. Due to this situation, in 1767 it was requested the eviction of
King Carlos III and the confiscation of all its properties, art pieces and jewelry. The
most valuable objects were sent to Spain.

Even though the Jesuits order was one of the last religious congregations that arrived
in the city, they could get this privileged place in the main square thanks to the
participation of viceroy Toledo himself. Their first church, destroyed by the earthquake
of 1650, was erected on the Amarukancha or palace of Wayna Qhapaq. This allowed
them to start, on the next year, a more ambitious construction. After its inauguration in
1668, this temple had a great influence on the development of the South-Andean
baroque architecture.

Defying the Cathedral

The Jesuit temple significantly establishes a defying counterpoint regarding the
Cathedral due to its accentuated verticality, which seems to rise up over the main
temple. Despite of the council meeting's protests, the works continued according to the
plans. It is said that a Flemish Jesuit, Juan Bautista Egidiano, was the author of the
design. At all events, the façade works were conducted by Diego Martínez de Oviedo.

The front
The front-altarpiece skillfully integrates with the rest of the temple. Its towers are
divided in two sections, being the lower one free of any decorations, whereas the upper
part flaunts different "balconies" with projecting corbels. At the belfry's foot, a great
projected cornice joins together the towers and the façade, bending trilobite over its
finial. Finally, the upper section of the towers has a square ground plan, its "ox eyes",
the small octagonal cupola that (oración incompleta) and the surrounding pinnacles
define the typical profile of Cusco belfries.

The inner part

The inner part of the church has a single aisle, set as a Latin cross, clearly privileging
the transept area that is covered by an enormous cupola. Despite of its archaic groined
vaults, the general concept of the building is completely baroque and the hewn stone
work displayed on its walls is the finest in the entire city.

The main altar

Its magnificent main altarpiece, which is decorated with wreathed columns and is
entirely golden, has significant paintings and carvings, such as an old image of the
Virgin and a panel representing The Transfiguration, attributed to the Flemish Jesuit
Diego de la Puente.

The decoration
We can appreciate a similar sumptuousness in the carved galleries and the remaining
altarpieces, some of which belonged to the disappeared temple of Saint Augustine.
The temple also exhibits important paintings of Marcos Zapata, such as the well-known
marriage scenes between Incan ñustas and descendants of the houses of Loyola and
Borja, which can be seen under the choir.

The church was mainly constructed with andesite and it has the most beautiful façade
among the churches of the city. At the main entrance we can find the Immaculate
Conception Virgin carved in marble and very close to this image there are two external
chapels that lean against the main church. Towards the north, is located the Virgen de
Loreto chapel (Virgin of Loreto) (since 1894 it is known as the Virgen de Lourdes
chapel), which is still used for the worship and is the place where people almost always
revere the Señor de Burgos (Lord of Burgos) (which was brought from the Saint
Augustine church). To the south is located the Saint Ignatius of Loyola chapel, which
was granted to the Qosqo Society of Craftsmen. Inside the church there is a wide aisle,
and at one end we can find the High Altar that was carved in cedar with a hybrid style
by Diego Martínez de Oviedo and was also totally covered with gold foils by Cristóbal
Clemente in 1670. This altar is 21 meters (69 feet) high and 12 meters (39 feet) wide,
in the centre there is a sphinx of the Immaculate Conception Virgin and in the upper
part there is a canvas representing the Transfiguration of the Lord. Above this image
there is a statue of the same Order of an unidentified personage. The main aisle has
also a path that communicates the two lateral chapels; there are six altarpieces of
divers' style and an entirely golden pulpit.

At both sides of the High Altar there are 4 cedar altars, being three of them very rich.
Once the restoration works were finished in 1986, they discovered a pretty interesting
subsoil under the High Altar.

