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Escuela de Posgrado
Arequipa - Perú
2017
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Derechos Reservados
copyright ©2017 Luz Marina Zubizarreta Agüero
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RESUMEN
La profesión del Guía de Turismo como tal se ha venido consolidando en los últimos
años al ser el nuestro un país netamente turístico y como en toda profesión los
de guiado tanto en Español e Inglés iniciando con los aspectos generales sobre el
guía de turismo sus funciones y recomendaciones para los guiados en los centros
Las técnicas de guiado variarán de acuerdo al tipo de turista y el idioma del grupo a
guiar por ello se describe las técnicas de guiado por edades como principal aspecto
a considerar para la planificación del guiado. Así mismo, las reglas de oro para un
las fases de un guiado y los aspectos en los que el guía debe incidir al prepararse.
se desarrolla las fases usuales del guiado, por ello se considera que al momento de
bosquejo de lo que será el tour, esto nos permite una mejor comunicación, para
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cuenta que las experiencias son ejemplificaciones y que la teoría de las técnicas del
de ficha de evaluación.
city tour local como son los guiados en la ciudad de Arequipa "city tour". Iniciando
algunos casos a nivel mundial para que el estudiante de guía de turismo pueda a
partir de ella para componer su propio guión. La versión en idioma Inglés sugiere la
Inglés.
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INTRODUCCIÓN
La actividad turística a nivel mundial así como en nuestra ciudad sigue su ritmo de
uno o dos idiomas extranjeros a la perfección así como manejar las técnicas de
necesarios que debe dominar un guía de turismo especializado, de manera tal que
y grupales y su rol como líder de grupo; aunado a esto, las técnicas requeridas para
de los aspectos básicos de la función y obligaciones del guía, se define una serie de
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es en lo que se caracteriza nuestra centro histórico y la conducción de turistas de
arquitectónicos del centro histórico que fuera declarado patrimonio cultural por la
permitirá a la empresa turísticas contar con guías con una información actualizada
los guías de turismo quienes como parte de esta industria deben manejar aspectos
relacionados con las técnicas del guiado tanto en inglés como en español con la
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INDICE
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CAPITULO IV: GUIDING AT CHURCHES IN AREQUIPA
ENGLISH AND SPANISH VERSION
4.1 Arequipa "declared a World Heritage Site" ................................................... 49
Glosario...................................................................................................................... 186
Bibliografía................................................................................................................ 195
Anexos....................................................................................................................... 196
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CAPITULO I
CONTENIDOS
turísticos
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I. ASPECTOS GENERALES SOBRE EL GUIA DE TURISMO
persona natural acreditada con el título oficial de guía de turismo, expedido por
que hayan cursado y aprobado estudios por el lapso mínimo de seis semestres;
un país o ciudad nuevo y desconocido, por lo que sin él, la operación turística y
interés del visitante, que le fueron asignados, tales como: museos, iglesias,
centros turísticos.
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b) Guías locales
c) Guías Nacionales
nacional (cultural y natural), las rutas y los circuitos turísticos por el territorio
nacional, por lo que están capacitados para ejercer su labor en todo el país.
liderada por un Guía de Turismo, que habla la lengua de los visitantes, a través
visita, y destacando los principales puntos de interés de cada uno de los lugares
visitados.
y aprender del contacto directo con la gente del lugar, sobre costumbres,
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1.4 Funciones del guía en los atractivos turísticos:
nuestros pueblos.
profesión.
social.
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1.5 Recomendaciones para los guías de turismo en los atractivos
turísticos:
visita.
precisa y veraz.
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h) Profundizar la información en caso el turista así lo requiera, con datos
del turista.
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CAPITULO II
TÉCNICAS DE GUIADO
CONTENIDOS
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II. TÉCNICAS DE GUIADO
preparación especial para ser los difusores de nuestra cultura y patrimonio nacional
Bonilla, Ricardo (2007: 54) "considerar que las técnicas de guiado de turistas se
debe diseñar de acuerdo a cada grupo conociendo las características de cada uno
Las niñas y los niños menores de once años se basan en el mundo exterior
que los rodea. No tienen claridad entre lo bueno y lo malo, aunque los padres
cariñosos.
consecuencias.
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d. Ubicarlos en el bus de preferencia en una parte con buena visibilidad
equipo, etc.
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c. Recomendar el equipo de protección adecuado para la ejecución del
tour, como: gorra, protector solar, ropa ligera, agua, cuidar sus
pertenencias.
guía.
una conducta realista con amplia apertura al pasado, vivencia del presente y
a. Este cliente sabe lo que quiere, el guía trabaja con base en sus gustos
expectativas no se cumplen.
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D. Técnicas de guiado aplicadas a personas de la Tercera edad de 65 años
o más:
Las personas adulto mayores tienen amplia experiencia y por ello su valor por
tanto deben ser tratados con mucho respeto y paciencia por sus condiciones.
participar en todo.
dinámico y preciso.
clientes.
años, no deben ser consideradas como menos por sus limitaciones físicas o
Son personas iguales que deben gozar de los mismos derechos y deberes
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adecuando la educación, la arquitectura de lugares, medios de transporte,
discapacidad física .
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otras relativas al estado de carreteras y puentes. El tour normalmente tiene dos
fases definidas:
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2.2.2.1 Coordinación de actividades previas:
intentando no saturar a los clientes y brindar detalles sobre los aspectos más
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arquitectónicas, flora y fauna. Asimismo debe considerar guardar silencio
que atañen a la integridad física de los turistas y el disfrute del tour. En todo
caso el profesional debe recordar que el fin último del tour es la satisfacción
del turista y eso se logra con el control de los pequeños detalles. Para ello el
guía prestará atención en todo momento a cada detalle por muy sencillo que
Con la misma cordialidad con se inició el tour, el guía debe cerrar su labor
valorar la calidad del servicio recibido por ellos y estará pendiente de que el
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2.3 Tipos de Grupos
a. Especializados
específicas. Ejemplos:
recuperación ).
eventos especiales.
b. Generales
Monteverde.
c. Fam trips
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ofrecer un producto o servicio con conocimiento de causa, no sólo las ventas
por ejemplo:
- Visitar hoteles.
líneas aéreas.
implica una serie de visitas a lugares de gran atractivo así como ubicarlo en
e. Incentivos
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f. Naturalistas
(Herpetólogos).
Después de haber participado en los tour tanto como guía y pasajero es que
esa manera tratar que en todo momento el turista se sienta seguro, atendido,
verídica.
información resaltante.
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f) Evita hablar de temas como: política, religión, raza o problemas sociales; así
el tema.
la que permanecerán.
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CAPITULO III
DESCRIBING EXHIBITIONS
CONTENIDOS
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ENGLISH VERSION
This chapter was designed to help tourist guides, especially students, to improve
The briefing is a short speech to welcome guests and give some important
The first encounter is always important, since it is the moment in which the
this image is loaded with positive or negative ratings, which promotes feelings of
in a circle where each person can look at each others. The following moments
description of the event and agreements and group rules for the development of
the activity. These four moments form a unit and should not be visualized
separately, in fact these moments should take place without being noticed.
his or her name, giving some general information that may favor the
exchange, such as the activity engaged in, hobbies and other places
visited, etc.
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b. Detection of personal objectives: From the presentation techniques it is
possible to detect the personal goals that each tourist brings to the visit.
Knowing the interests and expectations will allow the guide or more
elements to confirm or point out more clearly the limits of the tourist
question about what people hope to get on the tour will be possible to
informed of the objectives of the tour, the activities that will be carried out
with the times allocated to each one. It should be explained previously the
There are two ways to the establishment of agreements or group rules, one is
the directive, where the person responsible for the event unilaterally establishes
the rules. The other is the participatory, where all the people can opine on the
On the other hand, the tour guide is also responsible for establishing the rules of
work and safety because it is also part of the group that will share experiences
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3.2 Preparing a speech
This part of this material, which is in English language, is going to be used when
training a tour guide during the simulations guided tours. The preparation process
provides the tour guides the opportunity to find out and write a speech in order to
organize their own ideas and make a personal and formal presentation. On the
other hand, the guides must take into account that when describing exhibitions
always the tour guide must be enthusiastic and use a positive language during
The following pattern and phrases will permit the guide to have an order and a
sequence when preparing the speech, but every tour guide will put a personal
style according to his or her features and interests, also their knowledge.
opportunity.
Good afternoon ladies and gentlemen, my name is ....... ,and I will be your
We are standing in front of ……, and as you can see it is located on the
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c) Say what the main features are ...
Please note that photography is not allowed in the interior part ...
A. Part 1:
Example Reading:
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Reading
B. Part 2:
Students prepare their own speech using the phrases for guidance in English,
given by the teacher or instructor, and using the information they have received
consider working with a prompt when students do not have idea how to work
with something new specially when they show fails in writing skills in English
language.
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In chapter IV of this book you will find the prepared speeches for describing
As you can see in the following example the speech has a logical order taking
into account the parts and useful phrases shown in 3.3. Following there is an
example:
Speech
Good morning ladies and gentlemen. My name is Luz Zubizarreta and in this
opportunity I am going to be your guide.
Thank you for your attention, we can continue with our tour in ten minutes.
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C. Part 3:
When students get ready for a presentation in L2 language (in this case
English) most of the time have problems because they do not know how to
pronounce the new words found in the readings given by the teacher and when
they give a speech they show many mistakes pronouncing words they have
learnt before wrongly, also they feel unconfident, nervous and upset. One way
but before to work with them it is necessary students have a good knowledge of
features, found in this material, every student can design an own using the
following examples.
This chart was designed to help students to organize their work with the words
they first time know, and to correct the pronunciation of words they feel are
having mistakes.
Topic: Page:
Name:
Word Pronunciation Grammar Translation 1 Example sentences
It can be used to work the lexis for any material or course book because it can
be covered not just the meaning, the other part is the grammar to determine the
kind of word it is, and an example can help learners to see the position in a
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structured sentences. The aim of this material is to organize the work and show
If students think the previous chart is hard to work with because it demands too
much time, just they can follow this other way to work with their vocabulary. The
Tour guide students depending of the level of difficult, they are going to work
the number of words they need to check. There are students who work ten
words but there are others who work with sixty words.
D. Part 4
which is filled out with specific information and details students must
investigate about the tourist attraction to be visited. (See annexe 3 and 4).
E. Part 5 - Evaluation
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F. Part 6 - Practice
After preparation time all the students are taken to the tourist attractions in
order to practice their mock guidings with the class group to reach enough
practice and experience for the real guidings. And simulating they are real
tourist guides, everyone takes turn to give the speech following the exactly
order given in the speech paper, it does not mean they have to say the exactly
words written, just they can improvise observing the place or change their
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VERSION EN ESPAÑOL
Este capítulo ha sido diseñado para apoyar a los guías de turismo, especialmente
donde cada persona pueda mirar a las demás. En ella deben darse los
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a) Presentación: Es el momento en que cada persona se presenta diciendo su
mayores elementos para confirmar o señalar con mayor claridad los límites
sobre lo que las personas esperan obtener en el tour hará posible entrar en el
tema.
participantes los objetivos del tour, las actividades que se realizarán con los
tiempos destinados a cada una. Debe tenerse presente que un evento donde
d) Acuerdos o reglas grupales: Establecer los acuerdos debe ser una de las
personas pueden opinar sobre los acuerdos que deben regir el evento.
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Por otra parte, la o el guía turístico tiene también responsabilidad de establecer
las reglas de trabajo y seguridad porque ella o él también forman parte del grupo
hacer una presentación personal y formal. Por otro lado, los guías deben tener
una secuencia al preparar el discurso, pero cada guía turístico pondrá un estilo
A) Saludar y presentarse:
Buenas tardes señoras y señores, mi nombre es ....... y hoy voy a ser su guía.
B) Presentar el atractivo:
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Estamos parados frente a ......, y como se puede ver se encuentra en la
Tenga en cuenta que no está permitido tomar fotografías en la parte interior ...
A. Parte 1:
El profesor o instructor tiene que preparar una descripción del atractivo turístico
con tanta información como sea posible para dar una lectura sobre un destino
turístico con mucha información en idioma inglés o español con el fin de dar a
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Ejemplo:
Lectura
B. Parte 2:
Los estudiantes preparan su propio discurso usando las frases para un guiado
los estudiantes no tienen idea de cómo trabajar con algo nuevo, especialmente
Inglés.
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En el capítulo IV de este libro se encuentran los discursos preparados para
orden lógico teniendo en cuenta las partes y frases útiles que se muestran en
Discurso
La Catedral de Arequipa
Gracias por su atención, podemos continuar con nuestro recorrido en diez minutos.
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C. Parte 3:
mayoría del tiempo tienen problemas porque no saben cómo pronunciar las
manera de superar este tipo de dificultades es a través del uso de los símbolos
fonéticos y fonológicos, pero antes de trabajar con ellos es necesario que los
Vocabulario y pronunciación:
Aparte del glosario sobre las palabras técnicas para describir las
ejemplos.
Esta gráfica fue diseñada para ayudar a los estudiantes a organizar su trabajo
con las palabras que encuentran por primera vez y para corregir la
Tema: Pág:
Nombre:
palabra Pronunciación Gramática Traducción Ejemplo en oraciones
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Puede ser utilizado para trabajar el lexis de cualquier material o libro del curso
los alumnos.
exigen demasiado tiempo podrían seguir esta otra forma de trabajo con su
trabajan diez palabras, pero hay otros que trabajan con sesenta palabras.
D. Parte 4
Antes de una visita los estudiantes deben preparar un formato de ubicación del
que los estudiantes deben investigar sobre el atractivo turístico que se visitará.
E. Parte 5 - Evaluación
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También se consideran los objetivos precisos, el desempeño a través de una
F. Parte 6 - Práctica
Después del tiempo de preparación todos los estudiantes son llevados a los
guiados reales. Y simulando que son verdaderos guías turísticos, cada uno
discurso preparado, pero esto no significa que tienen que decir exactamente
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CAPITULO IV
CONTENTS
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ENGLISH VERSION
native characteristics vital to the cultural expression of the entire region, the
This recognition fulfilled an old dream of Arequipeños for which they had waited
until May 1999. Called together by the mayor of Arequipa, philosopher Juan
Manuel Guillen, a handful of the city's admirers (seven architects. two historians,
a restoration expert and a poet) decided to submit the application and create a
Municipal Office for the Historic Centre and Monuments, a key organisation in
the process charged with looking after Arequipa's architectural monuments. The
local authority's lack of cash was more than made up for by enthusiasm and
professionalism. The deciding fact was the assistance of the Spanish Aid
established so that the city finally achieved the distinction which shares with
Cusco and Lima. (In Peru, it can be mentioned, the archaeological sites of
Chavin, Nazca and Chan Chan have also been declared "world heritage sites",
and whilst the Huascaran and Manu national parks have been designated
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"natural heritage sites" and Machu Picchu and the Rio Abiseo are "world and
But let us return to the reasons why the historic centre has been awarded this
title, which like all titles also confers a duty Experts in Latin American
architecture of the last few hundred years, have repeatedly stressed the
importance of the city when the Mestizo baroque period was at its height. The
imposing mountains- the European and native traditions, the local volcanic stone
of American vice regal architecture: La Compañía church and cloisters of, the
convent of Santa Catalina, the San Francisco complex, the Tristan del Pozo, La
monasteries such as Santo Domingo, San Agustin, Santa Rosa, La Merced and
mansions and something like five hundred town houses incorporating the style of
the colonial and republican age, which give life to the main urban areas. Among
these streets and avenues are Puente Grau and VillaIba, San Francisco; Santa
Catalina, La Merced and Puente Bolognesi, which converge on the Main Square
with its symmetrical colonnades and the cathedral facade, considered the most
The home of a large and hard-working colonial middle class of Spanish origin;
gastronomy, ground zero for revolutions and uprisings that have marked the
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republican development of Peru, Arequipa today shows the signs of rapid inward
migration that is giving it a new personality. The essential values of rebellion and
hard work, austerity and civic pride nevertheless appear to be present in the
city's new inhabitants and give the historic centre, in the process of rebirth, a
vigorous spiritual life. Afflicted by crisis, the Arequipeños are determined to make
the city a centre for tourism and a provider of quality educational and cultural
services. The historic centre, obviously, has a central role to play. The local
authority has already started to hide the spider's web of wiring that drapes the
main streets of the city, widen the pavements, replace the cobbles and lay
drains. Urban renewal has begun and an ambitious plan to restore the historic
centre and its surroundings is under way with the financial support of
make the old centre, founded by the conquistadors on the 15th August 1,540, a
place not only worth visiting, but worth living in and, indeed worth loving.
Because, as the famous consul Firmin said - beneath another volcano - "you
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4.2 Cayma church, Main Square and surroundings
The main square of Cayma district, which is one of the most ancient and
representative towns in Arequipa, is located about four kilometres from the main
square of Arequipa, on the North West part of the city, almost at the foot of
complete view of Arequipa city and its countryside from the towers of the main
church.
