Basilica and Convent of Santo Domingo, Lima

The exterior of the church was originally covered by bossage, as can be seen still at the base of the bell tower. A primitive portal, two bodies and three streets, was carved in the second half of the 17th century. In later years a new portal would rise because of the earthquakes that destroyed the church.

The church was restored after the Earthquake of Lima and Callao of 1940, that supposed the application of cement in the walls.

Cloister and bell tower

The first bell tower of the church, of baroque style and three bodies, was designed together with the church by Diego Maroto in the second half of the 17th century and was destroyed during the earthquake of 28 of October 1746.

The present bell tower was conceived and designed by the Viceroy Manuel d'Amat i de Junyent in 1766 in the Rococo style, being in the bottom of octagonal form. It is divided into a lower body and two tall bodies with small balconies on corbels. At the top is the sculpture of a figure holding a trumpet, representing the angel who announces the Final Judgment. The total height is 46 meters, and is considered one of the most characteristic elements of the religious complex. The base of the bell tower still preserves the bossage that once covered the facade of the first church.

The total height is 46 meters. Its original color is white and pink, becoming the most characteristic and striking element of the religious set.

The church is divided in a main nave covered by rib vault and two lateral naves of interconnected and lantern chapels, in which also is the lateral portal of the church, the access to the tower and, next to the epistle, an entrance to the main cloister of the convent. The main nave has an additional entrance to the feet preceded by the narthex (space where religious instruction was given to the natives or those who were not baptized), on which is the high choir of the church.

In the chorus of the church is the one that is considered the oldest ashlar masonry of the country. Completely worked in wood of cedar brought from Nicaragua, it is of Renaissance style, with Mannerist elements.

It has two sets of stalls: the first level was modernly sculpted, with the design based on the old. The originals are in the back, bearing in the back carvings of saints and other biblical characters. In the central part of the ashlar is the main seat of the prior of the convent, with carvings of Saint Dominic and Saint Francis of Assisi founders of the Dominicans and The Franciscans, respectively. The seat of the choir was carved by several artists among which Juan Martínez de Arrona (1562 -1635) would be outstanding.

Chapel

Altarpiece and apse

As mentioned previously, the enclosure is formed by three naves, of which the lateral ones are composed by chapels in which are located several reredos. On the side portal from left to right we find the following reredos or altarpieces: Next to the Gospel, the altarpieces of St. Hyacinth of Poland, Saint Joseph, Saint Dominic and Our Lady of the Rosary; and on the side of the Epistle those of the Peruvian Saints, the Souls, St. Thomas Aquinas, Sacred Heart, Chapel of the Lord of Justice and the Chapel of the Co-fraternity of the Rosary.[2]

The most important is the altarpiece of the Peruvian Saints, of neoclassical style, located in the right transept of the church. In the center is the effige of St. Rose of Lima, to the left side this of St. Martin de Porres and to the right St. John Macias, that in spite of being born in the Iberian peninsula, is considered Peruvian because he developed his religious life in Lima. At the bottom of these images are reliquaries where the remains of each saint mentioned above rest. In the lower part of the altar there is a sculpture of St. Rose of Lima, made by the Maltese artist Melchor Caffá in 1669, on behalf of the Pope Clement IX to give it to the Dominican fathers for his beatification.

In the left transept is the altarpiece dedicated to the Patroness of Lima and titular of the church, Our Lady of the Rosary. In neoclassical style, it conserves in its main niche the effigy of this invocation "que fue la primera de este Reyno" (that she was the first one of this Kingdom). According to tradition it was given to Lima by King Charles V, Holy Roman Emperor. It was specially venerated by Rose of Lima and Martin de Porres, among others, and was crowned solemnly in the year 1927.

The altar is of neoclassical style with decoration in turquoise and gold.

The chapter house in the 1920s and at the present.

It is called the Chapter House because all the friars were gathered by chapters in order to choose their authorities and solve their problems, the room was made in the 17th century, in Baroque style by the Friar Diego Maroto member of the Order, architect born in Camarena (current province of Toledo, Spain). In 1551 in this same stage the University of San Marcos is inaugurated. Its existing tribune or chatedra is used in the 17th century to dictate classes or support thesis, made in the baroque style, has solomonic columns, presents a painting of St. Thomas Aquinas, to the front is a small reredos where the Christ of the agony is venerated, before which Martin de Porres was ecstatic and embraced to whom it was seen.

Artesonado dated to 1580 in the guest room

Here the fathers receive their authorities and relatives. The most noteworthy feature of this room is its artesonado ceilings dated to 1580, made of three thousand pieces held together by pressure without the use of nails. In this place the notes of the National Anthem of Peru were composed by José Bernardo Alcedo.

Composed of four galleries, decorated with Sevillian azulejos dating from 1604 and 1606;[3] the paintings that present passages of the life of Saint Dominic, founder of the Dominican order, were contracted in 1608 by the provincial superior of the Order of Saint Dominic in Peru with the Sevillians Miguel Güelles, disciple of Juan de Uceda and his collaborator, Domingo Carro.[4] At every corner of this cloister there is a reredos with biblical representations. These galleries have artesonado ceilings carved of oak from Panama; the cloister also features a bronze home stoup, ordered to be built by the Dominicans, very famous for being where St. Martin de Porres, according to the writer Ricardo Palma, washed the bread of blond sugar turning it into white.

The important library and one of its incunable books.

One of the most worthy places to visit is the library, not only for the value of the writing works, but also for the coffered ceilings. This hall houses the oldest books that the Dominicans used, being among these, incunables. The Library of the Convent has around 25,000 books, among them several bibliographical collections of great value.

Currently it is in the space of the old dining room.

Of simpler construction, in a corner you can see a sculpture in marble from Carrara (Italy) that represents the Christ of the Column. Cloister composed of two floors; the first one presents arches with bossages, and the second floor with baluster of trilobulated arcs.

Lateral nave where the remains of St. Rose of Lima, St. Martin de Porres and St. John Macias rest.

Place where St. Martin de Porres had its cell being destroyed by the earthquake of 1746. Due to the faithful and donations of the Church, a chapel is built in the place where he also had his nursery. It has an altar where its effige is venerated, having to its sides to Saint Dominic and St. Francis of Assisi and in the superior part the Virgin of the Rosary. In the burial rest his remains and an urn where the timbers of his bed are conserved. On the walls you can see paintings depicting Martin de Porres's miracles. In the back of the chapel is located his bedroom. Also it emphasizes the Oratory of the saint, small atmosphere under the stairs where Martin frequently prayed and was tempted by the devil. Today you can see the great amount of gifts brought to him by his faithful devotees. At the top is a wooden cross with which it is remembered that in this same place St. Martin removed the temptations of the evil one.

Located in the place that was an old cemetery where the first religious of the order were buried. An ossuary of several meters of depth where the bones of the time were placed. The tomb of marble where the remains of St. Rose of Lima are buried, are in the center of the environment that is decorated with mosaics. On a memorial plaque it reads: "Hago donación de mi cuerpo a mis hermanos Dominicos" (I make a donation of my body to my Dominican brothers). This phrase explains the gratitude of having belonged to the Tertiary Dominican Order.

View at the entrance of the basilica