At the upper side, around the alabaster (Huamanga) windows there are canvases that
represent the life of Saint Ignatius of Loyola, painted by Marcos Zapata and his
assistant Cipriano Gutiérrez. Inside the building, at both sides of the main grating there
are two canvases representing Saint Ignatius of Loyola. One of them shown him
healing sick persons and in the other one he appears triumphant above the heretics
and the schismatic persons that caused the religious reformation. Around them there
are also two canvases that have an enormous historical value: the one that is located
on the northern wall represents the wedding of the Spanish Captain Martín García
Oñas de Loyola, who was nephew of Saint Ignatius of Loyola and captured the last
Incas of Tupac Amaru, and Clara Beatriz Qoya, daughter of Sayri Tupac and
consequently niece of Tupac Amaru. Clara Beatriz was the only inheritor of the
Oropesa Marquisate. As a result of this marriage Lorenza Ñusta de Loyola was born,
and afterwards she married to Juan Borgia, son of Saint Francis Borgia. This wedding
is also represented in one of the canvases. At one side there is a painting of Tupac
Amaru and Sayri Tupac, and a painting of Clara Beatriz with native clothes. Behind
them there is a possession of native men called "achiwa", which is like an umbrella
made of bird feathers of different colors and was only used by the Inca. The canvas
placed on the southern wall represents the weddings of Beltrán García de Loyola with
Teresa Idiaquez and Juan de Idiaquez with Magdalena de Loyola.

Saint Ignatius of Loyola Chapel

Next to the University we can still find the old chapel building that, since the end of the
XIX century, housed the famous Craftsmen Society of Cusco. It is small and austere; it
has a single aisle entirely made of stone with a front that is much more sober than that
of the main temple. It is currently used as an exhibition room.

To the north is located the Saint Ignatius of Loyola chapel and the building of
Universidad Nacional de San Antonio de Abad del Cusco (San Antonio de Abad
University). This building was originally used by the Saint Ignatius of Loyola University
that was part of the Transfiguration University, created by the Pope Gregory XV in
1621. After the Jesuits' expelling in 1767, the building turned into the quarters of the
Army and this is where José Gabriel Tupac Amaru was imprisoned.

University Auditorium
Next to the church, the Jesuits constructed their own Saint Ignatius of Loyola
University, which nowadays constitutes the premises of Universidad Nacional San
Antonio de Abad.

Paradoxically, both institutions played the lead of an intense rivalry at the end of the
XVII century. The stone façade dates of that time and it harmonizes with the temple's
façade, but its treatment is much freer. Its constitution, like an altarpiece, is decorated
with a profuse boss and with purely decorative blind windows in the second section and
the crown. Its ample hall, crowned by a cupola, is unique in its kind in Cusco. The inner
cloister, with an austere stone arcade, served as a model to other cloisters of the city.
One of the building's attractions is the Natural Sciences Museum that is located there.

The Seminario Universidad San Antonio de Abad (San Antonio De Abad Seminary
University) was founded in 1598 in a building located at Nazarenas street (nowadays
the Monasterio Hotel). One century later, in 1692, the San Antonio de Abad University
was created through a document granted by the Pope Inocent XII.

Chapel of Loreto
On the left side of its church, the Jesuits constructed this Indian chapel between 1651
and 1654. Just like the Saint Ignatius of Loyola Chapel, the Chapel of Loreto is located
on a more remote plane and its sober decoration does not compete with the main
building. Unfortunately, none of the original decoration has been kept inside of it.

SAN BLAS CHURCH

Saint Blas Small Square

Admission time: Mon-Sat 14:00-17:30

Saint Blas Temple

It was constructed during the Colony, in the old community of "T'oqokachi"
during the XVI century. The most outstanding quality of this tourist precinct is
that it has the most amazing work of artistic carpentry of a Spanish
churrigueresque style, such as the baroque pulpit carved in cedar, which is
considered the most remarkable example carried out by Indigenous hands that
is known in the country.