There are some stories about the origin of its name, one of them says that the
word ´Cayma´ comes from the Quechua term “Qamata” which was the name of
one of the first ethnic groups that inhabited the area. The other story says that in
the early years of the colonial time, the king Charles V had an image of Virgin
Mary given to the inhabitants of the villages in this area, when they were taking
the image towards Cusco. It became too heavy for the people to continue
carrying it, suddenly, they heard a voice saying “Kayman” twice (“Kayman” is a
Let me tell you something about the history: according to the history and some
chronicles of the colonist, the first inhabitants of the place were the collaguas (an
ethnic group coming from the Colca valley). They settled on the right bank of
Chili river, in a place called Lari. Nowadays this place is occupied by the
cemetery. There were obviously other tribes or ethnic groups which inhabited the
area along with the collaguas; among them we can mention Cabanas, Callapas,
Chumbivilcas, Juli, and so on. According to historians this place was occupied by
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When the Spaniards got to Cayma, the place was part of an extensive area
called La Chima. At that time Cayma was inhabited by about 3000 people
governed by four Caciques. These Spaniards forced to yield all of the people
of the native people. Finally, Cayma was founded as a district on November 12,
1923.
You can see the main square of Cayma, which was restored many times,
nowadays keeps its historical greatness and magnificent. If you see on the
entrances it has five arches made out of ashlar which were built by order of
priest who had lived here for about 46 years instructing, educating and leading
the town towards its development. The main square also is surrounded by the
municipality palace, the main church, Cacique Alpaca House and Bolivar´s
Lodging.
In front of you it is the well known San Miguel Archangel Church. The
construction was in charge to Saint Dominic of Guzman order who built a sort
of a small chapel made out of adobe with straw roof in 1544. Later on, after
about 150 years, it was rebuilt, made out of ashlar. Architect Antonio Perez del
Cuadro was in charge of designing the plans and directing the construction of
the church. This construction was begun in 1719 and finished in 1730.
The earthquake, which occurred on 13 May 1784, destroyed almost all the
church, and again the priest Zamacola y Jauregui had the church rebuilt with
two more naves and two towers. The earthquake of 1868 also destroyed the
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church and its reconstruction was completed in 1876 as we can see on the
columns of the towers. Besides, this church was affected by the earthquakes of
1958, 1960 and the last one occurred on June 23, 2001.
You can appreciate the principal facade is baroque style made out of ashlar. It
was made in the XVIII century. It consists of two parts. The main door is in the
first floor. It is made out of wood and adorned with great nails of that period. We
can also appreciate some rosettes on the arch over the door. The jambs are
also decorated with some foliage, clusters of grapes and flowers. The door is
their lower section with some fruit, a seller women carved in high-relief;
besides, these columns rest on a pedestal made out of ashlar and decorated
with the monogram of Jesus (on the right) and the monogram of Mary (on the
left). Completing the decoration on both sides of the facade, we can see some
masks which are throwing some elements of the flora out of their mouth.
The second floor is very nicely decorated. In the central part we can appreciate
a sea shell vaulted niche which houses the statue of Candelaria virgin. This
statue is flanked by the carving images of Saint Francisco (on the right) and
Saint Dominic of Guzman (on the left) carved in high-relief. Above the niche, we
can also see the monogram of Virgin Mary. The facade is crowned with an
open pediment, attached pilasters and a Latin cross made out of ashlar.
This church has two towers made out of ashlar which do not have profuse
decoration, but they have beautiful pinnacles in shape of a flower bud (cantuta
bud). One of the towers was decorated with flowers in high-relief on its four
corners.
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Now, we are in the interior part, as you can see it consists of three naves with
open barrel vaults. The central nave is about 40.32 meters long and 17.84
meters wide. It is designed in shape of a Latin cross. Just when going through
the threshold on the interior surface of the roof we can see the high-relief
carving of Saint Rose of Lima. The central vault is held by three arches where
there were three emblems carved in high-relief. Nowadays we can see just two
of them: the emblem of Saint Dominic of Guzman and the emblem of Vasco
people. We can also see the high-relief carving of Saint Dominic of Guzman in
the loft choir. There are also some high-relief carvings in shapes of cherubs,
some elements of flora, and geometric figures along the principal nave as well
You can see the main altar which consists of two floors. On the first floor, there
is a sea shell vaulted niche which houses the statue of Candelaria virgin. This
image is flanked by the images of Saint Dominic of Guzman (on the right) and
Saint Francis (on the left). On the second floor, there is also a sea shell vaulted
niche which houses the image of Saint Michael Archangel flanked by two
In the left side nave, we can find the altarpieces of virgin of Las Peñas, the
Sacred Family, Jesus of Nazareth, and Saint John of God. The altarpieces of
Crucified Christ, Sacred Heart of Jesus, the Lord of the Holy sepulchre, and a
painting of the lord of the Divine Mercy are set on the right side nave. Besides,
here you can appreciate the baptistery were you can see a beautiful oil of the
Baptism of Jesus and the Baptismal font which is made out of marble. There is
If you can follow me please, we are going to visit the Bolivar´s lodging.
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It consists of a corridor with a tiled roof with some tree trunks and reed. The
above the bed; two trunks made out of polychrome wood and another one
made out of simple wood; a chest made out of wood coated with bronze; a
display cabinet with very old books in it; and a picture of Simon Bolivar. The
furniture in the Dining room consists of a rustic table as well as two benches
and a chair. Simon Bolivar used to have lunch here. This place is called
Bolivar’s lodging because when liberator Simon Bolivar visited the Virgin of
Candelaria in Cayma, and got pleased with the climate of the region; he
thought that the climate would help him overcome his bronchial sickness and
decided to stay there. It is also worth to mention the picture Gallery where we
can appreciate eighteen pictures painted in XVI, XVII, and, XVIII centuries.
Well, entrance to Bolivar´s lodging has an extra cost if you want to enter you
can buy the ticket over there. The church is open from 7:00 to 20:00 but
Tasks:
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4.3 Santo Domingo Church and Convent
The Church and Convent of Saint Dominic is located at the crossing of Santo
Domingo and Piérola Streets. According to the legend the construction ended on
February 17, 1680, and it was carved between the years of 1677 and 1680.
The Dominican order was the first in arriving to Arequipa, therefore its temple is
one of the oldest, although the complex of the Dominican order was seriously
damaged by the strong earthquakes of 1582 and 1604. The situation would be
repeated in 1958 and 1960, when the only things left standing were its
ornamented lateral entrance and its bell tower which were restored.
As you can see the main façade, which faces to Santo Domingo street, is
baroque style and emphasizes elaborated stone carvings of vines and roses,
cantuta flowers, people, animals and angels with trumpets. We can see above
the main door, the carving image of Saint Paul with his sword in his hand, in the
middle of carved figures about corns, angels, rosettes and foliage (and animals
like dogs or monkeys). Also about it, we can appreciate a heart, which
represents the Jesus’ heart, and there is a relief with a decorated orb with
foliage. Above the open pediment you can find a Latin cross that represents the
If you see the floor is like a checkerboard with canto rodado stones. The left
walls of the main facade are almohadilladas. There, also we observe some
carving masks from Chavin and Tiahuanaco cultures. Above the dome and tower
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At the corner of Santo Domingo and Piérola streets stands a column where the
miniature image of this church is carved, it is said that this is the church which
never closes.
Now, we are going to the interior of the church. You will find that it has three
naves; the central is longer than the laterals. They are the principal naves, the
epistola nave and the evangelica nave. There are also, outstanding religious
paintings from the Cusquenian School and fine images of saints and virgins.
Also, we can appreciate the twelve images of the apostles made in wood
specially Saint Judas Tadeo Apostle (the saint of impossible things, work, money
and love). In the central part of the vault there is a carved Franciscan shield.
Here you can see that the floor is checkered too. The lateral nave is
churrigueresque style where the statue of Rosary Virgen is standing with two
saints on her sides. The altar mayor is a nave made in marble and gold and, in
each dome you can find the bonas, used as small windows.
This church is open from 7:00 in the morning to 12:00 and in the afternoon from
15:00 to 19:00. The entrance is free but it is not allowed to take photographs in
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4.4 La Compañía Church
Very close to the main square, we find The church of the Company of Jesus. It
demonstrates the great influence of this order in Spain and its colonies during
the XVI-XVIII centuries, and Arequipa is not the exception. This Jesuit church is
located on the corner of General Moran and Alvarez Tomas streets. It took
almost the whole XVII century to be built (1610-1698). The Church of the
Company was one of the first temples of Arequipa in which sillar was used to be
built. As you can see this church was built in sillar ashlar and also the outside
impression by its carved façade that was finished in 1698. Its Plateresque facade
ornaments with vine leaves, bunches of grapes, flowers, birds, angels and
indigenous masks with hairdos adorned with long feathers. You can see this
facade is divided in two parts and three streets. On the first part you can find on
both sides of the door two double columns which are decorated in the lower part
in zic-zac shape and finishing in Corinthian chapitels. Also you can see on the
Now, before to see the interior part let me tell you some details. The interior part
is in the shape of a Latin cross, with a main aisle and two lateral ones. You will
find a high choir and a beautiful wooden pulpit from the XVII century too. There's
also two chapels: San Ignacio Chapel (with a gorgeous painted cupola) and the
Royal Chapel where you can enter but you have to pay a ticket.
The pulpit of the church is in carved wood and its old sacristy, well-known as the
Sixtine Chapel of Arequipa, it was the fruit of the work of anonymous indigenous
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artists, who printed in the work their own colour, their own motives and their own
spirit. The temple presents a structure of two levels, typical of the European
interest are the half point vaults and the half columns that hold up the superior
floor.
Its interior is a display of luxury and ornamentation, with golden altars of Mestizo
Baroque style, a beautiful pulpit from the XVIIth Century and more than 60
paintings of Cusco School are exhibited, too. The Church of the Company was
originally erected in 1573, following the design of Gaspar Báez. But the religious
structure did not resist the earthquake of 1584, being reconstructed at the end of
This church is open from 7:00 in the morning to 13:00 and in the afternoon from
15:00 to 20:00. The entrance is free but it is not allowed to take photographs in
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4.5 La Merced Convent And Church
1548, although the works of the temple would conclude only in 1607. It was built
Arequipa. This church stands out by its superb lateral door entrance, with an
image of our Lady of Mercy (The Virgin of Mercy) carved in volcanic stone. This
church has baroque style. As you can see the facade is plain, it does not present
In the interior and altarpiece you will observe it is Churrigueresque style which is
just brilliant. Equally interesting is its capitular hall with two bodies, one of them
shows a vault split in four and the other makes an impact by its Gothic style of
Within the religious complex you can see there is an art gallery with many
Mercy and an admirable Colonial library, authentic delight for the lovers of old
books.
Like the other temples of the city, this small complex was also damaged by
earthquakes, mainly with the ones of 1958, 1960 and 2001. A tedious work of
restoration gave it back its splendour form. The main characteristic it is the
as the main entrance of the convent. This last one has an immense capitular
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The shield you can see under the bell belongs to the Order of Blessed Virgin
for "mercy".
The Order was founded on August 12, 1218 AD, by Bishop Berenguer de Palou
in Barcelona. The driving force behind the order was Saint Peter Nolasco (1181 -
1245 AD). The purpose of the Order was to liberate faithful Christians who were
held prisoner by the Saracens in the Moorish part of Spain. They did this by
for the prisoner. The shield is the vertical red and gold bands of the King of
cathedral.
The Order came to the Americas on the second voyage of Columbus in 1493
and also accompanied Pizarro in his conquests. It should be noted that at the
evangelization of natives in the many Indian doctrines which they took over.
Well, this church is open from 7:00 in the morning to 12:00, and in the afternoon
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4.6 San Agustín Church
San Agustin Church is located on the intersection of San Agustín and Bolivar
Streets. It is the best architectonic expression of the Mestizo Baroque style of the
its elaborated entrance doors with heavy reliefs and audacious iconographies.
Although it was destroyed by the 1868 earthquake, the church conserves its
main facade. Its foundation was in 1575, and it is associated to San Nicholas de
Tolentino. The vestiges of the great cover of the Company subsist on the flanks
white and gray, (only its sacristy was left standing). In the XIXth Century a
reconstruction process began, in which it was tried to maintain its original lines
and details in a scrupulous way. In its facade we are going to find decorations
about flowers, angels and in the center a heart, grapes and acanto leave. On the
second platform you can see the carved images of San Agustin de Hipona and
Santo Tomas de Aquino. There are also carvings about flower vases, birds with
two tails. Its tower was rebuilt after the earthquake of 2001 so it has a modern
style in comparison with the rest of the construction. Going by the lateral part we
find the San Agustin Convent where it is the San Agustin University.
Now if you are going to enter In its interior, there are some columns carved in
wood covered with plaster and painted. This is the only one church which has
the roof in metal called "calamina". The main festivity here is “El Señor de los
ornamented dome, its neo Classic altars, the main altar with fine carvings and
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applications in gold leaf, and several Colonial paintings that adorn the main
nave.
This church is open from 7:00 in the morning to 13:00 and in the afternoon from
15:00 to 19:00. The entrance is free but it is not allowed to take photographs in
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4.7 San Francisco Church and Convent
San Francisco Church is located in Zela street and it was founded in 1552. This
land was donated by Lucas Martinez Begazo. San Francisco Church facade is
Mestizo style with Mudejar influences because It was used sillar and bricks to be
constructed, it can be seen the same characteristic in the interior part. The
construction was in charge to Gaspar Báez in 1569. Its original design included a
single vaulted nave and a sanctuary with a dome. Lately was added the
After the 1687 earthquake the temple was remodeled and enlarged, being one of
the greatest new features the use of the sillar ashlar stone. Several centuries
later, in 1960 to be more exact, San Francisco was rebuilt once more, trying to
recover its original design. Inside this church of sillar and bricks, the Baroque
pulpit of shortened relief, its splendid altar of wrought silver and its beautiful
stone choir with Baroque characteristics stands out. Its Colonial cloisters are part
This church has a quadrilateral tower and presents carved relief images in sillar.
Looking at from one side we find Saint Marta and Saint Rosa carving images. To
the other side we find Candelaria Virgen and Saint Clara carving images.
Toward one of the flanks we can appreciate another facade which is like a
from Inmaculada Concepción Virgen and above it one from Saint Francis and
Jesus.
As you can see this floor is checkered with laja stone and canto rodado.
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In the interior of the church, the main altar is baroque style made in wood. On
the wall of its vault there are eighteen paintings that represent some parts of the
bible, an under these paintings there are some others about biblical women.
Beside the church you can see The third Franciscan order which is exactly
located in front of San Francisco square, its facade is baroque style adorned with
been the most notable the main cloister. In its interior we can appreciate
Also, you can appreciate the square which homes the Jacaranda tree, a peculiar
tree from Arequipa. In front of it also you can find the Municipal Museum which
republican period.
Other important things you can find here is the "Manguillo" passage, which
connects this square with Puente Grau Street. In the way you are going to find
the famous "Fundo el Fierro" house where you can buy souvenirs, especially
You can visit this complex and the museum, the church is open from 7:00 to
10:00 and in the afternoon from 16:00 to 19:00. Only you have to pay the
entrance to the museum which is on the left side of the church and the third
order is open the whole day. The museum is open from 8:00 to 16:00 and you
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Tasks:
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4.8 La Compañía Cloisters
La Compañía cloisters were built in the Colonial age, it is excelled notably not
just for its rich ornamentation but also its grandeur and originality. "The luxuriant
anything more original or more beautiful", wrote the architect Harthterré. The
Pantigoso, a celebrated architect who was designated ‘The Major Builder of the
reconstruction of the city after the quake of October 20, 1687 according to the
Spaniards, worked and cut the sillar which was carted from the quarries in
Chilina.
The date of the completion of the work, 1738, is found carved on the entrance
as well as the Juniorate of the Society of Jesus although it lasted for a short
time. When the Jesuits were expelled in 1767, the cloister as well as all the rest
In 1788, at the request of Bishop Chavez de la Rosa, part of the Cloisters were
Arequipa in 1848, this institution took charge of the Foundling Home and
Goyeneche Avenue, the Cloisters were divided into eight lots and sold in public
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auction. The new owners radically modified the graceful site, part was ruined and
At last, in 1971, Banco Central Hipotecario acquired these old cloisters and
The cloisters are divided in two areas. The Mayor Cloister consists of the entire
area leading to General Moran Street; the Minor Cloister and its patio (yard)
which has an exit door to Palacio Viejo Street. Adjacent to the church and
splendour and overpowering character with its 40 rooms which are now souvenir
The Mayor Cloister is one whole unit with semi-archways of heavy pilasters fully
decorated on its four sides. Each side exhibits identical relieves of three thick
overflowing from flower pots. In the same way there are winged cherubs, their
keystone the same symmetrical rosette is repeated on each corner space made
by the circle. We can also appreciate some oval bas-relief with some Latin
monograms of Jesus Mary and Joseph found between the arches above the
pilasters; also cherubs and two small carving figures of Saint Ignatius and Saint
Francis Javier can be observed. At the extreme top of a narrow architrave, some
gargoyles for rainwater from stylized pumas are found. The frieze has four-leaf
rosettes, and all of these terminate in an ample stylized cornice. Also you can
see on the corners figures of oval bas-relieves with the letters SD, SF, SI and
MN.
