Basilica and Convent of San Francisco, Quito facts for kids

Quick facts for kids Basilica and Convent of San Francisco
Iglesia y Convento de San Francisco
Church and Plaza de San Francisco
Religion
Affiliation	Roman Catholic
Province	Archdiocese of Quito
Rite	Roman Rite
Location
Location	Quito, Ecuador
Architecture
Architectural type	Basilica and Convent
Groundbreaking	1535
Completed	1650
Direction of façade	Southeast

The Basilica and Convent of San Francisco (Spanish: Iglesia y Convento de San Francisco), also known as el San Francisco, is a huge Catholic church complex. It stands in the heart of Quito, Ecuador, right in front of a square with the same name. It is the oldest and most important religious site in Ecuador.

This amazing building is the largest architectural complex in all of South America's historic centers. Because of its size and beauty, it was once called "El Escorial of the New World". San Francisco is a true masterpiece of architecture. It mixes many different styles that were added over more than 150 years of building. It is also part of the UNESCO World Heritage Site "City of Quito".

The complex covers about three and a half hectares (that's like 7 football fields!). It includes thirteen cloisters (large courtyards), three temples, and a big Atrium. All together, it's about 40,000 square meters of buildings. Today, many things happen here. It's a place for religious life, but also offers health care, education, and other community activities.

Inside the church, you can find over 3,500 pieces of colonial art. These artworks use many different styles and techniques. Most of them belong to the Colonial Quito School of Art, which actually started right here! The complex also has a Franciscan library. In the 1600s, it was known as the best library in the Viceroyalty of Peru.

The complex is connected to the Plaza de San Francisco. For many years, this square provided water to the city from its central fountain. It has also been used as a market, a place for big gatherings, and a spot for people to meet and relax. The special curved staircase that links the square to the Atrium is very important in colonial American architecture. It makes the main building's Mannerist-Baroque front look even more grand.

History of San Francisco

Before the Spanish arrived, the land where the Basilica and Convent of San Francisco now stands was home to the royal palace of the Inca ruler Huayna Cápac. When the Spanish armies came closer, the indigenous general Rumiñahui ordered the city to be destroyed. This included the palace, which was burned and buried under a lot of rubble.

One of Rumiñahui's soldiers was the great-grandfather of a local man named Cantuña. Cantuña knew exactly what was buried there. Building the basilica and convent started around 1537. This was just three years after the Spanish founded the city. A temporary church was built first, lasting until 1550. Then, work began on the main building we see today. It was mostly finished around 1680, but officially opened in 1705.

How the Land Was Chosen

Two Franciscan priests from Europe, Jodoco Ricke and Pedro Gosseal, arrived in Quito two years after the city was founded. They were cousins of Charles V, Holy Roman Emperor, the King of Spain. They managed to get some land on the southwest side of the main square, Plaza Mayor de Quito. This spot was very important to the local people. It was where the military leaders of the Inca and Caranqui cultures had their camps. The Franciscans wanted to use this important place to teach the local people about Christianity.

Archaeological studies done during the basilica's renovation (1983-1990) confirmed this. They found old pottery from pre-Columbian cultures under the church, courtyards, garden, and square. This showed that the area was a central spot for the Inca and Caranqui cultures.

The city council of Quito first gave the Franciscans an area of land equal to two city blocks. But by 1538, after more land was given, the complex grew to more than three hectares. This large area faced the Plaza de San Francisco.

Building the Complex

"With all that I have invested in its church, and in the towers that stand out in the city, I should see them from here (from Madrid)"

First Building Stage

This stage lasted about fifteen years. It began in 1535 with a temporary church and living areas for the priests. Between 1551 and 1575, the main church, its front, and the atrium were built. By the mid-1650s, nearly a dozen more courtyards were added next to the main one. This was the most important building period for the complex.

No one knows for sure who designed the original plans. Some believe they were sent from Spain. Others think that architects came from Spain to build the monastery. They would have known how to use the sloping land to create the beautiful steps and walls. Some even think that Friar Ricke and Gosseal did all the design work themselves.

Basilica of San Francisco in 1840. This was before the 1868 earthquake that damaged its spires.

We do know the name of Friar Antonio Rodríguez, who was from Quito. He was a great architect in the mid-1600s. He designed a large part of the basilica and also the Church of Santa Clara. Old records from 1632 mention other workers: Germán de Alemán, Jorge de la Cruz, and his son Francisco. They worked on the basilica during Friar Jodoco Ricke's time. They were given land for their work, as the convent didn't have money to pay them.