Saint Blas Church

Address: Saint Blass Small Square
Visiting hours: M-S 14:00-17:30
It comprises the oldest parish church of Cusco (1563), whose spectacular pulpit
is considered as the greatest expression of baroque-style wood carving of the
colonial period. It was erected over an Incan Sanctuary dedicated to the
worship of "Illapa" (god of the thunder and lightning). Possibly, it was opened for
the first time in 1544 by the second Bishop Juan Solano. Although other
versions state that it was opened after 1559 by the viceroy Andrés Hurtado of
the Mendoza Order. It had a simple structure with a rectangular soil plain and
adobe walls, but after the earthquakes of 1650 and 1950 it was partially
reinforced with stone walls. It just has one door, two columns and one stone
tower for the small bell.
Saint Blas Parish Church
The Saint Blas church had been erected on the hill with the same name, in the
middle of a community that was famous due to its crafts traditions. It was
founded as an Indigenous parish church in 1572 through the initiative of the
corregidor Juan Polo de Ondergado, who chose the Tocache area, where the
Incan tombs of Huiracocha, Túpac Yupanqui and Huayna Cápac were located.

The construction
The current temple was totally reconstructed after the earthquake of 1650, even
though it still maintains the typical physiognomy of the Indian parish churches
founded during the time of the viceroy Toledo. It is entirely made of adobe, with
hip proof roofs and it has a modest front that lacks of ornaments. In the external
part, which has been stripped of the balcony used as an open chapel, it is only
worth seeing the lime and rock belfry crowned by a three-section bell gable.

The inner richness

All the artistic and ornamental richness of Saint Blas converges in the inside,
which is composed by a single aisle and simple wood covers. The liturgical
furniture was sponsored by the Bishop Mollinedo, in whose government the
altarpieces, silverware and even the famous pulpit, which constitutes its main
treasure, were carved.

In 1676, the parish priest Juan Bravo de Dávila y Cartagena ordered to carry
out several large paintings about the life of the Bishop Saint Blas. These
paintings still decorate the lateral walls. They are remarkable baroque creations
whose anonymous author was influenced by the style of Diego Quispe Tito. On
that same time they concluded the main altar and the altarpiece of the Virgen
del Buen Suceso (Virgin of the Good Event), which flaunt overworked wreathed
columns. Both works were gilded by the Indigenous master Juan Tomás Tuiru
Túpac. Its silver fronts are also remarkable, especially that of the Virgen del
Buen Suceso, which is a master piece of the Cusco silversmith during the
Mollinedo time.

The images
Among the most outstanding religious images it is worth mentioning the two
archangels of pompous movements, in maguey and sized fabric. These are
typical works of the Cusco imagination of the XVIII century and they remind us
of the ancient ability of the Saint Blas craftsmen.
There are baroque columns and sculpted images of the four evangelists: Saint
Matthew, Saint John, Saint Mark and Saint Luke. In the middle part there is a
sculpture of the "Inmaculada Concepción" ("Immaculate Conception"). In the
pulpit's thorax is the sphinx of the Saint Patron of the parish church: Saint Blas;
dressed with Episcopal clothes. Above this image is the coat of arms of the
bishop Molinedo y Angulo.

We can also find the sculptures of the church's doctors: Saint Bonaventure,
Saint Thomas Aquinas, Saint Augustine, Saint Gregory the Great, Saint
Jerome, Saint Bernard and Saint Francis. And finally, crowning the pulpit and
supported by five archangels is the sculpture of Saint Paul de Tarsus (Carreño
believes it is Saint Thomas and others think it is Jesus) with a crucifix in his
hand; before Saint Paul's feet there is a skull that supposedly belongs to the
pulpit's author.

The magnificent baroque pulpit

The pulpit, of an unsurpassable baroque carving, is the work that captivates the
visitor's attention. It was finished towards 1692, and it represents the highest
creation of a genre that included the best sculptors of the region. Its
composition includes a series of triumph sacred allegories, clearly inspired by
the ideology of the Counter Reformation. The treasurership of this piece has
always caused controversies. It had been attributed, without consistent
arguments, to Juan Tomás Tuiru Túpac, Diego Martínez de Oviedo and Friar
Luis Montes.