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In the center of the yard you can see the graceful fountain sparkle which was
The Minor Cloister is simpler in its ornamentation, and follows the general plan of
all the Cloisters of the religious houses in Arequipa, with the exception of La
Finally, we are in the last area. Domestic help people lived here. There was also
a stable here.
Well, this place is open from 7:00 in the morning to 21:00 hrs. The entrance is
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4.9 The cathedral
The imposing cathedral stands on the main square. Its original design was
These events forced a deep restoration of the temple in 1868, done by the
architect Lucas Poblete. After the works the temple maintained its beautiful
It was rebuilt over the next few years, but it was badly damaged by the
earthquake of 1868, and so most of what you see has been rebuilt since then.
The outside is impressive, but the inside is surprisingly bare. As with many of
luminosity and the high vaults are much less cluttered than churches in other
parts of Peru.
The cathedral is the only one in Peru that stretches the entire length of one side
of the plaza and invites to discover its interior richly ornamented with wood
As we can see the cathedral of Arequipa is located on the northern side of the
main square. This facade is 107 meters long and 43.60 meters height. It is
It is built in sillar, which is a white stone of volcanic origin with two streamlined
towers and one Gothic vault. This cathedral is one of less than 100 basilicas in
the world that are entitled to display the Vatican flag which you will see on the
right side of the altar. Both, the altar and the 12 columns (depicting the 12
apostles) are made of Italian marble. The huge Byzantine style brass lamp
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hanging in front of the altar is from Seville, Spain. The pulpit was carved in
authorities sent a specialist over to restore it in the 1980s. The carved wood
pulpit stands out in its interior made by Boisini-Rigot, of Lille (France), in 1879.
The facade consists of two floors and, as we can observe, it has eight enormous
columns which continue up to the upper floor, each column has a smooth shaft
and finishes with Corinthian capitals and acanthus leaves. We can see there are
three doors which are located in the first floor. The main door is in the central
We can also appreciate two medallions in shape of oval emblems, one on each
side; the medallion on the left side represents the Peruvian coat of arms and the
one on the right side represents the Southern Peru state, both were donated by
There are also eight windows which have the same decoration and a small
triangular front which is decorated with some elements of foliage. Only the
central window is adorned with an Atlas on each side and the papal emblem
On the left side, you can see a great clock which is there since the restoration
In the interior part of the cathedral we are going to find the principal nave to the
center. The vaults are supported by thick pilaster. There are eight arches along
the central nave. Each arch presents some decorations with leaves made out of
plaster. This decoration is characteristic of the Romanic French style. You can
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see some inscriptions on the fourth arch: “It was closed on May 30th, 1843”. Also
we can appreciate the twelve apostles made in wood covered with plaster.
The main altar is made out of marble from Carrara. The chairs of the presbytery
are made out of fine wood. We can appreciate the images of several saints.
The pulpit was brought during the war against Chile. The pulpit is 4.50 meters
high up to the cross, and 2.30 meters wide. The staircase is made out of wood.
The monumental organ was brought here in 1854 and it was installed in March
the same year. On June 2001, a strong earthquake damaged its towers
the frightened population. The faithful arequipenian people with their indomitable
character and iron fighting spirit hurriedly reconstructed their city, including the
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VERSION EN ESPAÑOL
espectacular de su entorno".
Este reconocimiento cumplió un viejo sueño de los Arequipeños por los que
finalmente lograra la distinción que comparte con Cusco y Lima. (En el Perú, los
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Huascarán y Manu han sido designados "patrimonio natural" y Machu Picchu
Pero volvamos a las razones por las que el centro histórico ha sido galardonado
con este título - que, como todos los títulos también confiere un deber. Los
Francisco, Tristán del Pozo, Las Casonas de La Moneda y casa Moral. A estos
Santa Rosa, La Merced y Santa Teresa. Grandes casas como las mansiones de
que incorporan los estilos de las épocas colonial y republicana, que dan vida a
las principales zonas urbanas. Entre estas calles y avenidas están Puente Grau
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El hogar de una clase media colonial grande y trabajadora de origen español;
marcado el desarrollo republicano del Perú. Arequipa hoy muestra los signos de
una rápida migración interna que le está dando una nueva personalidad. Los
mucho por hacer, el objetivo es hacer que el centro antiguo, fundado por los
visitado, sino que valga la pena vivir y, de hecho, vale la pena amarlo. Porque,
como dijo el famoso cónsul Firmin bajo otro volcán "no puedes vivir a menos
que lo ames".
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4.2 Iglesia de Cayma, plaza principal y alrededores
La plaza principal del distrito de Cayma, una de las ciudades más antiguas y
iglesia principal.
Hay algunas historias sobre el origen de su nombre, una de ellas dice que la
palabra "Cama" proviene del término quechua "Qamata", que era el nombre de
uno de los primeros grupos étnicos que habitaban la zona. La otra historia dice
que en los primeros años de la época colonial, el rey Carlos V tenía una imagen
cuando tomaban la imagen hacia Cusco. Se volvió demasiado pesado para que
la gente siguiera cargando, de repente, oyeron una voz que decía "Kayman" dos
veces ("Kayman" es una expresión quechua que significa "Me quedaré aquí").
algunas crónicas del colonizador, los primeros habitantes del lugar fueron los
collaguas (un grupo étnico proveniente del valle del colca). Se establecieron en
la orilla derecha del río Chili, en un lugar llamado Lari. Hoy en día este lugar
está ocupado por el cementerio. Había obviamente otras tribus o grupos étnicos
que habitaron el área junto con los collaguas. Entre ellos podemos citar
Cabanas, Callapas, Chumbivilcas, Juli, etc. Según los historiadores este lugar
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Cuando los españoles llegaron a Cayma, el lugar era parte de una extensa zona
llamada La Chima. En ese momento Cayma estaba habitado por unas 3000
Se puede ver la plaza principal de Cayma, que fue restaurada muchas veces,
tiene cinco arcos hechos de sillar que fueron construidos por orden de Juan
sacerdote español que había vivido aquí durante unos 46 años instruyendo,
está rodeada por el palacio del municipio, la iglesia principal, la Casa del
construyó una especie de pequeña capilla hecha de adobe con techo de paja en
1544. Más tarde, después de unos 150 años, fue reconstruida, hecha de sillar.
El arquitecto Antonio Pérez del Cuadro se encargó de diseñar los planos y dirigir
1730.
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dos naves más y dos torres. El terremoto de 1868 también destruyó la iglesia y
las torres. Además, esta iglesia fue afectada por los terremotos de 1958, 1960 y
en el siglo XVIII. Está formado por dos partes. La puerta principal está en el
primer piso. Está hecho de madera y adornado con grandes clavos tachonados
puerta. Las jambas también están decoradas con algunos follajes, racimos de
uvas y flores. La puerta está flanqueada por un par de columnas en cada lado.
de la Virgen Candelaria. Esta estatua está flanqueada por las imágenes talladas
tallada en alto relieve. Por encima del nicho, también podemos ver el
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Esta iglesia tiene dos torres hechas de sillares que no tienen decoración
las torres estaba decorada con flores en alto relieve en sus cuatro esquinas.
Ahora, estamos en la parte interior, como se puede ver que consta de tres
naves con bóvedas de cañón abiertas. La nave central tiene unos 40,32 metros
de largo y 17,84 de ancho. Está diseñado en forma de cruz latina. Justo cuando
se pasa por el umbral en la superficie interior del techo se puede ver el tallado
en alto relieve de Santa Rosa de Lima. La bóveda central está sostenida por
tres arcos donde había tres emblemas tallados en alto relieve. Hoy en día
emblema del pueblo Vasco. También podemos ver la talla de alto relieve de San
Se puede ver el altar principal que consta de dos plantas. En el primer piso, hay
Las Peñas, la Sagrada Familia, Jesús de Nazaret y San Juan de Dios. Los
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Santo Sepulcro, y una pintura del señor de la Divina Misericordia se colocan en
puede ver un hermoso óleo del Bautismo de Jesús y la fuente bautismal que
está hecho de mármol. También hay un ambo que es una especie de púlpito
hecho de sillar.
madera sencilla; Un cofre hecho de madera revestida de bronce; Una vitrina con
constan de una mesa rústica, así como dos bancos y una silla. Simón Bolívar
solía comer aquí. Este lugar se llama alojamiento de Bolívar porque cuando el
ingresar. La iglesia está abierta de 7:00 a 20:00 horas pero cierra al mediodía y
la entrada es gratuita.
Tareas:
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4.3 Iglesia y Convento de Santo Domingo
repetiría en 1958 y 1960, Las únicas cosas que quedaban de pie eran su
Como se puede ver la fachada principal, que se dirige a la calle Santo Domingo,
flores cantuta, personas, animales y ángeles con trompetas. Podemos ver por
la mano, en medio de figuras esculpidas sobre los tallos, los ángeles, los
rosetones y la follajería (y los animales como los perros o los monos). También
hay un relieve con un orbe decorado con follajería. Por encima del frontispicio
cristiana.
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En la esquina de las calles de Santo Domingo y Piérola se encuentra una
columna donde está tallada la imagen en miniatura de esta iglesia, se dice que
central es más larga que las laterales. Son la nave principal, la nave llamada
especialmente del Apóstol San Judas Tadeo (el santo de las cosas imposibles,
franciscano tallado. Aquí puede ver que el piso es tipo tablero también. La nave
del Rosario con dos santos a los costados. El altar mayor es una nave de
mármol y oro y, en cada cúpula se pueden encontrar las bonas, utilizadas como
pequeñas ventanas.
interior.
Tareas:
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4.4 Iglesia de La Compañía
ubicada en la esquina de las calles General Morán y Álvarez Tomás. Tomó casi
fue uno de los primeros templos de Arequipa que se construyó de sillar. Como
se puede ver esta iglesia fue construida en sillar y también el exterior estaba
peinados adornados con plumas largas. Se puede ver esta fachada está dividida
Ahora antes de ver la parte interior déjenme decirles algunos detalles. La parte
encuentra un coro alto y un hermoso púlpito de madera del siglo XVII. Además,
hay dos capillas: La Capilla de San Ignacio (con una magnífica cúpula pintada) y
la Capilla Real donde se puede entrar, pero hay que pagar un derecho.
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indígenas anónimos que imprimieron en la obra su propio color, sus propios
típica de las iglesias europeas de los siglos XVI y XVII. Otros detalles
barroco mestizo, un hermoso púlpito del siglo XVII y también se exhiben más de
XVII.
interior.
Tareas:
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4.5 Convento e Iglesia de La Merced
construido en 1548, aunque las obras del templo concluirían solamente en 1607.
Arequipa. Esta iglesia destaca por su magnífica puerta lateral, con una imagen
cuerpos, uno de ellos muestra una bóveda dividida en cuatro y la otra hace un
Dentro del complejo religioso se puede ver una galería de arte con muchas
Al igual que los otros templos de la ciudad, este pequeño complejo también fue
dañado por los terremotos, principalmente con los de 1958, 1960 y 2001. Una
como entrada principal del convento. Este último tiene una inmensa sala
capitular la cual está cubierta por una bóveda gótica con magníficas cintas.
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El escudo que se puede ver debajo de la campana pertenece a la Orden de la
Palou en Barcelona. La fuerza motriz detrás de la orden fue San Pedro Nolasco
(1181 - 1245 AD). El propósito de la Orden era liberar a los cristianos fieles que
por el prisionero. El escudo es el rojo vertical y bandas de oro del rey de España
Barcelona.
acompañó a Pizarro en sus conquistas. Cabe señalar que al final de las guerras
15:00 a 19:00.
Tareas:
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4.6 Iglesia de San Agustín
mestizo del siglo XVII. Construido con sillar blanco, es impresionante por sus
principal.
Hipona y Santo Tomás de Aquino. También hay tallados de floreros, pájaros con
dos colas. Su torre fue reconstruida después del terremoto de 2001 por lo que
madera cubierta con yeso y pintado. Esta es la única iglesia que tiene el techo
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octubre. Su interior es igualmente suntuoso, destacando su cúpula
nave principal.
interior.
Tareas:
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4.7 Iglesia y Convento de San Francisco
1552. Esta tierra fue donada por Lucas Martínez Begazo. La fachada de la
naves laterales.
una de las características más novedosas el uso del sillar. Varios siglos más
tarde, en 1960 para ser más exactos, San Francisco fue reconstruido una vez
Francisco.
Esta iglesia tiene una torre cuadrilátera y presenta imágenes de relieve talladas
Hacia uno de los flancos podemos apreciar otra fachada que es como una
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de la Virgen de Inmaculada Concepción y encima una de San Francisco y
Jesús.
Como se puede ver este piso a cuadros con piedra laja y canto rodado parecido
a un tablero de ajedrez.
partes de la biblia, y bajo estas pinturas hay otras sobre las mujeres bíblicas.
un pasaje que conecta esta plaza con la calle Puente Grau. Asimismo, en el
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Puede visitar este complejo y el museo cuando lo desee, la iglesia está abierta
de 7:00 a 10:00 y en la tarde de 16:00 a 19:00. Sólo tiene que pagar la entrada
Tareas:
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4.8 Claustros de La Compañia
sólo por su rica ornamentación sino también por su grandeza y originalidad. "La
deseo de no copiar nada conocido. Rara vez es factible contemplar algo más
Cuando los jesuitas fueron expulsados en 1767, el claustro, así como todo el
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propietarios modificaron radicalmente el sitio, una parte fue arruinada y otra
apreciar hoy.
Los claustros se dividen en dos áreas. El Claustro Mayor consta de toda la zona
que conduce a la calle General Moran. El Claustro Menor y su patio que tiene
El Claustro Mayor es toda una unidad con semi arcos de pilastras pesadas
totalmente decoradas en sus cuatro lados. Cada lado exhibe relieves idénticos
sus figuras completamente encerradas por dos tallas cruzando varias veces. En
encuentran entre los arcos sobre las pilastras; También pueden observarse
arcos. El friso tiene rosetas de cuatro hojas y todas terminan en una amplia
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cornisa estilizada. En las esquinas se observan figuras ovaladas de relieve alto
En el centro del patio se puede ver el brillo de la fuente elegante que fue traído
ocupada por tiendas, oficinas de negocios, así como tiendas turísticas. También
domésticas vivía aquí. También había un establo. Este claustro tiene salida a la
Bueno, este lugar está abierto de 7:00 de la mañana a 21:00 hrs. La entrada es
Tareas:
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4.9 La Catedral
templo en 1868, realizada por el arquitecto Lucas Poblete. Después de las obras
Fue reconstruido durante los próximos años, pero fue gravemente dañado por
son mucho menos abarrotadas que las iglesias en otras partes del Perú.
plaza principal. Esta fachada tiene 107 metros de largo y 43,60 metros de altura.
Está construido en sillar, que es una piedra blanca de origen volcánico con dos
torres aerodinámicas y una bóveda gótica. Esta catedral es una de los menos
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Vaticano que verá en el lado derecho del altar. Tanto el altar como las 12
columnas enormes que continúan hasta la planta superior, Cada columna tiene
un eje liso y termina con capiteles corintios y hojas de acanto. Podemos ver que
hay tres puertas que se encuentran en el primer piso. La puerta principal está en
Debajo de las torres, casi en la parte inferior podemos apreciar dos medallones
representa el estado del Sur de Perú. Ambos fueron donados por Lucas Poblete
en 1898.
frente triangular que está decorado con algunos elementos de follaje. Sólo la
ventana central está adornada con un Atlas a cada lado y el emblema papal
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En el lado izquierdo, se puede ver un gran reloj que está allí desde la
centro. Las bóvedas están apoyadas por pilastras gruesas. Hay ocho arcos a
El altar mayor está hecho de mármol de Carrara. Las sillas del presbiterio
santos.
El púlpito fue traído durante la guerra contra Chile. El púlpito tiene 4,50 metros
madera.