Second Building Stage

This stage focused on decorating the inside and adding smaller architectural parts. It happened between 1651 and 1755. During these years, the Franciscan Order grew stronger. This meant more art was added to the church. However, a big earthquake in 1755 caused serious damage. It partly destroyed the beautiful Mudéjar artesonado ceiling in the main part of the church. Luckily, the 16th-century Mudéjar artesonado in the crossing and choir area is still preserved.

Repairs and Changes

The church, chapels, and courtyards of the Convent have been changed many times since the mid-1700s. This was mainly due to several earthquakes. These repairs can be seen as part of the building's ongoing story.

Third Stage of Reconstruction

This period of rebuilding happened between 1756 and 1809. Even though the Franciscan Order had less money, they worked hard to rebuild the convent. The inside of the church was redecorated. A new Baroque coffered ceiling was added to the main nave. It was designed to fit well with the rest of the building's style.

Modern Changes

From 1895 to 1960, the complex saw new uses for its spaces and became more modern. While San Francisco kept its main structure, new building techniques and materials were used for repairs. The city's modern services, like electricity, running water, sewerage, and telephone service, were also added to the convent.

Also, new areas like a museum, printing office, theater, radio station, and a private school were opened. This made the complex more open to the public over time.

Architecture of San Francisco

The design of San Francisco follows the classic style of Medieval monasteries. In these monasteries, the church was the main center. From there, courtyards (called cloisters) opened up. Around these courtyards were rooms like cells for the monks, the refectory (dining hall), the chapter house (meeting room), the cellar, and the parlour (talking room). The main courtyard was usually square with four galleries (covered walkways).

In San Francisco, the church is also the center. Four cloister galleries extend from it, all the same size. They still have elements from Medieval monasteries, like the refectory and the bedroom. However, there was never a specific gallery for a chapter house in San Francisco. We don't know exactly where all the other rooms were. But in 1647, a priest named Friar Fernando de Cozar mentioned rooms like the Room of Profundis, the Refectory, the Library (next to art and theology classrooms), the Gatehouse, and a small church with a sacristy.

The complex was like its own small world, just like Medieval monasteries. Besides the main rooms, it had areas for health, education, workshops, a garden, and even a jail to keep strict order. The kitchen, nursing area, and apothecary (pharmacy) were in the Services Cloister.

Bramante's curved stair design for his Belvedere Court project. This drawing was in an old book about architecture.

The San Francisco complex is also closely linked to the city around it. Three main areas connect it to the outside world:

• The plaza: This was a public space where religious and everyday activities mixed. It was used for markets, religious teachings, and water supply.
• The Atrium: This area was more sacred than the plaza but still had public uses. In the 1500s and 1600s, it was a burial place for common people. A special curved staircase leads to this space. It was inspired by a design by Bramante, found in Spanish translations of an architecture book by Sebastiano Serlio. The entire atrium is made of andesite stone from the Pichincha volcano.
• The church and chapels: These were the most sacred places for worship.
• The main cloister/courtyard was built between 1573 and 1581. It has two levels of covered walkways. The lower one has arches in the Mudéjar style with Doric columns. The upper one has different types of arches.

The complete front of the Basilica of San Francisco

• 

  The main courtyard.

• 

  The colonial fountain

Architectural Style

The original plans for the basilica changed many times during its nearly 150 years of construction. Earthquakes and changes in art styles caused these changes. The building ended up with a mix of styles, making it one of the most important buildings in Colonial Hispanic American architecture.

The front of the basilica shows early Mannerist elements, a style that appeared here first in South America. This made it a key example of the style on the continent. The strict Renaissance style on the outside is very different from the church's inside. The interior mixes Mudéjar and Baroque styles with lots of gold leaf, creating a stunning look.

Inside its three main sections (naves), San Francisco has Mudéjar artesonado ceilings. These are richly decorated wooden ceilings. It also has fancy altarpieces and columns of different styles. In the choir area, the original Mudéjar decoration from the late 1500s is still perfect. The central nave's ceiling collapsed in an earthquake and was replaced with a Baroque coffered ceiling in 1770. So, you see Mudéjar ceilings at the ends and Baroque in the middle. The altarpieces are full of images, mascarons (decorative faces), and cherubs.

The Convent completes the complex. Its main cloister is especially beautiful, with two levels of galleries surrounding a huge courtyard.

• 

  Interior

• 

  Main altarpiece of the church.

• 

  Detail of the ceiling.

• 

  Inside view of the church domes.

• 

  Rear view of the pipe organ.