One of the greatest treasures of the colonial art of the entire continent is kept in
this church and it is the Saint Blas Pulpit, which is a filigree made of cedar. We
don't know for certain who were the artists and how long the work lasted or any
other detail about it; however, the pulpit is a silent witness of a great catholic
devotion and dedicated work.

There are enough proofs to say that it was carved with the funds granted by the
art protector, the Bishop Manuel Mollinedo y Angulo, in the end of the XVII
century. There are serious differences regarding the identity of the artist and the
representation. Most of the authors indicate that it was carried out by the most
famous Quechua: Juan Tomás Tuyro Tupaq, contemporaneous with and
protégé of Mollinedo y Angulo, who assigned him the execution of several
works. It could also have been the work of other artists contemporaneous with
Mollinedo like Martín de Torres; Diego Martínez de Oviedo, who made the Main
Altar of the Society of Jesus; or Luis Montes, a Franciscan who made the choir
of the Saint Francis Church. The oral tradition has a version gathered by Ángel
Carreño who, in his "Tradiciones Cusqueñas" ("Cusco Traditions"), had
declared the name of Esteban Orcasitas as the pulpit's author but, during the
book's editing, the name was changed to Juan Tomás Tuyro Tupaq, who was
Quechua and from Cusco. However, according to this traditional version he was
a leper from Huamanga (Ayacucho). According to the history, as a child he
dreamt of a revelation of the "Virgen Santa del Acontencimiento Bueno" ("Saint
Virgin of the Good Event"), who told him that if he wanted to cure his leprosy he
had to look for her in the small square of Arrayanpata in the City of Cusco.

After a long journey and many misfortunes, one day he painted her on a wall
and once he covered it with "Lirpuy-Phaqcha" the chapel collapsed. Then, he
invoked her in tears and found some rose petals that he rubbed against his
body thus curing his ill. The wall part that contains the painting was cut and it
was moved to the Saint Blas church, and people agreed to construct an
altarpiece and a pulpit for the Virgin.

The grateful Quechuas committed to make a pulpit without receiving any

payment for the work, which was estimated in 1400 pesos. It took 4 years of
hard work with wood from an enormous cedar tree that had already been cut in
the Kusipata (current Regocijo) square. However, when the work was finished
one Quechua did not keep his word and requested the priest 70 pesos for a
celebration and, after putting the statue of Saint Paul on the pulpit, a plank fell
over him and he died. Afterward, his body was buried under it and after a long
time his skull was unburied and placed before Saint Paul's feet, where it can be
seen nowadays.

As any other regular pulpit, Saint Blas' pulpit has a balcony (small cask), a
thorax (main section), a sound plank (cupola) and a gallery (entrance). The
balcony is spherical and it leans against a bronze structure that contains eight
human busts that represent the Catholicism heretics:

 Martin Luther, creator of the Lutheranism and head of the religious

reformation in Germany.
 John Calvin, founder of the Calvinism in France and Switzerland;
 Ulrich Zwingli, friend and follower of Calvino;
 Henry VII, king of England that denied the Pope's authority and the
created Anglicanism;
 Elizabeth of England, who was daughter and follower of Henry VIII;
 Arius, native from Alexandria and founder of the Arianism;
 Phocion, who together with Arius made the great orthodox schism of
greeks or the Eastern schism;
 Catalina de Bora, wife of Luther

Likewise, the main altar of the church is carved in cedar and gilded with gold
foils, with a mixed style to the baroque style.

Probably, it was also carved by Juan Tomas Tuyro Tupaq and his team of
Quechuas.