El órgano monumental fue traído aquí en 1854 y se instaló en marzo del mismo
año. En junio del 2001 un fuerte terremoto dañó seriamente sus torres, por lo
Tareas:
97
CAPITULO V
CONTENTS
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ENGLISH VERSION
Arequipa's mansions, churches and convents are the Historic Centre's main
attraction. Arequipa possesses one of the most attractive and harmonious colonial
structures, a construction style that has helped them withstand the effects of frequent
earthquakes that would have toppled less solid buildings. Most of these houses have
attractive, though small, interior patios and elaborately carved facades. The best
equipped for visitors is the recently restored Casa del Moral, but several others are
worth a look, especially if you have an interest in colonial architecture. Here you will
Santa Catalina is the only monastery of its kind that measures 20,426m. It was
founded by a widow whose name was Maria de Guzman. The widow of Diego
Hernandez de Mendoza a rich trader. During their marriage they did not have
In 1568 the regiment of justice tried to open a convent for women called "Nuestra
Señora de la Gracia" they bought the land for 3500.00 pesos, but it did not
Santa Catalina was the first in the south of Peru and the 4th in the country of
religious places to attain the level of Dominican Order. Other monasteries are La
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Encarnación in Lima (1561), Santa Clara de Asís in Huamanga (1568) and La
Apart from this monastery there is also Santa Rosa in Arequipa and Santa
Catalina in Cuzco. The Monastery was open to the public as a place for tourists
This monastery is like a small town inside of the city where you are going to find
several houses and rooms, streets, gardens, the church and so on. Now we are
These rooms were used by the nuns as the only way of communication with the
outside world. Only the nuns were allowed to have visits with the permission of
the superior mother and were always accompanied by one of the other nuns
called ‘the listener nun’. The double bars that you can see here served to see
and hear but not be able to touch, according to the laws of those times, they
Also, the double bar was for remembering that the nuns resigned the world and
lived in solitude. Looking at these bars you can get a clear idea how cut off was
the vision of the visitors, it was very limited. This part of the room is quite dark, it
is because the stone above it makes the shadow, it is called Huamanga stone.
This allows to pass the light but not translucent, it is 3 to 5 cm in thickness. Nuns
could also receive gifts through the revolving cylinder. The listener nun would
control what they received through the revolving cylinder. Also on the walls and
roof you can see girders made of wood to help with protection in case of
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earthquakes. The reason for the earthquakes in this area is because Arequipa is
This was used exclusively for the council of mothers, superior, sub superior, the
teacher, secretary, archives and treasury department also the porter. All of them
This room was for the reception of some people such as nobles and mayors, the
archbishop and people who could come into the monastery. For example, before
the monastery was open to the tourists, the records show in 1963 and 1964, the
Francisco Miro Quesada and the second Cardinal of Peru Juan Landazuri
Rickets were a committee of locals to visit. Also, in 1978 the King of Spain Juan
In this room you can see the furniture is covered in tapestry brocade in a French
Style made in Peru. Also a piece of furniture "Vargueño or Secretary" this was
made in the village of Varges in Toledo City in Spain, it was used to save
In the back ground you can see the image of the Virgin of Remedies. Also there
are three paintings, one of them represents the Virgin Mary in her pain and
suffering, the seven daggers represent each of her sufferings; of her son Jesus
Christ, on the floor is his crown of thorns. The next picture is John the Baptist,
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his clothes are made of camel skin, his red cape and his tall staff. The last
On the left you can see "the Last Supper" painting, these images were around
the monastery and they were all brought together with the opening of the
monastery in 1970. These images are made in wood, covered with plaster. The
image of Jesus has eyes made of glass and real hair, the image of Saint Peter
has rust with time, and the most important is the image of Judas, his skin is
copper color which means the color of indigenous people because the Spanish
This room was also used as a work room and you can see some of the
embroidery like the Jesus child´s dress and the distinct colors like of virgin Mary
dress. This custom came from the South of Spain. Also, here is a meditation
clock which represents the suffering of the last 24 hours of Jesus’ life. The clock
The roof of this room was destroyed in the earthquake of 1868 and
reconstructed in a flat form in 1953. The floor was covered with flower pattern
The Parapet:
In between the two patios, if you look up you can see the word SILENCE, it is to
remind us that we are visiting a monastery and that the nuns lived in this silent
way, they resigned the world and live in perfect silence, with prayer and work.
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The Silent yard:
In this yard the nuns sat in prayer or read the Bible after they used to listen to the
the material of volcanic rock, and it is good to build with, because you can form
the stones to any size or thickness. The firm architecture is consequence that
influence. You can see here that the slabs are like a chess board, there are a lot
of other influences. The same form in the yard there is a wine vine and a gum
tree. The color of the murals are typical of Arequipa colonial. The monastery was
painted like this after it was opened to the public in 1970. The principal color was
the white of the sillar stone. Also you can see the system of water canals and the
guttering for the times when it rains mostly in January, February and March.
This Cloister was built between 1805 and 1808 during the period of mother Clara
de San Juan Arismendi. The girls came to the monastery at the age of 12, they
had to pass a period of apprentice from one to four years. Also they had to pay
100 pesos for each year they stayed as a novice, the money was used for their
maintenances, so they could profess the faith and became nuns, but this cost
This monastery has Dominican faith and prays to Saint Rosary. It is one of the
prayers offered for the nuns which lived in this convent. The paintings on the
upper part of the walls represent parts of the prayer, they are called Litanies of
the Virgin (Letanías Lauretanas del Rosario). The paintings helped the novice
with the daily prays, they represent the significance of being faithful to the Lord
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and Virgin Mary, there are 54 paintings in total. The painting number 19 is
missing, maybe the painter forgot or other unknown reason. The entrance to the
monastery was a tradition, it was said in each family the oldest son had the right
to the majority of things, he could get married and inherit his respective things,
the second would enter to a religious place such as a monastery and have a
religious life. Also this part of the monastery is in an Arabic style dating back to
17th century.
This is a model of a typical cell of a novice who lived in there. There are three
characteristics the first has an arch which protects during earthquakes, the
second is the wardrobe to save personal things and the third is the altar for an
image of a saint. The novice's dowry consisted of 25 items like habits, tunic,
caps, shoes and under garments. There were also two mattress, blankets and
sheets, there were a few other items like a chair, a carpet, a small basin and jug
to wash. They would pray for most of the day and spend the best part of the day
alone in the cell. The only time they would mix was when they went to listen to
the mass with the other novices. The novice used to dress in white.
The small novice church suffered in the earthquakes of 1958 and 1960 and was
destroyed, the altar style is neoclassic and was rebuilt to the original style before
the earthquakes, the columns are of Roman style but are made from sillar buffed
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In the altar you can see the image of Anguish Virgen and the Easter Sheep is
above it. Also, you can read the phrase "Venid a mi hijas mias" (come my
daughters) and at the bottom part read "Quien como Dios" (who like God), the
third phrase you can see is above to Saint Catherine of Siena, it says "Hija
dadme tu corazon" (Daughter give me your heart), these phrases were to help
On the altar you can observe three drawings which represent, the first is the
shield of Dominican order, it is a white and black cross symbolizing the purity
and penance. The second is the founder of the Dominican order, Saint Domingo
de Guzman, and the third is of a black and white dog with a torch in its mouth.
Once a year the archbishop came to the convent and asks the nuns three
anyone make you be a nun?, if the answer was good they could profess, if the
answer was no they had to stay longer as a novice. Also, there is an image of
Christ which is in the style of Spanish Seville, and it is 17th century of Baroque
time. It is made of wood and it represents the pain of Christ, his eyes are made
of glass, on the roof of his mouth he has a mirror, his teeth, hair and nails are
also real.
You can see the image of Saint Catherine of Siena from whom Maria de
Guzman, who was the founder, was a devotee. She was born in 1347 in Siena
Italy; she died when she was just 33 years old on the 29th of April 1380. She
was canonized by Pope Pío the second in 1461, she was declared Doctor of the
Church.
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This is another room: you can see it has arched ceilings and in the lintel above
the doors and windows there is a key stone as retainer because of the
earthquakes.
Crossing the coved entrance the nuns professed and received the entrance into
the life of a nun. On the left, it is an imagine of the Good Sheppard which
symbolizes Christ, the good Sheppard looks after his sheep like the one on his
shoulder, his festivity is on the second Sunday after Easter. Also, there is a
metal cross located here brought at the change of the century 1900 -1901 during
This is the second cloister which is called like that because of the presence of
the Orange Trees, the trees represent the Dominican symbol of the renovation of
In the internal cloister there are 25 paintings that represent the spiritual exercises
of Saint Ignacio of Loyola. The spiritual exercises are to perfect the faith in three
ways, purging, illumination and unity. The obligation of the nuns was for
perfection in the spiritual life. The painting and drawings depict the theme of the
bible and recommend meditation. These paintings were painted in the 18th
century by an anonymous painter, they were restored for the first time on the
16th of July 1859 by Rafael Pareja, during the period of mother Maria Josefa del
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The three crosses in the middle of the cloister represent Christ on Holy Friday
This is the model of a cell in which a nun lived. The origin of this kind of cell is
related with the earthquake of 19th February 1600. Arequipa suffered two
intense earthquakes, on the same day just after five in the afternoon the volcano
Huaynaputina erupted, this disaster almost destroyed Arequipa and the convent.
After the families of the nuns helped to rebuild the convent, they started living in
small communities. In this cell for example you can see three arches for three
nuns, the first has an altar with an antique representation of Santísima Trinidad,
the unicorn is the symbol of chastity and the book with its seven stamps
Also you can see some glass and ceramic wear brought by the Spanish from
Arabia, the brilliance of the colors and transparency very few people used such
things, you can see the quality of the vases, plates and jugs and bottles which
contained ingredients to cook. there are also casserole and dishes. In the next
room you can see a washing machine of that time the 19th century, and in the
kitchen area you can see a stone used to grind corn, wheat and other grains.
The nuns could live alone or with other nuns but they needed to be relatives.
This is the room in which the nuns were taken when they died. It was the chapel
for rest (in English) the chapel of misery. The name given to this room relates to
the psalm 129 and it was said in Latin "De profundis clamatedeo ... " this psalm
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is to ask for clemency and was formulated when the Israeli people went to
Babylon. This room was originally painted in color red which symbolizes
happiness, because the spirit of the death would ascend to everlasting life with
God. In this room there are two cots. The first is for higher class nuns such as
mothers and council, the second is for regular nuns. On both sides of the room
you can see 13 paintings of the faces from nuns who past away. They could not
paint them in life, the characteristics in common they all have are their closed
eyes because they were painted after they die, they were laid to rest for 24
hours. They had in their hands a palm which represents the charge from the
superior mother.
On the left, there is one with her eyes opened, she died in a state of ecstasy, she
was mystic and died on the 10th of September 1619 and her name was Ana de
Malaga street:
We are in the first street, later we will visit Cordova, Toledo, Sevilla, Burgos and
Granada streets. All of them have the names of Cities in Spain. These names
date back to 1940 when the rector of the University of San Agustin, Carlos Diego
Gibson with special permission of the archbishop entered to take photos of the
convent for a special project to divide the convent in two parts, when he saw the
colonial architecture he gave the streets their names in 1941, because of the
In 1946 the nuns gave part of the land of the convent to the municipality to
extend Zela street. Furthermore, a large part of the cells are closed to the public
and only the principle ones are opened. The names on the door of the cells
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represent the names of important nuns, they were written in 1970 when the
All the cells have the same elements. A place to live, cook, eat and sleep like a
small house, there is an altar and a cupboard for their clothes. In this room there
is a painting of Saint Nicolas de Tolentino. In the kitchen you can see an oven
where cakes were made with the sale of the cakes, pastries and bread, they
were able to pay for the festivities of the saints. Under the oven you can find
holes where they kept guinea pigs, these are traditional food in Arequipa. The
servant used to sleep on the floor on the animals skins. You can see a variety of
different potteries some have tops and most of them are porcelain.
On the lintel of the door there is a carving of a figure with a cardinal's hat, it is the
"Stegma" of the sixth archbishop of Arequipa, his name was Pedro de Ortega y
Sotomayor with the respective emblem, he gave the money for the construction
of the room. The semicircular arches protected the beds of the sick nuns in case
of earthquakes. This room was once the hospital of the convent. Between this
street and the Orange Cloister is a Republican Style cell. It was built while Ana
de los Angeles was the superior mother who received the help of the Bishop
Juan de Almoguera for its construction. In this room you can see 10 arches
where the beds where located because this was the first hospital in the convent.
Nowadays, this is a small museum where few paintings and objects of religious
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In the first arch there is a blue tea set "Limonge tableware" (gold of 24 kilates)
and is from France, it was brought by Carlota de Nuestra Señora de los Dolores
de Carpio y Quevedo, she was a daughter of a tenant of Puno. Also there are
the Blessed Virgin Mary by the orthodox Trinity. In the second arch you can see
another tea set in a French style. Also, there is a painting of Saint Jerome it was
painted by the Cusco School of painting. The school started as an art school in
1568 by Jews of Peru. The young Incas learnt other ways of painting such as
Italian and Dutch style. This piece could have been made by Diego Quispe Tito,
In the third arch, here we have a little Peruvian cabinet painted in bright colors,
which represent Peruvian flowers and animals. There are Dutch plates from the
"Delft pottery factory, and English plates with a "Willow Pattern" and finally
Peruvian Plates. In the fourth arch, there is a small Spanish coffee set and
This hall is called Zurbaran, because of this Painting of Saint Michael archangel,
painter, but later it was found out that he did not paint the picture, the
characteristic of this archangel is that wherever you go his eyes seem to follow
you. The same effect than the "The Monalisa" has on people. Under the painting
there is a chest where the nuns used to store part of their dowries.
In the fifth arch, you can have some samples of embroider made by the nuns,
this was used on the Main Altar. It has in the middle an Easter lamb, symbol of
Jesus with his flock. In the sixth arch, we can find some clothes, which were for
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the Bishop, and the priest made by the Santa Catalina nuns, also a painting of
In the seventh arch, there are some books wrote in Latin they have sacraments
on them, “Brebaries” and “Missals”. In the eight arch, there is a painting of "Justo
Juez", also "The Virgin of the Hope", and a "Crucified Jesus" who has crystal
eyes, he seems to be crying and suffering a lot, and finally a "Saint Sepulcher"
covered in Silver. And in the ninth arch, you can see a painting of The Virgin
Mary which has a gold border, under we have the little Jesus babies, (little
dresses were made in the handwork room), and a beautiful statue of the Virgin of
the Rosary. Before we leave you can appreciate the work done by the nuns at
that time, the parsley soap is good for greasy skin and the rose cream is good
This room is the only one with an exterior porch with three columns. Inside there
are some objects which belonged to the convent's infirmary, which was located
opposite. You can see a photograph of mother Manuela del Dulce Nombre de
Jesús Cateriano on her sickbed and a copy of her death certificate. There are
also eighteenth century carvings of Saint Augustine and Saint John of God.
The kitchen has an oven and the same things we found in other cells. Also in the
second room we can see a wheelchair which was used to transport sick nuns to
the hospital in the convent, and a spin wheel. The stairs now are closed to
protect the tourists; these stairs are unsafe because of the earthquakes.
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Cell “no named” Malaga street:
The architecture of the kitchen, has semi circular arches, a pantry with
outstanding for its richness the light which comes from the stone. There is also a
republican harp and three eighth century sculptures: A resurrected Christ in the
first room, with glass eyes, and real hair, in the next room an image of Virgen del
Tránsito as you can see it is lay down, and La Virgen Dolorosa as you can see
she is wearing a damask black morning dress. This cell is quite big because it
was not only for one nun, they could share the cells.
Cordova Street:
This is the second and the most beautiful street in the convent. This white
painted street has attractive flowerpots full of Geraniums. Very similar to the
In this street there is a cell which was later used for the manufacture of
consecrated during the Mass, when it becomes the body of Christ and is offered
as a sacrifice for the redemption of sinners. At the center of the bread you can
see the letters JHS, the initials of Jesus Hominorum Salvator, Jesus the Savior
of Mankind. Also there is an oratory, it still has mural paintings from 1762 which
The large sieve displayed in this cell was used to obtain the very fine flour
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There are also molds and other utensils used in their manufacture, and an
account ledger which records their sale. In the Kitchen we can see the old
1969, where the nuns currently live. In 1985 Pope John Paul II gave them
permission to go out into the city as long as they have a specific reason for doing
so and are accompanied. This new given rights nowadays allows them to go out
to elect the president or the mayor of the city, to visit their parents if they are
sick, and to go to the doctor. At this moment there are around 30 nuns who
There is a small altar of mirrors and a figure of the Virgen de la Merced, with
cotton hair and glass eyes; there is also a French Style armchair made in
Arequipa and an Andean transition rug. On the table there is a kind of lamp
which worked with oil and ´kerosene´ in that time. Also we can see a painting of
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Toledo street :
This street is color red because it is an ethnic color. This is the longest and
narrowest street in the convent and has some of the oldest structures. The few
stone walls serve as an example of the original building techniques. Where the
street begins there are a series of gutters which are needed for the rainy season
and staggered structures on the roofs can be seen to form peculiar shapes. In
this Monastery lived approximately 500 women and only 175 were nuns.
This cell if you observe has wooden structures which are tied with thongs of
llama leather, a technique used by the ancient Peruvians. Sometimes, they used
materials like white egg, mud and animals skin, the form of roof was because of
the rains, here in Arequipa the rainy season is January, February and March.
These kind of roofs were covered by tiles but, later were discarded because
In this cell we can see a little table and a little bed, it is very important to remark
that the Monastery functioned as a private school in 1600, the parents used to
nuns, they taught them to clean and keep the house, also they learnt to cook,
play music, in conclusion to be a good wife, many of them were taken to marry
This cell has been open recently; here we find an image of Saint Catherine of
Siena.
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We can see here a destroyed cell because of the earthquakes, and the Key
Stone which is placed in the middle of the lintels as caution in case of tremors
and earthquakes.