Chapel of Cantuña

Inside the Chapel of Cantuña.

Entrance door to the Chapel of Cantuña.

This chapel was first called the Chapel of la Cofradía de la Veracruz de Naturales. It is one of the side chapels of the convent, located at the southern end of the atrium. It is dedicated to Our Lady of Sorrows and Saint Luke the Evangelist.

The Franciscans gave this chapel to the Brotherhood of the Veracruz de Naturales. This group was made up of the most skilled indigenous sculptors and painters in Quito. They started building it in 1581. Later, it was given to the Franciscan Third Order and another group called the Brotherhood of la Virgen de los Dolores.

The Brotherhoods of Veracruz wanted to make the chapel a treasure chest of unique artworks. The art collection inside, with oil paintings, frescoes, and sculptures, made it famous. People in Ecuador at the time called it the "Sistine Chapel of America".

The Brotherhood of Veracruz de Naturales placed a beautiful sculpture of Saint Luke the Evangelist on the main altarpiece. This sculpture, carved by Father Carlos, is considered one of the most beautiful wooden sculptures from the Colonial Quito School of Art. You can still see it on its altar today.

According to a famous legend, Cantuña was the son of Hualca. Hualca supposedly helped Rumiñahui hide Quito's treasures from the Spanish. When Cantuña was asked how he spent so much money, he claimed he had made a deal with the devil. Perhaps to make up for this, Cantuña gave a lot of his own money to finish the chapel. That's why it has been named after him ever since.

The Chapel of Cantuña is a small church with a single vaulted nave (main hall). It has a dome with a lantern that lets light into the space. The main altar and the pulpit are the most interesting decorations. They are believed to be the work of Bernardo de Legarda. This Baroque altarpiece has many decorative elements. It also features a magnificent group of sculptures called the Calvary group, which includes the Our Lady of Sorrows. Legarda carved the columns, panels, and many other beautiful parts. The niches are filled with his lovely sculptures. He even added mirrors and silver to the central niche.

The Chapel of Cantuña also has works by Caspicara. One of his best works here is the Impression of the Wounds of Saint Francis. This sculpture shows Saint Francis in pain and spiritual light. Another impressive statue is Saint Peter of Alcántara.

• 

  Colonial hand carved interior doors

• 

  Tomb of Francisco Cantuña and his heirs, at the basilica's Museum.

Works of Art

Jesús del Gran Poder, in the basilica Museum.

The San Francisco Complex is the birthplace of the famous Colonial Quito School of Art. Many artists from this movement started and grew their skills within its walls. Because of this, the complex is like a huge art gallery. It holds over 3,500 artworks from the 1500s to the 1700s.

Sculpture

The Virgin of Quito. The original sculpture is at the main altar of this basilica. (This photo shows a colonial copy in Germany).

At the main altar of San Francisco, which has a large baroque altarpiece covered in gold leaf, you can see two famous sculptures. These are the "Virgin of Quito" by Bernardo de Legarda and the "Jesus del Gran Poder" by Father Carlos. Both artists were important members of the Colonial Quito School of Art.

Here are some of the most well-known sculptures in the San Francisco complex:

The sculpture of the Virgin of Quito is very special because it looks like it's moving. The artist's niece, a lively girl, was supposedly the model. Copies of this statue are often given as gifts by the Quito city council to foreign visitors. The Jesús del Gran Poder is the main symbol of one of Ecuador's biggest religious parades on Good Friday. This parade brings together many people in a medieval style procession, similar to those in Seville, Spain.

The two side sections of the church are filled with sculptures of saints. These are placed on altarpieces covered in gold leaf. Many people kneel before them every day, asking for blessings.

Painting

The San Francisco complex is also a huge art gallery. It displays many paintings by famous artists from Quito and Europe. But its main treasures are the works from the Colonial Quito School of Art. This art style began in the courtyards of this very convent. Its fame spread far and wide, and today, you can find these artworks in important museums around the world.

Here are some of the most important paintings in San Francisco:

The basilica's choir stalls. Made in the early 1600s, their carved panels were created by Friar Juan Benítez from Quito.

The convent also has a series of 16 easel paintings displayed in the entrance hall. These are from the 1600s and are thought to be by Miguel de Santiago. Another collection, called The life of Saint Francis of Assisi, has 27 large paintings. These are located in the corridors of the main cloister and are attributed to different artists.

Plaza de San Francisco (Basilica and Convent of San Francisco) in the Historic Center of Quito

See also

In Spanish: Iglesia de San Francisco (Quito) para niños

• List of buildings in Quito