On the eastern wall there is another altarpiece made by Tuyro Tupaq and his
son Mateo in 1678; and it represents the "Virgen del Acontecimiento Bueno".
There are other altarpieces that represent Saint Blas, Saint Joseph and a dark-
skinned Jesus known as the "Señor de la Agonía" ("Lord of the Agony") that
has movable arms and head. His skin is dark because he is covered with the
llama parchment. Over the lateral walls there are 8 anonymous canvases with
astonishing golden frames; they represent the martyrdom of Saint Blas. Inside
the baptistery there is a painting of Jesus. Towards the right side of the
entrance there is a cross made with a single piece of Chachacomo wood (native
Andean tree). The church has a high choir with balusters of golden cedar wood.

Getting the most from your Cusco

“Religious Ticket,” More than a load of old
churches
For many people there is only one thing worse than visiting an old church while on holiday, and
that’s visiting lots of old churches. So why on earth would you buy the “boleto religioso”, a ticket
that entitles you visit not one, but three churches – including Cusco’s cathedral – with a museum of
religious art thrown in for good measure?
Well, firstly there’s a practical reason – you can visit all four attractions in less than a day, meaning
there is no need to worry about not getting full value out of your ticket. Secondly, you can make big
savings on entrance fees compared to what you would pay if you visited each sight individually.
Thirdly, walking between the four attractions is a good way of seeing parts of Cusco’s historic
centre that you may not otherwise see. And last but not least this tour gives you a bite-sized
insight into the history of Catholicism in Peru, its coexistence with indigenous religion, and some
wonderful examples of religious and Cusquena art.
The boleto religioso or religious ticket buys your entrance into The Museum of Religious Art,
TheChurch of San Blas, The Church of San Cristobal and the Cathedral. The adult price is 30
Soles (about £6.50 or US$10.50) and there are reductions for children and students. For comparison,
the entrance fee for the Cathedral alone is 25 Soles. You can buy your ticket at any of the four
attractions but a word of warning: for some reason, at the Church of San Blas they advertise the full
price as 50 Soles. However, without having to ask we were given a discount and only paid 25 Soles
each.

Church with a view: San Cristobal, overlooking the historical centre of Cusco

At any of the sites you can usually hire a guide and if you do, there is no fixed rate so make sure
you agree a price up front to avoid embarrassing discussions later. But for those of you who don’t
want to splash out, here is our very own guide to what you can find at each of the attractions.
The Museum of Religious Art
The Museum of Religious Art is located close to the Plaza de Armas on Hatunrumiyoc, a pedestrian
street that is also home to the famous 12-cornered Inca stone. I would suggest starting here for two
reasons. One: there is no confusion over the ticket price and two: unless you are a very well
informed art historian, it is probably the least impressive of the four sites on the tour, so best to get it
out of the way and save the best for later.
The museum is housed in the former palace of the Archbishop of Cusco, and truth be told, the
building will probably appeal much more to your average visitor than the religious art that it houses
– but more about that later. The palace has many typically Spanish arabesque features including a
shady cloistered patio complete with central fountain, and walls covered in blue and whiteazulejo
tiles. There are also beautiful examples of carved wooden Mudejar-style ceilings. You could easily
be in an Andalusian mansion in Seville or Granada.

A little bit of Andalucia in Cusco: The patio and cloisters in the Museum of Religious Art

Amongst the exhibits in the lofty rooms that surround the patio you will, apparently, find many
important paintings from the Cusquena school with their typically elaborate gilt frames, including
myriad Virgins, and a fascinating series of “Zodiac” paintings by renowned Cusco artist Diego
Quispe Tito.
Now it’s a good job I am telling you all this because although the paintings are undoubtedly
important works with exquisite detail and historical significance, you kind of have to use your
imagination and make it up for yourself as you go along: Nothing is labelled – although random
paintings appear to have some kind of audio guide number which has been obscured with tape –there
are no leaflets or printed guides and when we were there not a human guide could be found. The
ticket checker very kindly told me, in Spanish what was in each room, but after the seventh or eighth
virgin I have to admit that I lost track. One thing I have learnt is that it was traditional for artists of
the Cusquena School not to sign their paintings, which, in a gallery where nothing is labelled only
adds to the confusion.
Anyway, it’s a pretty place and unsurprisingly it can be very quiet spot, and hey, it’s on the ticket so
you might as well go in and while away a half hour. Just gen up a bit on Cusco religious art before
you go in.