When you enter you can see that the door way is much smaller, this was a
custom so the servant would bow as they enter the room, because this room
was well lit. It was used as a classroom for poor children, this service was free
Sevilla street:
In this street we can see two pleasant arches which also function as a safety
caution. There is a water channel at one side, this channel was principally where
the servants came here to deposit the dirty water and toilet waste, this channel
went to the river. As you look down the street you can see a small chapel it has a
This cell is one of the nicest in the convent. As you enter there is a patio. You
can see the bedchamber, some of the belongings of the nun who lived here. The
smaller room was for the servants, she had six servants in total. In the kitchen
there are two ovens and a stone for grinding corn and grains. The nuns
produced Holy Bread for the city, it was used for the mass, the small oven was
for that reason, and the big one was for cooking their personal meals. The cell
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was named after, Dominga Somocurcio because this nun lived in this century.
Also in this cell you can see a painting of Saint Catherine's life.
This cell was the first to have running water, this was made possible by small
tubes running from the main water supply. During May to July Arequipa is cold,
the combination of climate and the sillar stone the cells were even colder, also in
this kind of cell because of the running water, it was one of the coldest in the
convent, for these factors there was a lot of sickness like pneumonia, bronchitis,
arthritis.
Within this cell there is also a little water channel but now it is closed. In front of
the cell, you can see a small cross set into the wall, this was a reminder that you
are close to the old cemetery. This cemetery is not used longer. This cross has a
hole if you see, the reason is because people used to touch the cross and make
The cemetery:
At the end of Toledo Street, you can see a wooden gateway topped by a small
cross which marks the entrance to the old cemetery, which now is a garden for
the nuns. This cemetery was used between 1867 and the end of the nineteen
thirties. Originally nuns and people were not laid to rest in the cemetery, their
remains rested in the church vaults or catacombs. This custom remained from
1810 until 1827. In Arequipa when a law was passed to change the way, people
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were laid to rest for health reasons. Nowadays the nuns are buried in a special
crypt, inaugurated on September 5th 1939, within the enclose area of the
convent.
The laundry:
The opposite new wall was built in 1944 because the municipality wanted to
extend Zela street. The nuns gave part of the land and the new wall was built. If
you take a look you can see at the top where there is a large water trough and
twenty bowls or pots made from large earthenware jars split into halves. The
water from the trough feeds a canal as you can see, this is a unique way of using
natural waterfall, that together with the appropriate system of water channel,
were used for washing clothes. The jars or Chombas as they are called locally
were normally used to store wine or pisco and for keeping grain. The smaller
Chombas were used to ferment the traditional chicha of "maiz "or "quinua " .
It is fundamental to remark that the laundry was only used by the servants, they
blocked the water channel with a small stone until the bowl was filled with
enough water, then they used a cork to plug it, when they finished washing they
took out the cork and the dirty water went directly to the river through a bigger
channel.
Here we can see a bath that was used by the servants, they used the bath in
groups of three and wore a tunic not to show any part of the body.
Burgos Street:
Before turning into Burgos Street, you can see on your left hand side a beautiful
garden which was used as a kind of refuge for women who wanted to come in
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from the outside. One of the women who asked for asylum was a famous writer
from France called Flora Tristan, her mother was French and her father was
Arequipeño. She came to Peru in 1833 to claim her inheritance but found only a
pension from her uncle Pio Tristan y Moscoso. She lived in the convent for only
a short time in 1834, she wrote "Peregrinaciones de una Paria", it is about her
life and the life in the convents of Arequipa. She was also a feminist and worked
for the liberation of women. She was the grandmother of the painter Paul
Gauguin and she died in 1844. Only women and children were allowed to enter
In the garden there are some trees for example the "Papaya Arequipeña" which
juice, but not to be eaten raw. Also there is an avocado tree, Peru is famous
This cell which belonged to Manuela Ballón is one of the most beautiful, a
biggest in the Monastery. The harpsichord was used as recreation, the nuns
appreciated the music in their monastic life. In the convent within the budget
there was always an allowance for the "Master of Music" the possession of
them higher status, there were cases when some nuns did not pay the "dowry"
On the behind patio is an oven, it was used as a form of heating to warm the
room and also it was used to cook the food. You can see in the kitchen another
filter for the water, these are made of porous stone and the water passes
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through it making the water safer to drink. Where Burgos and Sevilla streets join,
as you can see the architecture has an Arab influence. It was built in 1740.
This cell is one of the most important cells because it belonged to Maria Josefa
Cadena. Here we can see her portrait, she was the first nun to be painted in a
living form, she did not obey the rule so, "nobody could have an alive portrait ".
You can just see her face, she had a paralysis of the face. She was the superior
mother from 1869 to 1871. At that time the monastery received the new rules
and reforms from the Vatican. Her cell as we can see is large and beautiful, this
could make us believe that her family was very rich. In the private Oratory, there
In the next small room there is a Toilet, it was made by Thomas Crapper in 1881.
In the kitchen there are also two ovens, and finally the laundry place. There is a
Life in the Monastery Was not exactly a Monastic one, so in 1869 the Second
According to the new rules, Santa Catalina Monastery came back to its originally
Community Life. This happened formally on September the 21st, 1871 when
they finally returned to their Communal life again, they had to cook, eat and
sleep together and do the work themselves. There were no more servants and
they had communal activities to share and not to live as strangers, no more
dowries entered the convent. They had a new schedule and they had to share
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Monastery were not happy with this, so they left the Monastery, some women
decided to stay, some servants were received also as nuns. This is the Rule that
This is now the café, the gate was used to access from the city to the convent ,
this gate was used to receive, foodstuff such as grain and corn and other raw
materials which needed to enter the convent. The rear patio is paved with
simple pebbles, with tracks of Sillar to facilitate the entry of carts. The gate
keeper and "tornera" (turn table), who operated the revolving window, would
receive the goods. Permission was needed first before goods were allowed to
enter, someone was needed to unload the goods or carry out some other task,
the gatekeeper would be accompanied by another nun. The premises are now
occupied by the Cafeteria. If you look on the wall you can see a map of the
convent which shows the places you have seen and wish to see.
The storage:
This place was part of the old Church, it was built in 1681 during the time of
mother Lucia del Espirtu Santo y Zuñiga. It was the convent's first chapel. And
converted into a communal kitchen in 1871. It was the store room because it was
a cool place in which were kept things so it was used to storage the food. The
The new way of life must have been very difficult for them at the beginning, they
had more responsibilities and more necessities after the new rule were enforced,
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many abandoned the monastery and only the ones who really wanted to live in
The kitchen:
The kitchen has two parts. First, the pastry room (bakery), as you can see there
are many forms of pastry tins which line the walls and on the tables. This
enormous space contrasts of light and sooty shadows, where the walls have
been blackened by the kitchen fires. Here we can notice that there is a reflection
of the Light, we can notice it by putting a white cloth in the middle of the room
you’ll see how it becomes lighter. Returning to the theme of pastry there are
molds in the shape of penguins as you know they are black and white so it is
funny because the nuns wear black and white, too. Penguins are the nickname
given the nuns by the people, because of the colors of their clothes. It was
common in those times to have mortars and "batanes" in a kitchen, which are
smooth pieces of river stone. Also there is a mouse trap. In the main part of the
kitchen there are two designs, a coat of arms with a Crown of Thorns and the
Heart of Jesus. And the other has a rose and a staff which is the inscription of
mother Lucia de Espiritu Santo y Zúñiga who was prioress of the convent.
The kitchen also has a bakery where there are troughs for making dough or
large baskets to contain it, metal molds for making biscuits and a large oven built
in a patio. Here we can find also cooper pots and pans, large earthenware
vessels, pitchers, Jugs, and large enameled cast iron saucepans. There is also
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an artesian well for water which is closed now, but it is used as a wishing well
Then leaving the kitchen you can see on the upper part of the outside wall bears
the inscription. It was put there in the 17th century. It is a symbol of sanctification
of the convent. It says: "Praised be the most Holy Sacrament of the Altar and the
Purity of Our Lady who conceived without blemish, trespass or original sin.
Granada Street:
Here you are going to find places like Cell "saint Dominic" and the bath house.
This room was the Sacristy for the old church. In the altar there are the remains
information about the Order of the Preachers. There is a glass case, which is a
document that describes a petition of Bartolome Perez who asked to let his
daughter enter to the monastery, and this was at the same time as the founder
Maria de Guzman was alive. There is a portrait of the founder passed a process
in which they transformed her from nun to civil clothes, There are some wire
garments and scourges used for sins. Here we can see an eighteen-century
"Carrillon" which was manufactured locally, it has several bells which was turned
and rung at mass when the Holy Bread was elevated. Also you can see a habit
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In another part there is a flea jar this was a custom not to kill even the smallest
animal, and some delicate flowers made by the nuns. Regarding flowers, it is
well known that all cultures gave us symbolic significance. Some of them
represent virtuous attributes and provide models of perfection. Thus the lily, for
example means purity, the rose symbolizes beauty, sacrifice and love; the palm,
martyrdom and chastity; jasmine represents simplicity, and the carnation is the
sign of obedience and penitence. In addition to growing natural flowers, the nuns
could produce artificial examples from paper and fabric specially to decorate
altars.
This Little square is outlined by repainted walls. The elegant built stone fountain
has eighteen century bronze spouts and on the wall at the far end there are
market. This is the place where the nuns came every Sunday before the new
There is also a cell in the square and you can see a photo of mother Juana Rosa
de Nuestra Señora De los Dolores y Salas, this photo dates from 1902. At the
back of the cell lived some guinea pigs, they were used for eating as you know
The bathhouse:
This Square also contains the bathhouse which is lit by circular skylights in the
vault roof. It is a small pool where the nuns had a bath, always wearing a long
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tunic and with their backs to the other nun. They couldn't see each other bodies
or even less touch their own bodies, it was considered as a sin, so they only
washed their bodies with little towels or sponges. Going out, here the bathhouse,
there is a stone pot, here the nuns after having a bath washed their tunics.
Going up the 33 stairs we get to the view point which offers a great view of the
city. The volcanoes: Misti, which is 5800 meters above sea level, Chachani
which is 6075 meters above sea level and Picchu Picchu, 5640 meters above
sea level. We can see the different shape roofs of the Monastery. Also the new
part of the convent in which the nuns now live. If you look to Misti you can see
On the way back to the Main Cloister, the entrance to the modern-day sacristy of
the Church can be seen on the left. On the right side there is a Cell which
mother of the Convent, who, for her notable mysticism and Christian life, earned
the devotion of Arequipa's population even when she was alive. Mother Ana de
los Angeles Monteagudo probably was born in 1602, we are not sure because
the original birth certificate was consumed during a fire in the Arequipa's
cathedral.
Her parents left her in the convent when she was just three years old so she
could receive a moral education. When she was 12 years old, her parents came
to take her to be married, but if she had the vocation she returned to the
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convent. She practiced many virtues in her life but nothing like the humility. The
last ten years of her life she was in bed, suffering pains and discomforts, little by
little she became absolutely blind. She died at the age of 80 years old in 1886.
She also made miracles when she was alive, but for the Beatification process,
only one was accepted by the Vatican. This miracle took place in 1932, in
Goyeneche Hospital, a woman called María Fera de Jarrin had very unbearable
pains in her stomach due to cancer, the doctors decided to operate her and they
discovered a tumor, a terminal cancer, so they told her husband that she only
had a short time to live. The desperate husband went to Santa Catalina
Monastery to ask the nuns to pray for his wife, the nuns gave him a small
amount of earth from the grave of mother Ana de los Angeles. They mixed it with
water, the woman drunk it praying to God with her husband. Surprisingly she
was cured and there were no medical explanations. Maria Vera de Jarrin lived
The process of Beatification was so long, it started in 1686. She was beatified by
Pope John Paul the second during his visit to Arequipa in 1985. There are
several exhibits, which include a contemporary portrait of the diseased nun and
another which is modern because it was painted by Antonio Guzmán for the
Beatification Mass, it was placed on the Altar in the cell; you can see the barbed
wire on which she slept, a crucifix, a plaque in silver work. Also, there are two
images including Saint Thomas of Tolentino whom Sor Ana was a devotee, and
A showcase containing relics has a jar with the heart of Brother Mariano
Moscoso, Bishop of Tucumán, who was born in Arequipa; and in another jar, the
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tongue of the Honorable Luis Gonzaga de la Encina, the 18th Bishop of
Arequipa .
Continuing along the path leading to the Main Cloister, you enter a vaulted
corridor, there, is the last kitchen which was used in the first part of the 20th
century, the oven used firewood and "yareta" a typical plant from Peru.
The refectory:
Before you enter this room you can see a coat of arms on the wall it is the sign of
the Dominican order. They came to Arequipa in 1565 until 1625. This was the
last place the nuns ate together. The superior mother would sit at the head of the
room. This curious type of roof was designed specially to let out steam and
smoke out, and can be found in some other old religious and civil buildings in the
city.
The Refectory dates from 1938, it was the nuns dining room. During meals which
were taken in silence, some passages from the lives of the Saints, the Rules of
the Order, or some Spiritual books were read from the small pulpit which is close
to the entrance. The rule demanded that the meals was served first to the lowest
ranking nun and then up through the hierarchy to the Superior mother, who was
The floor is made of wood, the benches, set against the wall are made from
wood and Sillar, and the tables are of a simple design. Some paintings from the
Cusco School and a portrait of Sor Ana de los Angeles Monteagudo with Saint
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The main cloister:
This is the last and largest of the convent cloisters. Built between 1715 and
elements painted in white. At one side of the cloister, which is set parallel to
wooden handrail. The confessionals are cubicles containing a stool where the
nuns could sit while making her confession through a piece of perforated
tinplate; on the other side was the confessor, the priest who listened, it was
The Main Cloister is adorned with thirty two paintings from Cusco School,
depicting the lives of Jesus and the Virgin Mary. In the arcade there are murals
similar to those in the Orange-tree Cloister. The mural paintings above the
arches were painted before the Monastery was open to the Public. The frames,
which the pictures are placed, have a special process and have many layers of
Additionally, when you walk to the bottom of the hall you can find two images;
At the end of the confessionals there is a long sillar steps which leads to the
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Cell "Juana de San José Arias":
This nun lived between the years 1658-1691, a very mystic nun who arrived
bearing a cross from Oruro, her birth place is Bolivia. She left her room profusely
sacrifice action to carry the cross and showed a very hard conviction of religious
life the Bishop gave her the "dowry" when she came into the Monastery.
The mother Juana Arias was a special and mystic nun, she used to stay in a
trance during her prayers. She decorated her own room, and sometimes she
asked the other nuns to tie her to the cross she had in her room, but they used to
forget her, and many times they found her almost dead.
Her death was a prodigy we can say that the cause was "The love of God", she
died on September 10th, 1691. After the daily mass she went to her room, when
the nuns arrived to her room they found her in kneel position with the hands
together and her eyes open. That was the way she was painted, in the Profundis
This is a very important place in the life of the community of the Monastery, the
lower choir is the venue for the elections, taking vows and professing, and for
funeral honors.
Here the Superior Mother was elected, the council met and the divine office is
recited. From the Lower Choir, the nuns participated in religious services and
celebrations separated by a double grill from the parishioners who came to the
church. The Choir is decorated with mural paintings and gold leaf, which is being
restored nowadays.
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There were many reasons for covering the gold leaf, maybe as a measure of
security during the sicknesses in the city, or maybe because of vanity. In older
times, a crimson drape was hung between the grills to avoid any visual contact.
If you look up you can see a coat of arms which represents the order of
Santísima Trinidad, this is because the archbishop Juan de Almoguera, the only
one of this order who contributed in this building. In a small lateral doorway
leading to the church, and in the choir stalls corresponding to the prioress, there
Christ on the Cross, there are also, a Virgin of the Rosary, a Holy Family, a Lord
of the Fall and Saint Dominic paintings. In addition there are a series of thirteen
paintings of the Via Crucis from the end of the 18th century.
Santa Catalina church was built in 1748 and then reconstructed in 1874. It is a
very lovely church you should find time to visit, it is from a later date like most
places in the city. It has several reconstructions due to earthquakes, some of its
anchored to the wall which date from the end of the 19th century. The
Tabernacle on the Main Altar is outstanding work with laminate of silver applied
craftsman, also are displayed works of silver in the late baroque style of the
same century. An ornate wooden rail, from the same century adorns the interior
cornices. Among the church's antique images, dating from the 17th century,
there is a Calvary, with Christ Crucified, the Virgin Mary, Saint John and Mary
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a Statue of Saint Dominic. Among them are recent works, a representation of
Saint Catherine, Saint Rosa, and Beata Ana de los Angeles Monteagudo.
This gallery is in form of a cross as you can see. It is three rooms made into a
large one. You can see large hooks which were used to hang curtains to divide
beds for each of the nuns. This big room was used as a dormitory from 1871
until the convent was opened to the public, when it was decided to gather here
the convent's valuable picture collections were arranged for public view.