The Church of San Blas

The San Blas quarter of Cusco is one of the most atmospheric areas of town, and aimlessly
wandering its narrow cobbled streets lined with pretty whitewashed colonial houses on a sunny day
is a joy in itself. But with your religious ticket you get to visit the church of San Blas too. And this
one really is worth the effort.

San Blas: worth a visit – with or without your religious ticket

To get there just turn right when you exit the Museum of Religious art, walk past the 12-cornered
stone, cross Calle Choquechaka and climb Cuesta San Blas until you arrive at the Plaza San Blas.
The church will be facing you.

Come on a Saturday morning and you can browse the stalls of the San Blas Artesans’ market that
fill the square before you go into the church. On any other day it’s worth popping into the Hilario
Mendivil studio and “gallery” on the square to admire the trademark long-necked sculptures of the
local Mendivil dynasty. Entrance is free but a donation is expected and you are very much
encouraged to buy your souvenirs here.
Inside the 16th century adobe church, which was built on the site of an Inca palace, the main draw is
the intricately carved 500 year-old cedar wood pulpit. This astonishing work is thought to have
taken local sculptor Juan Tomas Tuyru Tupac some ten years to carve. It consists of over 1,200
individual pieces and includes wonderful details such as seven monsters representing the deadly sins,
and the base is supported by figures representing eight leading protestants including Calvin and
Luther.
Legend has it that Tuyru Tupac promised to carve the pulpit free of charge in return for being cured
of leprosy. Duly cured, he changed his mind and after submitting his invoice he fell from the top of
the pulpit, smashed his skull and died. And if you look carefully you can see what is alleged to be
hisskull, complete with fatal fracture, perched on top of the pulpit.
Amongst the myriad religious paintings, another point of note is the beautifully painted ceiling near
to the main doors, the last surviving remnants of original ceiling and wall paintings that have been
progressively destroyed by earthquakes over the centuries.
Before leaving, be sure to climb the clock tower for spectacular views of Cusco and the surrounding
countryside, including the church of San Cristobal perched on a facing hill, which is the next church
on this tour.

View from the bell tower of San Blas Church

The Church of San Cristobal

There are various ways to get to the church of San Cristobal from San Blas, all of which will take
you up and down some pretty cobbled streets so charge your camera, get yourself a tourist map and
take your pick of the routes. One thing is for sure though – it’s ultimately an uphill climb so take
your time, especially if you have only recently arrived. One of the more interesting and scenic routes
is via Plaza Nazarenas. Here, if you have time you can visit the excellent Museum of Pre-
Columbian Art, or if you are seriously into churches, you could try to persuade the doormen at the
Belmond (the new name for Orient-Express) Hotel Monasterio to let you see the hotel’s
beautiful private chapel.
Now even if churches and religious art are not really your thing, the setting of San Cristobal justifies
the climb. The broad plaza to the side of the church provides a magnificent viewpoint over Cusco
and on a clear day you can see as far as snow-covered Ausangate, the region’s highest mountain.
 Snow-capped mountain: Ausangate, as seen from San Cristobal Church