There are ninety-two paintings of different sizes, and thirteen sculptures. The
majority of the works belongs to the well-known Cusco School which flourished
in the 17th and 18th centuries, and expresses perfectly the original assimilation
century Saint John the Baptist and Saint Stephen the Martyr, of the Angelino
Medoro Group are particularly outstanding. Medoro was a Roman Artist who
brought paintings to Peru as did Mateo Pérez de Alesio and the Jesuit Bernardo
Bitti whose some example works are in the Company of Jesus Church.
and in the room devoted to the Dominican Order there are twenty-nine about
Saint Catherine’s life, some of them were repainted, this is the most complete in
Calvary, on an altar adorned in gold leaf, the Carvings of Saint Joachim and
Saint Ana, also from 17th century where the technique of 'Esgrafiado' has been
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the Child Jesus and the dramatic carved figure of the Lord of the Fall from the
The antique Candelabrum of carved and gilded wood, this piece was used
during the Holy Week rites. Owning to its special acoustics, the picture gallery is
used on occasions for musical performances specially baroque music and piano
End of the tour: We hope you enjoyed your tour of the convent, and you could
tell other visitors to come and see this wonderful place, in the mornings or
evenings. We invite you to sign our visitor’s book so we can remember your visit.
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5.2 Tristán del Pozo House
Tristán del Pozo House is located in San Francisco Street and was constructed
in 1738. It was built by Mateo de la Torre and this construction was finished in
1738, the date we can see over the main entrance way. This house had to be
This house has a splendid facade and one solid door decorated with large iron
nails and door knockers. In the interior, the yards are ample and extensive. The
interior yards are decorated with carved stones, guarded by gargoyles with feline
constructions of the City and one of the maximum expressions of the novo
The facade consists of two parts. The main door is made out of wood and
adorned with great bronze nails and two beautiful devices used to knock the
door. This door is flanked by two pilasters in shape of niche attached to the wall.
The interior of the church surprises by its precious vaulted ceilings and its two
elegant patios.
The second part of the facade has an abutment above the door which supports a
cut open pediment where there are decorations of foliages and rosettes. In this
part we can appreciate five cantuta flowers. Above these flowers there are some
monograms. The monogram of Jesus is above the flower which is located in the
central part. On both sides of this monogram we can find the monograms of
Virgin Mary and Saint Joseph, and, finally the monograms of Saint Joaquin and
Saint Ana. This represents Jesus’ family tree. There is a cherub above the
monogram of Jesus. On both sides of the pediment there are some decorations
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of rosettes. On the side fringes you can see some flower pots carved out in high
relief where we can see some foliages intercrossed several times and some
The facade finishes in two terminal pinnacles in shape of cut pyramids. On the
right side of the door, we can also find a window and two water escapes in
shape of stylized pumas. On the left side there are two windows and three water
escapes. The window on the right is older than the windows on the left. On the
friezes of the windows we can observe some anagrams carved out in high relief.
The name of the mansion remembers one of its first owners, the General
Domingo Carlos Tristán del Pozo, but the house is also well-known as the
Rickets House or the Ugarteche House, names of subsequent owners of this fine
mansion.
host to a Numismatic museum and an Art Gallery. Those who are interested will
be able to visit it from Mondays to Fridays from 9:15 hours to the 12:45 hours
and from 16:00 hours to the 18:00 hours. On Saturdays it is open between 9:30
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5.3 Goyeneche Palace
reconstructed at the end of the XVIIIth Century. Its interior patios and elaborate
wrought iron railings represent the strong will of the people from Arequipa.
This showy large mansion of two floors has an attractive façade with false Doric
square columns and flower ornaments and a large balcony with forged iron
railings. When entering, one is struck by its elegant vaulted rooms with doors
Another architectonic detail worthy to point out is its staircase of white sillar
ashlar stone in the form of a snail shell that leads to the superior plant (where
there are projecting balconies). Also, in the centre of its main interior yard there
The history of Goyeneche palace goes back to the middle of the XVIth Century,
when Martín de Almazán ordered the construction of a house. The house of one
floor did not resist the earthquakes of 1582 and 1600, with another building
being built on the same land property of Andrés Herrera y Castilla. The work was
executed by Gaspar Báez. The house was extended in 1734, but the 1782
Later, in 1840, the architect Lucas Poblete would make a series of modifications
that would give to the palace the aspect that it maintains until now.
In present times, the centennial large house is property of the Central Reserve
Bank of Peru and in its interior brilliant paintings of Cusco School and fine
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Goyeneche Palace can be visited from Mondays to Fridays from 9:15 hours to
The bank, consistent with the principles and values the institution that guided
since its foundation, the Central Reserve Bank of Peru strives not only to
preserve and consolidate the monetary stability of the country, but to preserve
and disseminate the values of Peruvian culture. For this purpose has improved
the accessibility to historical monuments which now are located in the regional
headquarters of the Bank in Trujillo and Arequipa. It was also created at its
pre-Columbian gold, collections of Andean cultures, of the north coast, folk art
and painting. Similarly, the Numismatic Museum of Peru is located at the old
regained its beauty by the Central Reserve Bank of Peru branch in Arequipa.
The bank acquired this historical building and worked in its maintenance and
The existence of this old house dates from 1558 and over time has become a
undergone major changes, reaching its current division in the first half of the
Barreda, Bishop of Arequipa, and later Archbishop of Lima, who turned this
The construction of volcanic stone is superb, and the wide windows have
stone footing and sidewalks. The façade gives a sense of military fortress, but it
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Turning the beautiful porch is the hallway covered with barrel vault and then a
courtyard with a fountain of carved stone; the natural lighting highlights the
The Goyeneche House and the Central Bank wants to express its commitment
to the development of this region, sharing its collections through permanent and
temporary exhibitions. In this way, there have been conditioned three exhibition
rooms designed to showcase this heritage. In the first of them are exhibited
Nasca, Rcuay, Chimu and Inca. In the courtroom devoted to numismatic can be
seen a synthesis of the history of currency in Peru. The last room is a space for
Colonial art.
There is also a beautiful chapel whose domed ceiling built with brick and ashlar
These three spaces and Goyeneche palace houses itself a museum with the
the framework within these exhibits are located. Juan Gunther, one of the best
specialists in this field, said that… “(Architecture of Arequipa) is the result of the
marriage between the Spanish and Indians. Perhaps the most typical and
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Goyeneche House is part of the tour circuits of Arequipa, is visited by locals and
The public can access free of charge to all the exhibits of these museums of the
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5.4 Moral house Mansion
Moral House is located on the corner of Moral and Bolivar streets. It owns its
name to an old Mulberry tree which is in the middle of the yard. You can see the
façade is Mestizo Baroque style mixed with European and American elements. It
has just one floor and one street, the main door is rectangular adorned with its
respective callers. The façade presents jambs and on both sides of the door,
there is a pilaster above a Doric pilaster with plane shaft, above the door you can
see a cornice interrupted by a pedestal decorated with its respective cherub and
around this you can see carved rosettes adorned with flowers.
In the frontispiece and in the central part you can find a noble shield divided in
four cartels and crowned which represents the knights of calatrava. This displays
a connection with Spanish nobility, the shield symbolizes the family, inside it you
can see, to the left a tower or castle which means greatness, the rooster
represents the proud and vanity, in the lower part of the shield there are crossed
keys which means the fidelity, this side corresponds to women and if you see
above the shield there is a fledged crown from the Spaniard queen adorned with
flowers, hold by two angels whose foot lies on a small adorned column as a kind
of flower pot and the other footsteps feline heads which are throwing stalk of
flowers. Under the shield there is a zoomorphic figure with wings and a human
head adorned with swords, arrowheads, rifles and on the sides are angels which
The tympanum is open circular finishing in roleos ( spiral shape) and in the
middle you can see an angel buffoon with cantuta flowers and on both sides
there are two rosettes with decorations and it finishes with a pinnacle and on the
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Along the façade there are several gargoyles with pumas or feline head shapes
and four classic windows with double entablature decorated in the cornices with
two rosettes on both sides, and a cherub in the middle with rosettes and
cuadrifolias. You can see in the first window above its frieze a small cross and
the Jesus’ anagram and in the architrave there are two rosettes. The rest of the
windows display the same ornamentation. In the second window is repeated the
Jesus’ anagram, in the third window is Mary’s anagram and in the fourth window
is Joseph’s.
In the façade that overlooks Bolivar Street there are four classic simple windows
and two windows are decorated and also you can appreciate gargoyles in
cannon shape.
In the interior part you can find the main yard with a floor covered with oval sillars
and canto rodado in a checker board form. The doors and windows are elegantly
decorated. The rooms have vaulted ceilings. In the yard you can appreciate a
carriage from XIX century brought from Trujillo which is ocher-colored that
In the lobby, you can see some paintings and from this yard you can appreciate
above the door of the hallway the anagram of Virgin Mary, it seems that this
house was built in honour to her. Near the door you are going to find the image
Surrounding the yard the main rooms are found with carved doors. The floor of
these rooms had brick floors covered with rugs and lighted with big candelabras
hanging from the ceilings. On the ceilings you can find carved anagrams of
Jesus, Mary and Joseph, carved in the middle of the dome of the rooms.
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The second yard is smaller, and around it you can find the kitchen, the store
room, storage rooms, servant rooms, stables and the garden. Here you can also
This house is open from 8:00 to 17:00 hrs and you have to pay a ticket to visit
this place.
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VERSIÓN EN ESPAÑOL
más atractivos y armoniosos del Perú. Varias casas señorial extraordinarias fueron
visitantes es la recientemente restaurada Casa del Moral, pero varios otros son
fundada por una viuda cuyo nombre era María de Guzmán. La viuda de Diego
Nuestra Señora de la Gracia, que compró la tierra por 3500.00 pesos, pero no
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Santa Catalina fue la primera en el sur del Perú y la cuarta en el país de los
Estas habitaciones eran utilizadas por las monjas como la única forma de
comunicación con el mundo exterior. A las monjas sólo se les permitía visitas
de las otras monjas llamada 'la monja oyente'. Las barras dobles que pueden
ver aquí servían para ver y oír pero no podían tocarse, según las leyes de
aquellos tiempos, evitaban que algunos fanáticos trataran de tocar a las monjas.
Además, la barra doble era para recordar que las monjas renunciaron al mundo
y vivieron en la soledad. Mirando estas barras usted puede tener una idea clara
de cómo era la visión de los visitantes, era muy limitada. Esta parte de la
través del cilindro giratorio. La monja que escucha controlaría lo que recibieron a
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través del cilindro giratorio. También en las paredes y el techo se pueden ver
falla de Nazca.
El Locutorio privado:
La sala de visitas:
Esta sala fue para la recepción de algunas personas como los nobles y alcaldes,
que el monasterio estuviera abierto a los turistas, los registros muestran en 1963
fue utilizado para guardar objetos personales, está hecho de madera de limón.
sufrimiento, las siete dagas representan cada uno de sus sufrimientos de su hijo
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Jesucristo, en el suelo está su corona de espinas. La siguiente foto es Juan el
Bautista, su ropa está hecha de piel de camello, su capa roja y su alto personal.
extranjeros.
imagen de Jesús tiene ojos hechos de vidrio y pelo real, la imagen de San
su piel es de color cobre que significa el color de los indígenas por ello los
Esta sala también fue utilizada como una sala de trabajo y se puede ver algunos
de los bordados como el vestido de Jesús niño y los distintos colores como de
vestido de la virgen María. Esta costumbre venía del sur de España. También,
Ángeles Gutiérrez.
forma plana en 1953. El piso estaba cubierto con alfombras de flores de estilo
Francés napolitano
El Parapeto:
Entre los dos patios, si miran hacia arriba, pueden ver la palabra SILENCIO, es
para recordarnos que estamos visitando un monasterio y que las monjas vivían
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con la oración y trabajo. Silencio para comunicarse consigo mismos. Oraban
sísmica. El estilo de construcción tiene una típica influencia árabe. Pueden ver
aquí que las losas son como un tablero de ajedrez, hay diversas de otras
influencias. La misma forma en el patio hay una vid de vino. El color de los
sillar. También se puede ver el sistema de canales de agua y las canaletas para
Este Claustro fue construido entre 1805 y 1808 durante el período de la madre
años, tuvieron que pasar un período de aprendiz de uno a cuatro años. También
tuvieron que pagar 100 pesos por cada año que permanecían como novicios, el
llegar a ser monjas, pero este costo de 1000 a 2400 pesos para entrenar como
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Este monasterio tiene fe dominicana y reza el Santo Rosario. Es una de las
oraciones ofrecidas a las monjas que vivían en este convento. Las pinturas en la
Señor y la Virgen María, hay 54 cuadros en total. La pintura número 19 falta, tal
una tradición, se decía en cada familia que el hijo mayor tenía derecho a la
religiosa. También esta parte del monasterio es en un estilo árabe que data del
siglo XVII.
Este es un modelo de una celda típica de una novicia que vivía allí. Hay tres
artículos como hábitos, túnica, casquillos, zapatos y ropa interior. Había también
dos colchones, mantas y sábanas, había algunos otros artículos como una silla,
una alfombra, un pequeño lavabo y jarra para lavar. Rezarían la mayor parte del
día y pasarían la mayor parte del día solas en la celda. La única vez que se
mezclaban era cuando iban a escuchar la misa con las otras novicias. La novicia
se vestía de blanco.
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La Iglesia de la Novicia:
original antes de los terremotos, las columnas son de estilo romano pero están
Pascua está por encima de ella. Pueden leer la frase "Venid a mi hijas mías" y
en la parte inferior se lee "Quien como Dios", la tercera frase que pueden ver
está arriba a Santa Catalina de Siena, y dice: "Hija dadme tu corazón", estas
frases fueron para ayudar a las novicias en la elección para servir a Dios.
boca.
Una vez al año el arzobispo llegaba al convento y le pregunta a las monjas tres
tuvieron que permanecer más tiempo como una novicia. También, hay una
imagen de Cristo que está en el estilo de Sevilla española, y es del siglo XVII del
tiempo barroco. Está hecho de madera y representa el dolor de Cristo, sus ojos
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Se puede ver la imagen de Santa Catalina de Siena de la que María de Guzmán
la fundadora, era una devota. Nació en 1347 en Siena Italia. Falleció cuando
tenía sólo 33 años el 29 de abril de 1380. Fue canonizada por el Papa Pío el
Otra habitación: Debido a los terremotos la habitación se puede ver que tiene
techos arqueados y en el dintel por encima de las puertas y ventanas hay una
vida de una monja. A la izquierda está una imagen del Buen Pastor que
cruz de metal situada aquí en el cambio del siglo 1900 -1901 durante el período
Este es el segundo claustro que se llama así por la presencia de los Naranjos,
vida eterna.
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fueron pintadas en el siglo XVIII por un pintor anónimo, fueron restauradas por
Viernes Santo cada año en este día el convento está cerrado al público.
Este es el modelo de una celda en la que vivía una monja. El origen de este tipo
sufrió dos intensos terremotos, el mismo día justo después de las cinco de la
ejemplo, se pueden ver tres arcos para tres monjas, el primero tiene un altar con
la castidad y el libro con sus siete sellos representa siete regalos del Espíritu
Santo. También se puede ver un poco de desgaste del vidrio y cerámica traído
por los españoles de Arabia, el brillo de los colores y la transparencia, muy poca
gente utiliza tales cosas, se puede ver la calidad de los jarrones, platos y jarras
platos. En la habitación del costado se puede ver una lavadora de esa época del
siglo XIX, y en el área de la cocina se puede ver una piedra utilizada para moler
maíz, trigo y otros granos. Las monjas podían vivir solas o con otras monjas,
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Sala "De profundis":
Esta es la habitación en la que las monjas fueron traídas cuando murieron. Era
relaciona con el salmo 129 y se decía en latín "De profundis clamate deo ..."
este salmo es pedir clemencia y fue formulado cuando el pueblo israelí fue a
Babilonia. Esta habitación fue originalmente pintada en color rojo que simboliza
Dios. En esta habitación hay dos cunetas. La primera es para las monjas de
clase alta, como las madres y el consejo, la segunda es para las monjas
rostros de las monjas que pasaron por aquí. No podían pintarlas en vida, las
características en común que todos tienen son sus ojos cerrados porque fueron
Tenían en sus manos una palma que representa la carga de la madre superior.
A la izquierda, hay una con los ojos abiertos, murió en estado de éxtasis, fue
Arias.
Calle Malaga:
de San Agustín, Carlos Diego Gibson, con permiso especial del arzobispo entró
a tomar fotos del convento para un proyecto especial para dividir el convento en
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dos partes, cuando vio la arquitectura colonial dio a las calles sus nombres en
Monumento Histórico.
En 1946 las monjas dieron parte de la tierra del convento al municipio para
extender la calle Zela. Una gran parte de las celdas están cerradas al público y
Todas las celdas tienen los mismos elementos. Un lugar para vivir, cocinar,
comer y dormir como una casa pequeña, hay un altar y un armario para su ropa.
puede ver un horno donde se hacían pasteles, con la venta de los pasteles y
pan, pudieron pagar por las fiestas de los santos. Bajo el horno se pueden
Sala Zurbarán:
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enfermas en caso de terremotos. Esta habitación fue una vez el hospital del
republicano. Fue construido mientras Ana de los Ángeles era la madre superiora
esta sala se pueden ver 10 arcos donde se localizaban las camas porque éste
En el primer arco hay un juego de té azul " vajilla Limonge " (oro de 24) y es de
Francia, que fue traído por Carlota de Nuestra Señora de los Dolores de Carpio
y Quevedo, ella era hija de un inquilino de Puno. También hay jarrones de estilo
rococó del siglo XIX. Hay una pintura de La Coronación de la Santísima Virgen
María por la Trinidad ortodoxa. En el segundo arco se puede ver otro juego de
té en un estilo francés. Además, hay una pintura de San Jerónimo que fue
escuela de arte en 1568 por los judíos del Perú. Los jóvenes incas aprendieron
otras formas de pintar, como el estilo italiano y el holandés. Esta pieza podría
ser de Diego Quispe Tito, uno de los pintores más famosos de esta escuela.
colores brillantes, que representan las flores y los animales del Perú. Hay platos
Esta sala se llama Zurbarán, a causa de esta pintura de San Miguel Arcángel,
que se cree que fue pintado por Francisco de Zurbarán, un pintor español
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famoso, pero más tarde se descubrió que no pintó el cuadro, la característica de
este arcángel Es que dondequiera que vayas sus ojos parecen seguirte. El
mismo efecto que el de "La Monalisa" tiene en la gente. Bajo la pintura hay un
En el quinto arco, puedes ver algunas muestras de bordado hechas por las
algunas prendas, que fueron para el obispo, y el sacerdote hecho por las
En el séptimo arco, hay algunos libros escritos en latín que tienen sacramentos
María que tiene una frontera de oro, abajo tenemos los pequeños bebés Jesús,
(les hicieron pequeños vestidos) y una bella estatua de la Virgen del Rosario .
Antes de partir podemos apreciar el trabajo realizado por las monjas en este
interior hay algunos objetos que pertenecieron a la enfermería del convento, que
estaba situado enfrente. Puede ver una fotografía de la madre Manuela del
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Dulce Nombre de Jesús Cateriano en su lecho de enfermedad y una copia de su
certificado de defunción. También hay grabados del siglo XVIII de San Agustín y
La cocina tiene un horno y las mismas cosas que encontramos en otras celdas.
También en la segunda sala podemos ver una silla de ruedas que se utilizó para
Las escaleras ahora están cerradas para proteger a los turistas; Estas escaleras
Destaca por su riqueza la luz que proviene de la piedra. También hay un arpa
Virgen del Transito como se puede ver que se establecen, y La Virgen Dolorosa
como pueden ver que ella está llevando un vestido negro de la mañana del
damasco. Esta celda es bastante grande porque no era sólo para una monja,
Calle Córdova:
Esta es la segunda calle y la más bella del convento. Esta calle pintada de
original en España.
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Celda del Pan sagrado:
En esta calle hay una celda que más tarde se utilizó para la fabricación del pan
eucarístico, una oblea redonda de pan sin levadura que se consagra durante la
para la redención de los pecadores. En el centro del pan se pueden ver las
El tamiz grande que se muestra en esta celda se utilizó para obtener la harina
muy fina necesaria para preparar las obleas eucarísticas. También hay moldes y
En un lado de esta sala hay una discreta entrada a un edificio erigido en 1969,
donde las monjas viven actualmente. En 1985, el Papa Juan Pablo II les dio
permiso para salir a la ciudad siempre y cuando tengan una razón específica
están enfermos, e ir al médico. En este momento hay unas 30 monjas que viven
en el convento.
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La Primera Celda "sin nombre" Calle Córdoba:
Aquí hay una estatua del siglo XVII de San Antonio de Padua. Hay una
Merced, con pelo de algodón y ojos de cristal; También hay un sillón de estilo
hay una especie de lámpara que trabajaba con aceite y queroseno en ese
Calle Toledo:
Esta calle es de color rojo porque es un color étnico. Esta es la calle más larga y
estrecha del convento y tiene algunas de las estructuras más antiguas. Las
construcción originales. Cuando la calle comienza hay una serie de canales que
materiales como el huevo blanco, el barro y la piel de los animales, la forma del
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techo era debido a las lluvias, aquí en Arequipa la estación de lluvias es enero,
febrero y marzo. Este tipo de techos estaban cubiertos de baldosas, pero luego
fueron desechados porque durante los terremotos los azulejos habían caído.
En esta celda podemos ver una pequeña mesa y una pequeña cama, es muy
importante notar que el monasterio funcionó como una escuela privada en 1600,
los padres solían dejar a sus hijas aquí a las edades de 3 ó 4 años, para Ser
educadas por las monjas, les enseñaron a limpiar y mantener la casa, también
aprendieron a cocinar, tocar música con la finalidad de ser una buena esposa,
Podemos ver aquí una celda destruida a causa de los terremotos, y la piedra
temblores y terremotos.
Cuando entras puedes ver que el camino de la puerta es mucho más pequeño,
esto era una costumbre, así que el criado se inclinaría al entrar en la habitación,
porque esta habitación estaba bien iluminada. Se utilizó como aula para niños
pobres, este servicio fue gratuito y las niñas recibieron una educación moral y
espiritual.
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Calle Sevilla:
En esta calle podemos ver dos agradables arcos que también funcionan como
una precaución de seguridad. Hay un canal de agua a un lado, este canal fue
principalmente donde los criados vinieron aquí para depositar el agua sucia y
desechos de tocador, este canal fue al río. Al mirar por la calle se puede ver una
Esta celda es una de las más bellas del convento. Al entrar hay un patio. Usted
puede ver el dormitorio, algunas de las pertenencias de la monja que vivió aquí.
La habitación más pequeña era para los sirvientes, tenía seis sirvientes en total.
En la cocina hay dos hornos y una piedra para moler maíz y granos. Las monjas
produjeron el Santo Pan para la ciudad, se usó para la misa, el horno pequeño
fue por esa razón, y el grande fue para cocinar sus comidas personales. La
celda fue nombrada después, Dominga Somocurcio porque esta monja vivió en
este siglo. También en esta celda puedes ver una pintura de la vida de Santa
Catalina.
Esta celda fue la primera en tener corriente de agua, lo que fue posible gracias a
pequeños tubos que salían del suministro principal de agua. Durante los meses
de mayo a julio Arequipa es fría, la combinación del clima y la piedra sillar las
celdas eran aún más frías, también en este tipo de celda por la corriente de
agua, era una de las más frías del convento, por estos factores había una
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La Celda "Cipriana Centeno":
Dentro de esta celda hay también un pequeño canal de agua pero ahora está
cerrado. En frente de la celda, se puede ver una pequeña cruz en la pared, esto
era un recordatorio de que usted está cerca del antiguo cementerio. Este
porque la gente solía tocar la cruz y hacer un signo de la cruz sobre sí mismos.
El Cementerio:
Al final de la calle Toledo, se puede ver una puerta de madera coronada por una
pequeña marca de cruz que marca la entrada al antiguo cementerio, que ahora
es un jardín para las monjas. Este cementerio fue utilizado entre 1867 y el final
de los años treinta. Originalmente las monjas y la gente no fueron puestas para
Arequipa, cuando se aprobó una ley para cambiar la forma, se dejó de enterrar
aquí por razones de salud. Hoy en día las monjas están enterradas en una
convento.
La Lavandería:
extender la calle Zela. Las monjas dieron parte de la tierra y el nuevo muro fue
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dividido en mitades. El agua del canal alimenta otro canal como se puede ver,
esta es una manera única de usar la cascada natural, que junto con el sistema
almacenar vino o pisco y para mantener el grano. Los Chombas más pequeños
Es fundamental remarcar que la lavandería fue utilizada solo por los sirvientes,
bloquearon el canal de agua con una pequeña piedra hasta que el recipiente se
Aquí podemos ver una bañera que fue utilizado por los criados, que utilizaron el
baño en grupos de tres y llevaba una túnica para no mostrar ninguna parte del
cuerpo.
La Calle Burgos:
jardín que fue utilizado como una especie de refugio para las mujeres que
querían venir desde el exterior. Una de las mujeres que pidió asilo fue una
padre era Arequipeño. Llegó al Perú en 1833 para reclamar su herencia, pero
sólo encontró una pensión de su tío Pío Tristán y Moscoso. Vivió en el convento
trabajaba por la liberación de las mujeres. Fue la abuela del pintor Paul Gauguin
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y murió en 1844. Sólo las mujeres y los niños se les permitieron entrar en el
mermelada o zumo, pero no para ser consumida cruda. También hay un árbol
de aguacate, Perú es famoso porque produce uno de los mejores aguacates del
mundo.
Esta celda que perteneció a Manuela Ballón es una de las más bellas, la más
grande del Monasterio. El clavicordio fue utilizado como recreación, las monjas
posesión de talento musical podría permitir que las monjas de ser eximido de
proporcionar una dote o darles un estatus más alto, hubo casos en que algunas
monjas no pagan el " Dote "en lugar de enseñar a las otras monjas la música.
la cocina otro filtro para el agua, estos están hechos de piedra porosa y el agua
pasa a través de ella haciendo el agua más segura para beber. Donde las calles
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Celda "María Josefa Cadena":
Esta celda es una de las celdas más importantes por pertenecer a María Josefa
Cadena. Aquí podemos ver su retrato, ella fue la primera monja que se pintó en
cuando estuvo viva, ella no obedeció la regla que "nadie podría tener un retrato
vivo". Usted puede ver su cara, tenía una parálisis de la cara. Ella era la madre
hermosa, esto podría hacernos creer que su familia era muy rica. En el oratorio
privado, hay una pintura mural (el ojo de Dios dentro de un triángulo).
En la siguiente habitación pequeña hay un inodoro, que fue hecho por Thomas
también.
nuevo, tenían que cocinar, comer y dormir juntas y hacer el trabajo ellas
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algunas sirvientas fueron recibidas también como monjas. Esta es la Regla que
La Entrada de servicio:
al convento, esta puerta era utilizada para recibir, alimentos como grano y maíz
está pavimentado con guijarros simples, con pistas de Sillar para facilitar la
mercancías o llevar a cabo alguna otra tarea, el portero estaría acompañado por
otra monja. Los locales están ahora ocupados por la Cafetería. Si miran en la
pared pueden ver un mapa del convento que muestra los lugares que han visto
y desean ver.
El Almacén:
Este lugar formaba parte de la antigua Iglesia, fue construido en 1681 durante la
época de la madre Lucia del Espirtu Santo y Zuñiga. Era la primera capilla del
era un lugar fresco en el cual se guardaban las cosas así que se usaba para
El nuevo modo de vida debió haber sido muy difícil para ellos al principio, tenían
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regla, muchas abandonaron el monasterio y sólo quedaron las que realmente
La Cocina:
como se puede ver hay muchas formas de envases de pastelería en línea en las
paredes y en las mesas. Este enorme espacio, algo asombroso con sus
intensos contrastes de luces y sucias sombras, donde las paredes han sido
ennegrecidas por los fuegos de la cocina. Aquí podemos notar que hay un
hay moldes en forma de pingüinos como usted sabe que son en blanco y negro
por lo que es divertido porque las monjas usan blanco y negro, también. Los
pingüinos son el apodo dado a las monjas por el pueblo, debido a los colores de
cocina, que son pedazos suaves de piedra de río. También hay una trampa del
con una Corona de Espinas y el Corazón de Jesús. Y el otro tiene una rosa y un
La Panadería:
La cocina también tiene una panadería donde hay depósitos para hacer masa o
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sartenes de cobre, grandes recipientes de barro, jarras, jarros y grandes
agua que está cerrado ahora, pero se utiliza como un pozo de deseo donde la
El Jaculatorio:
Altar y la Pureza de Nuestra Señora que concibió sin mancha, pecado o pecado
Calle Granada:
Aquí vas a encontrar lugares como Celda "Santo Domingo" y la casa de baño.
documento que describe una petición de Bartolomé Pérez que pide dejar entrar
los flagelos utilizados para los pecados. Aquí podemos ver un "Carrillon" de
dieciocho años que fue fabricado localmente, tiene varias campanas que se
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En otra parte hay una jarra de pulgas que era una costumbre para no matar ni
siquiera el animal más pequeño, y algunas flores delicadas hechas por las
monjas. En cuanto a las flores, es bien sabido que todas las culturas nos dieron
Esta pequeña plaza está delineada por paredes pintadas. La elegante fuente de
lejano hay algunas puertas del sauce que exhiben el mejor tallado en madera
del convento.
mercado. Este es el lugar donde las monjas venían cada domingo antes de la
ciudad.
También hay una celda en la plaza y se puede ver una foto de la madre de
Juana Rosa de Nuestra Señora de los Dolores y Salas, esta foto data de 1902.
utilizaban para comer como Usted sabe que los comemos como un plato
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La Bañera:
Este cuarto también contiene la casa de baños que se enciende por claraboyas
tomaban un baño, siempre cubiertas con una larga túnica y dando la espalda a
la otra monja. No podían ver los cuerpos de los demás o incluso tocar menos
sus propios cuerpos, era considerado como un pecado, por lo que sólo lavaron
baños, hay una olla de piedra, aquí las monjas después de tener un baño
El Mirador:
Subiendo las 33 escaleras llegamos a un mirador que ofrece una gran vista de
la ciudad. Los volcanes: Misti, que está a 5800 metros sobre el nivel del mar,
Chachani que está a 6075 metros sobre el nivel del mar y Picchu Picchu, 5640
metros sobre el nivel del mar. Podemos ver las diferentes formas de los techos
del Monasterio. También la nueva parte del convento en el que ahora viven las
monjas. Si miras al Misti puedes ver el distrito de Yanahuara y Cayma más allá
superior del convento, que por su notable misticismo y vida cristiana, ganó la
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los Ángeles Monteagudo probablemente nació en 1602, no estamos seguros
en la catedral de Arequipa.
Sus padres la dejaron en el convento cuando tenía sólo tres años para poder
recibir una educación moral. Cuando tenía 12 años, sus padres vinieron a
1886. También hizo milagros cuando estaba viva, pero para el proceso de
Este milagro tuvo lugar en 1932, en el Hospital Goyeneche, una mujer llamada
terminal, por lo que le dijeron al marido que sólo tenía poco tiempo para vivir. El
monjas que oraran por su esposa, las monjas le dieron una pequeña cantidad
no hubo explicaciones médicas. María Vera de Jarrín vivió hasta 1966, falleció
beatificado por el Papa Juan Pablo II durante su visita a Arequipa en 1985. Hay
y otra moderna porque Fue pintado por Antonio Guzmán para la Misa de
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Beatificación, fue colocado sobre el Altar en la celda; Se puede ver el alambre
de púas en que ella dormía, un crucifijo, una placa en trabajo de plata Además,
hay dos imágenes, entre ellas, Santo Tomás de Tolentino a quien Sor Ana era
Un escaparate que contiene reliquias tiene un tarro con el corazón del Hermano
La última cocina:
del siglo XX, el horno utilizó leña y "yareta" una planta típica del Perú.
El Comedor:
fue el último lugar donde las monjas comieron juntos. La madre superior se
El refectorio data de 1938, era el comedor de las monjas. Durante las comidas
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monja de menor rango y luego a través de la jerarquía a la madre Superior, a la
El suelo está hecho de madera, los bancos, colocados contra la pared están
Monteagudo con San Nicolás de Tolentino adornan las paredes del refectorio.
El Claustro principal:
Este es el último y más grande de los claustros del convento. Construido entre
madera. Los confesionarios son cubículos que contienen un taburete donde las
El Claustro Principal está adornado con treinta y dos cuadros de la Escuela del
Cuzco, que representan las vidas de Jesús y la Virgen María. En la arcada hay
murales similares a los del Claustro del Naranjo. Las pinturas murales sobre los
arcos fueron pintadas antes de que el monasterio fuera abierto al público. Los
muchas capas de tiza y oro, luego pulido con una piedra especial.
Además, cuando se camina hasta el fondo del pasillo se pueden encontrar dos
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El Coro Alto:
Al final de los confesionarios hay un largo escalón de sillar que conduce al coro
superior que no está incluido en el guiado, también hay un órgano europeo del
siglo XIX.
Esta monja vivió entre los años 1658-1691, una monja muy mística que llegó
su acción de sacrificio para llevar la cruz y mostró una convicción muy dura de
La madre Juana Arias era una monja especial y mística, solía permanecer en
pedía a las otras monjas que la ataran a la cruz que tenía en su habitación, pero
Su muerte fue un prodigio que podemos decir que la causa fue "El amor de
posición de rodillas Con las manos juntas y los ojos abiertos. Esa fue la forma
en que fue pintada, en la Sala Profundis la monja que tiene los ojos abiertos es
ella.