Inside the church there is more fine Cusquena religious art as well as some brilliant examples of how
the colonising Catholics tricked the indigenous population into believing in their mysticism: Mirrors,
hitherto unknown to Peruvians and therefore verging on the magical, adorn the walls. In one of the
side chapels a statue of Christ not only bears the trademark graphic lacerations of Peruvian Christ
figures, but also jointed arms and neck. The jointed arms serve a practical purpose. Normally
outstretched on the crucifix, the shoulder hinges allow the arms to be lowered to the side of the body
so it can be paraded inside a glass coffin on high days and holidays. However the jointed neck had
rather more sinister motivations. Someone would hide behind the crucifix and at suitable moments
in the church service would move the Christ’s head up and down to somehow prove the statue’s
sanctity to the awestruck converts. I’m sure it was very convincing.
San Cristobal’s ancient heritage can be seen beneath the church in a side room near the entrance –
original stones from when, ironically, the site was a barracks for Inca warriors. And on the main altar
are carved Pachamamas, the Inca mother earth goddess, full and naked breasts displayed with
impunity as paintings and statues of the pious look on – evidence of the incongruous but relatively
easy coexistence between colonial Catholicism and the indigenous religions. As our young, urbane
guide explained to us,
“Yes, I can believe in Jesus Christ but I will never stop believing in the Pachamama…”

Back outside you can climb the stone bell-tower to take in more of the breath-taking views. And on a
practical note there are also toilets here so you can take a convenience break if you so desire.
 Stairway to heavenly views: the bell tower at San Cristobal church

And so to the Cathedral

Descend from San Cristobal by the steps nearest the bell tower and take the steep cobbled street
opposite to get back to the Plaza de Armas. Just to be clear, the cathedral is the big church at the top
of the steps on the left hand side as you enter the square, not the equally splendid edifice that you see
facing you, which is the Jesuit Church, entry into which is not included on your ticket.
Cusco’s cathedral is actually three separate churches joined together and which were once again
constructed on a sacred Inca site. Now every guide book known to man has pages dedicated to this
magnificent building, so I won’t waste space going over the same ground that you will probably
have already read in Frommer, Rough Guide or Lonely Planet. What’s more, unlike the Museum of
Religious Art, all the major exhibits here are clearly labelled in both English and Spanish.
 Cusco Cathedral at nightfall. But remember it closes at 6pm…

However, I will share my favourites and some of the more quirky bits with you. And just to make it
a bit more fun, should you find yourself a little church-weary or have flagging kids in tow, why not
turn it into a game of Cathedral Bingo to liven things up a bit? Just tick each item off as you see it.
So, in no particular order, my cathedral favourites are: the portrait of the former archbishop bearing
an uncanny resemblance to George Burns; the shiny gold statue of John the Baptist in 1970sdisco-
dancing pose; the crucifix bearing el Senor de los Temblores (the patron of Cusco) which, when
paraded out of the cathedral on March 31st 1650 put an end to the earth’s quaking after no less than
400 tremors in one day; the large painting commemorating the same earthquakes, showing burning
buildings, cracked and crumbling houses and the good citizens of Cusco gathered in the Plaza de
Armas; the wooden statue of a virgin martyr carrying what looks like a large pair of pliers or a
monkey wrench; the statue of a male martyr carrying his own head in his arms; and finally the
important but slightly unorthodox painting of the Last Supper showing Jesus and the disciples about
to devour not a paschal lamb but a rather scrawny looking chinchilla. Happy hunting.
 The annual parading of El Senor de los Temblores. usually found inside Cusco’s Cathedral

Even if you don’t purchase the boleto religioso, it would be a shame not to visit the cathedral and if
you don’t fancy the single 25 Soles fee, entry is free when mass is being said. You will have to
convince the guards that you are there for the service and are not just any old tourist – perhaps
learning a few prayers in Spanish would help. There are several early masses each morning from
6.30am Monday to Saturday and from 6am on Sundays.
Here endeth the tour.

Opening Times
Museum of Religious Art: Daily, 8am – 6pm
Church of San Blas: Daily, 8am – 6pm
Church of San Cristobal: Daily, 9am – 5pm
Cathedral: Daily, 10am – 6pm

(Post Read – 2481)