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El Coro Bajo:
coro inferior es el lugar para las elecciones, tomar votos y profesar, y para
honores funerarios.
celebraciones separadas por una parrilla doble de los feligreses que llegaban a
la iglesia. El coro está decorado con pinturas murales y hojas de oro, que se
Había muchas razones para cubrir la hoja de oro, tal vez como una medida de
En épocas más antiguas, una cortina carmesí fue colgada entre las parrillas
para evitar cualquier contacto visual. Si miras hacia arriba puedes ver un escudo
barrocos. La sala está dominada por una imagen de Cristo en la Cruz, también
hay una Virgen del Rosario, una Sagrada Familia, un Señor de la Caída y una
pintura de Santo Domingo. Además, hay una serie de trece pinturas del Vía
1874. Es una iglesia muy bonita que debe encontrar tiempo para visitar, es de
una fecha posterior como la mayoría de los lugares de la ciudad. Tiene varias
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desaparecido en terremotos. Los ocho altares de cemento anclados a la muralla
que datan de finales del siglo XIX. El Tabernáculo del Altar Principal es un
realizado en 1811 por el platero Luis Linares, fue Arequipeño. Los elementos
muestran obras de plata en el estilo barroco tardío del mismo siglo. Un carril de
madera adornado, del mismo siglo adorna las cornisas interiores. Entre las
imágenes antiguas de la iglesia, que datan del siglo XVII, hay un Calvario, con
la Paciencia, una Sagrada Familia, una Virgen del Rosario y una estatua de
La Pinacoteca:
Esta galería está en forma de una cruz como se puede ver. Es tres habitaciones
hechas en una grande. Puede ver grandes ganchos que se utilizan para colgar
cortinas para dividir las camas para cada una de las monjas. Esta gran sala fue
utilizada como dormitorio desde 1871 hasta que el convento se abrió al público,
en los siglos XVII y XVIII y expresa perfectamente la asimilación original del arte
religioso del Renacimiento europeo por los artistas indígenas. El siglo XVII San
Juan Bautista y San Esteban Mártir, del Grupo Angelino Medoro, son
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particularmente destacados. Medoro fue un artista romano que trajo pinturas al
Perú como lo hicieron Mateo Pérez de Alesio y el jesuita Bernardo Bitti, cuyas
XVII, sobre un altar adornado en hoja de oro, las Tallas de San Joaquín y Santa
indumentaria. Hay un tallado del siglo XVIII de San José con el Niño Jesús y la
dramática figura tallada del Señor de la Caída del mismo siglo, utilizada por las
los ritos de la Semana Santa. Este lugar posee una acústica especial, la galería
exposiciones.
entre otros posibles visitantes a venir a ver este maravilloso lugar. Le invitamos
a firmar nuestro libro de visitas para que podamos recordar su visita. Que
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Tareas:
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5.2 Casona Tristán del Pozo
La Casa Tristán del Pozo está ubicada en la calle San Francisco y fue
fue terminada en 1738, fecha que podemos ver sobre la entrada principal. Esta
casa tuvo que ser restaurada, así como después de los terremotos ocurridos el
13 de agosto de 1868.
Esta casa tiene una fachada espléndida y una puerta maciza decorada con
extensos patios. Los patios interiores están decorados con piedras talladas,
resguardadas por gárgolas con características felinas. La Casa Tristán del Pozo
para llamar a la puerta. Esta puerta está flanqueada por dos pilastras en forma
de nicho unido a la pared. Hay una columna de estilo románico en cada pilastra.
podemos apreciar cinco flores de cantuta. Por encima de estas flores hay
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monogramas de San Joaquín y Santa Ana. Esto representa el árbol de familia
pueden ver algunas macetas talladas en alto relieve donde podemos ver
rosetas.
la derecha es más antigua que las ventanas de la izquierda. En los frisos de las
General Domingo Carlos Tristán del Pozo; Pero la casa es también conocida
visitarlo de lunes a viernes de 9:15 horas a las 12:45 horas y de 16:00 horas a
las 18:00 horas. Los sábados está abierto entre las 9:30 horas y las 12:30
horas.
Tareas:
anteriormente.
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Vocabulario: Después de leer, compruebe en el diccionario el
reconstruido a finales del siglo XVIII. Sus patios interiores y los elaborados
Arequipa.
Esta llamativa mansión de dos plantas tiene una atractiva fachada con falsas
La historia del palacio Goyeneche se remonta a mediados del siglo XVI, cuando
resistió los terremotos de 1582 y 1600, con otro edificio construido en la misma
propiedad de Andrés Herrera y Castilla. La obra fue ejecutada por Gaspar Báez.
restauraciones necesarias.
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Más tarde, en 1840, el arquitecto Lucas Poblete haría una serie de
15:00 horas.
país, sino por preservar y difundir los valores de la cultura peruana. Para ello ha
pintura. Del mismo modo, el Museo Numismático del Perú se encuentra ubicado
mitad del siglo XIX, gracias a los esfuerzos de José Sebastián Goyeneche y
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Barreda, Obispo de Arequipa, y más tarde Arzobispo de Lima, que convirtieron
luego un patio con una fuente de piedra tallada. La iluminación natural resalta la
Perú: Chavín, Viru, Vicus, Moche, Nasca, Rcuay, Chimú e Inca. En la sala
También hay una hermosa capilla cuyo techo abovedado construido con ladrillo
mejores especialistas en este campo, dijo que ... "(la arquitectura de Arequipa
es el resultado del matrimonio entre españoles e indios. Tal vez el más típico y
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Las exposiciones de la Casa Goyeneche se unen a la tradición de conservación,
Tareas:
181
5.4 Mansión de la Casa Moral
su nombre debido a un árbol viejo de mora que está en el medio del patio. La
en ambos lados de la puerta hay una pilastra encima de una pilastra dórica con
el eje plano, sobre la puerta usted puede ver una cornisa interrumpida por un
parte inferior del escudo hay llaves cruzadas lo que significa la fidelidad, este
lado corresponde a las mujeres y si ven por encima del escudo hay una corona
de la reina española adornada con flores, sostenida por dos ángeles cuyo pie
reposa sobre una pequeña columna adornada como una especie de florero y el
otro lado adornado por el felino de dos cabezas que están lanzando follajería.
Bajo el escudo hay una figura zoomórfica con alas y una cabeza humana
adornada con espadas, puntas de flecha, rifles y en los lados hay ángeles que
182
El tímpano se abre en acabado circular en roleos (forma espiral) y en el medio
se puede ver un ángel bufón con flores cantuta y en ambos lados hay dos
de cañón.
parece que esta casa fue construida en honor a ella. Cerca de la puerta van a
183
Alrededor del patio las habitaciones principales se encuentran con puertas
Esta casa está abierta de 8:00 a 17:00 hrs y se debe pagar un boleto de ingreso
Tareas:
anteriormente.
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GLOSSARY
185
Argamaza a mixture of cement or lime or both with sand and
Mortar /ˈmɔːtə/ water, used as a bond between bricks or stones or
as a covering on a wall
Atrio the open main court of a Roman house
atrium /ˈeɪtrɪəm/
Arcada a set of arches and their supporting columns
arcade /ɑːˈkeɪd/
águilas bicéfalas
Double headed eagles Eagles with two heads.
Contrafuerte
Abutment (n.) a masonry mass supporting and receiving the
/əˈbʌtmənt/ thrust of part of an arch or vault.
Columna A decorative pillar, most often composed of stone
Column and typically having a cylindrical or polygonal shaft
/ˈkɒləm/ with a capital and usually a base.
186
The Corinthian order is the last developed of the
Columna corintia three principal classical orders of ancient Greek and
Corinthian Capital Roman architecture. In architecture the capital
/kəˈrɪnθɪən/ (from the Latin caput, or "head") forms the topmost
/ˈkæpɪtəl/ member of a column (or a pilaster).
(n.) a slender, typically rod-shaped rigid piece of
Clavos metal, usually in any of numerous standard lengths
Nails from a fraction of an inch to several inches and
/neɪl/ having one end pointed and the other enlarged and
flattened.
Cornisa the top projecting mouldings of an entablature
cornice /ˈkɔːnɪs/ a continuous horizontal projecting course or
moulding at the top of a wall, building, etc
Cenefa a band or margin around or along the edge of
border /ˈbɔːdə/ something
Cripta (Ecclesiastical Terms) a cellar, vault, or
crypt /krɪpt/ underground chamber, esp beneath a church,
where it is often used as a chapel, burial place, etc
(n.) a wedgelike tool with a cutting edge at the end
Esculpir of the blade, often made of steel, used for cutting or
Chisel shaping wood, stone, etc. (v) To cut, shape, or
ə
/ˈtʃɪz l/ fashion by or as if by carving with a chisel.
(n.) noting or pertaining to the baroque architecture
Churrigueresco of Spain and its colonies in the late 17th and early
Churrigueresque 18th centuries, characterized by fantastic and lavish
/ˈtʃurəgeresk/ detailing.
Choclos
Corn ear (n.) An ear of this plant.
Cúpula
Dome
/dəʊm/ (n.) a large hemispherical roof or ceiling
Dovela (Architecture) a wedge-shaped stone or brick that is
voussoir /vuːˈswɑː/ used with others to construct an arch or vault
187
Enjuta (Architecture) an approximately triangular surface
spandrel /ˈspændrəl/ bounded by the outer curve of an arch and the
adjacent wall
Entrada
Entranceway
/ˈɛntrənsweɪ/ (n.) an entryway.
(n.) the entire construction of a classical temple or
Entablamiento the like between the columns and the eaves,
Entablature usually composed of an architrave, a frieze, and a
/ɛnˈtæblətʃə/ cornice.
Fondo
Backdrop
/ˈbækˌdrɒp/ (n.) the background of an event; setting.
Follaje (Botany) the green leaves of a plant
foliage /ˈfəʊlɪɪdʒ/ sprays of leaves used for decoration
(Art Terms) an ornamental leaflike design
(n.) the front of a building, especially an imposing or
decorative one.
Fachada any side of a building facing a public way or space
Facade /ɛnˈtæblətʃə/ and finished accordingly.
188
Entrada (n.) 1. a point or place of entering; an opening or
Entrance passage for entering, as a doorway. 2. the right,
/ˈɛntrəns/ privilege, or permission to enter; admission.
Gravado
Engraved (v.) to mark or ornament with incised letters,
/ɪnˈɡreɪvd/ designs, etc.
(n.) a broad piece of armor, varying widely in form
Escudo and size, carried apart from the body, usually on the
Shield left arm, as a defense against swords, lances,
/ʃiːld/ arrows, etc.
(n.) the art of carving, modeling, welding, or
Escultura otherwise producing figurative or abstract works of
Sculpture art in three dimensions, as in relief, intaglio, or in
/ˈskʌlptʃə/ the round.
(adj.) 1.having, abounding in, or covered with
Frondozo leaves or foliage: the leafy woods.
Leafy 2.having broad leaves or consisting mainly of
/ˈliːfɪ/ leaves.
(n.) (in classical architecture) a low gable, typically
Frontón triangular with a horizontal cornice and raking
Pediment cornices, surmounting a colonnade, an end wall, or
/ˈpɛdɪmənt/ a major division of a façade.
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imponente
Stunning
/ˈstʌnɪŋ/ (Adj.) of striking beauty or excellence.
Líneas (n.) a mark or stroke long in proportion to its
Lines breadth, made with a pen, pencil, tool, etc., on a
/laɪnz/ surface.
Máscaras
Masks (n.) a covering for all or part of the face, worn to
/mɑːsk/ conceal one's identity.
Mudejares adjective
Moresque (mə resk′), Moorish.
Motivo
Motif (n.) a recurring subject, theme, idea, etc., especially
/məʊˈtiːf/ in a literary, artistic, or musical work.
(n.) a shaped outline, especially one used on
Molduras cornices, etc
Mouldings a shaped strip made of wood, stone, etc
/ˈməʊldɪŋ/ something moulded.
Ménsula (n.) a support, as of metal or wood, projecting from
Bracket a wall or the like to hold or bear the weight of a
/ˈbrækɪt/ shelf, part of a cornice, etc.
Nave (Architecture) the central space in a church,
nave (neɪv) extending from the narthex to the chancel and often
flanked by aisles
Oráculo (Other Non-Christian Religions) a prophecy, often
ə
Oracle /ˈɒrək l/ obscure or allegorical, revealed through the
medium of a priest or priestess at the shrine of a
god
Pulpito (Building) any similar raised structure, such as a
pulpit /ˈpʊlpɪt/ lectern
Pedestal
Pedestal (n.) an architectural support for a column, statue,
/ˈpɛdɪstəl/ vase, or the like.
190
Pilastra (Architecture) a shallow rectangular column
pilaster /pɪˈlæstə/ attached to the face of a wall
(n.) a member of the second order of angels, often
Querubin represented as a beautiful rosy-cheeked child with
Cherub /ˈtʃɛrəb/ wings.
Restauración
Restoration (n.) the act of restoring; renewal, revival, or
/ˌrɛstəˈreɪʃən/ reestablishment.
Ruinas (n.) ruins, the remains of a building, city, etc., that
Ruins has been destroyed or that is in disrepair or a state
/ˈruːɪns/ of decay.
Rajadura
Crak (v.) to break without complete separation of parts;
/kræk/ become fissured. (n.) fissure.
Retablo (Art Terms) a work of art set above and behind an
altarpiece /ˈɔːltəˌpiːs/ altar; a reredos
Sagrario the Israelite temple at Jerusalem, esp the holy of
Sanctuary holies the tabernacle in which the Ark was
/ˈsæŋktjʊərɪ/ enshrined during the wanderings of the Israelites.
Tragaluz (Building) a window placed in a roof or ceiling to
skylight /ˈskaɪˌlaɪt/ admit daylight. Also called: fanlight
Tallados
Carvings
/ˈkɑːvɪŋz/ (n.) a carved design or figure.
Pieza (n.) a separate or limited portion or quantity of
Piece something:
/piːs/ a piece of land; a piece of chocolate.
Columna (n.) an upright shaft or structure, of stone, brick, or
Pillar other material, used as a building support, or
/ˈpɪlə/ standing alone, as for a monument: Gothic pillars
Pináculo (n.) a lofty peak. the highest or culminating point, as
Pinnacle of success, power, fame, etc.:
/ˈpɪnəkəl/ the pinnacle of one's career.
191
Reinado
Reign (n.) the period during which a sovereign occupies
/reɪn/ the throne. Royal rule or authority; sovereignty.
(n.) the activity, spirit, or time of the great revival of
Renacimiento art, literature, and learning in Europe beginning in
Renaissance the 14th century and extending to the 17th century,
/rəˈneɪsəns/ marking the transition from the medieval to the
modern world.
Rosetón
Rosette (n.) any arrangement, part, object, or formation
/rəʊˈzɛt/ more or less resembling a rose.
Liso
Smooth (adj.) free from projections or unevenness of
/smuːð/ surface; not rough: smooth wood; a smooth road.
192
Torre (n.) a building or structure high in proportion to its
Tower lateral dimensions, either isolated or forming part of
/ˈtaʊə/ a building.
Torcer
Twist (v.) to combine, as two or more strands or threads,
/twɪst/ by winding together; intertwine.
Lacería
Lacework
(ˈleɪsˌwɜːk) (Crafts) work made from lace
193
BIBLIOGRAFÍA
LIBROS
Congreso de la República. Lima, 24 de Mayo del 2005. LEY Nº 28529. LEY DEL
GUÍA DE TURISMO.
Coarita, José Luis. (2006). "Arequipa Monumental" . First edition. Arequipa, Perú.
Esparza Bermudez, Luis Miguel y otros. (2007). "Manual de Buenas prácticas Guías
de Turismo y operación turística - Gestión de servicio". Edición Ministerio de Gestión
y Turismo. Lima, Perú.
Debbie Jacobs. (2007). "How to be the best tour guide of the world". Easy steps and
guidelines for success. USA.
PAGINAS WEB
Coarita, José Luis . Tour a la Campiña de Arequipa: (2016, Diciembre 29). Lecturas.
Disponible en: https://es.scribd.com/document/320326429/Tour-a-la-campina-de-
Arequipa
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ANEXOS
195
Anexo 1
Ficha de evaluación
Datos
Nombre del evaluador
Nombre del Guía estudiante
Nombre del Lugar Turístico
Contenidos
Folder
Parlamento
Información
Desarrollo de Vocabulario
Guiado
Respeta fases
Nivel de comunicación
Localización
Dominio del tema Subtotal:
Total: ______________
Observaciones
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Anexo 2
EVALUATION SHEET
General Information
Examiner´s name
Student´s name
Tourist attraction
Contents
Folder
Speech (follow the steps)
Vocabulary chart (own)
General information (Readings)
Group setting
Visual contact with the group
Individual visual contact
Development
Management of the group Subtotal:
Guiding
Respect the steps
Communication level
Location, show the tourist atraction
Knowledge of the topic Subtotal:
Total: ______________
Notes
Evaluation: the evaluation is scored from 1 to 5 points, and the total is 20 points.
The minimum approval score is 13 points.
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ANEXO 3
198
ANEXO 4
199
200
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