CHURCH OF SANTIAGO DE POMATA
The vault of the chancel shows another symbolic representation; it features a mermaid in high relief playing the charango. She represents evil and recalls the temptations of the world. She is associated to the myth of the fish-women who sinned with St Bartholomew, one of the apostles of Jesus. For this reason, she is frequently represented in the Baroque churches of the coast.
CATHEDRAL OF PUNO
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ocated on the west bank of Lake Titicaca, 3,810 meters above sea level, the ancient town of Pomata was part of the archbishopric of La Plata and later of the diocese of La Paz. The primitive church ruled by Dominicans was replaced by the present building, begun and finished in the second half of the 18th century. Undoubtedly, it is one if the major churches of Peru, notable for its remarkable composition and mestizo Baroque decoration.
he altiplano area of Lake Titicaca benefited from the discovery of silver mines early in the 17th century and again with the finding of the mines at Laicacota. The prodigious wealth obtained and the differences among the peninsular Spaniards from rival regions of Spain fed disputes that led to a social conflict. The Viceroy, Count of Lemos, acted to resolve it ordering the execution of those involved and having fire set to the settlement that had arisen close to the deposits.
Inside the temple, the main altarpiece is handsome and richly decorated. It has three vertical divisions and two sections ending in an attic which follows the curve of the vault. Double twisted columns complement the divisions.
In 1788, when Puno belonged to the diocese of La Paz, the poor condition of the unfinished building and the need for repairs were reported. Thanks to a substantial donation from a lady mine owner, the church was completed in 1784. It had been planned for the town as it was in the 18th century, which is why its size is not what might be expected of a cathedral. That status was granted in 1867 when the bishopric of Puno was created.
The carved and gilt dolphins on the ornaments at the ends are most interesting. These beings have a trunk and pointed teeth, and each has a pineapple hanging from its mouth. They resemble the mythological creatures represented on the ceramics of Tiahuanaco. Their presence in cave topics is a symbol of resurrection.
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The ground plan is shaped like a Latin cross, the interior columns support transverse arches on which the barrel vault rests; niche chapels are formed on either side of the nave. In the transept, the dome has four windows that shed light on delicately carved stylized angels resembling garlands engaged in a circular dance. The pendentives are also embellished with a fine lacy carving of vases and foliage. Also for its single tower in Cusqueño style and the dome crowned by a turret. The simple back entrance built under a great arch contrasts with the significant side portal, which is crowned by a semicircular attic. The decoration is highly creative, containing figureheads with feline features on the pedestals and including Atlants, cherubim, chinchillas, pumas, birds, even a representation of the sun, an item forbidden by the Dominicans. In addition, there is a two-headed eagle, its heads crowned, the heraldic motif of the house of Austria.
In 1668, to complement these measures, he founded the town of San Carlos de Puno as capital of the province and Seat of the Royal Treasury. Construction of the church began shortly after the foundation and very soon alterations were introduced; the project was modified by segments in order to obtain a more important building. With the discovery of the mines at Carabaya the miners’ contributions for continuing construction of the church increased.
The church repeats the patterns of the cusqueño Baroque, with twin rectangular towers and one opening for
bells on each side, topped with a dome and lantern. As usual in the area, slim pinnacles adorn the four corners of the tallest part. The successful design with all its components studied and proportionate, is evidenced in the pilasters at the sides of the nave, which barely stand out. They support the formerets of the half-barrel stone vault, which are lighter in the interior and made to coincide with the outer buttresses that give character to the austere side walls and importance to the outside volume. The altarpiece front is undoubtedly the most remarkable component. The portal has three divisions at the first level topped by a trefoil arch. The bas-relief work includes a profuse decoration of mermaids, cherubs, child Atlants, quatrifolias and foliage covering the entire surface. The work covers the columns, the entablature, and the niches in a masterly expression of mestizo Baroque.
Bolivia Texts Lucía querejazu escobari
church of Copacabana
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he church of Copacabana is located on the shores of Lake Titicaca in a spot that has been a place of worship for more than one thousand years. The idol Copacawana, a divinity associated with water, was worshiped there. The place survived for the duration of the Inca government. Upon the coming of the Spaniards, however, a parish was founded there; later, Francisco Jiménez de Sigüenza would build there the church that harbors the miraculous image of Our Lady of Copacabana. The church was planned in the shape of a Latin cross with a tower and a vast atrium where the four posas chapels are preserved, as well as a monumental miserere chapel, of handsome construc-
tion, between the atrium door and the side door of the church. Construction began in 1631 and ended in 1651. It is remarkable that the Indian open chapel, backed by the main structure, is preserved. The name of the chapel means that the priest could preach from it to the congregation in the process of evangelization, who attended worship in the atrium and outside the church. Chapels of this type were employed because of the vast numbers of the faithful, but also, as they were not yet fully admitted to the faith, it was found preferable to conduct indoctrination in such fashion, so that when they were completely familiar with their new religion, they might enter the church and join the body of participating colonial society.
other means of transportation blessed by the priests of the church. The celebration is held at the door of the atrium, where the interested parties park their cars and decorate them with flowers and small reed rafts, garlands of kantutas, sugar, rice, and cinnamon to receive the prayer of the priest and holy water of the church, after which small firecrackers are let off to celebrate the event. In addition, a band of velvet or woven in the colors of the national flag and richly decorated, reading “Blessed at Copacabana” may be placed inside the car as a souvenir and proof.
church of Guaqui
Today, this chapel is almost invisible in the building, because of the growth of the town and of the ecclesiastical construction itself. The original arches were walled over, and the original structure is no longer visible. In addition, the subsequent constructions were performed adjacent to the chapel, unfortunately disfiguring it. Nevertheless, the greater complex of the church, with its imposing atrium and convent, is one of the major cultural and artistic attractions in the region. Another outstanding component of the religious infrastructure of the complex is the convent cloister. Its arches have columns in Ionic style and each section is covered by a small dome giving the whole a special character. The main altarpiece, built around 1580, is completely gilt, with part of the central section worked in silver to protect the tabernacle, the monstrance, and the chamber of the Virgin. The image of the Virgin was made by the Indian noble and sculptor Francisco Tito Yupanqui, who traveled to Potosi to learn the craft. There he found inspiration in the image of Our Lady of the Rosary in the church of Saint Dominic and sculpted the miraculous image of Our Lady of Candlemas, which was subsequently enthroned in Copacabana in 1584. Five years later, the parish was given over to the Augustinian monks, who placed a painting of Saint Augustine on the high altar, on top of the chamber of the Virgin. The Virgin of Copacabana is highly popular all over the country and in the neighboring area of Peruvian territory. Our Lady is celebrated on two occasions every year; on 2 February, which is the feast of Our Lady of Candlemas, and on 6 August, national feast day of Bolivia, when people come to the church to have their automobiles blessed. With this blessing the Virgin will protect travelers. It has thus become traditional to have all automobiles, buses, trucks, and
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uaqui is located on the southeast shore of Lake Titicaca on the road from La Paz to Tiahuanaco. It is known for having been the port where goods came and went for trade with Puno, on the Peruvian side of the lake. To facilitate transport of such merchandise towards La Paz, a railroad was built connecting the town with the city. This privileged commercial condition fostered the growth of the town and reinforces its festivities throughout the region.
abound in decoration and gilt filigree. The details of the silverwork around the monstrance are striking; they are the work of the Indian silversmith Pedro Nanabi in 1796. The chancel contains four large important canvases by Juan Ramos, one of the major painters of the so-called Collao school in 1796. The set includes four triumphs; one of The Name of Jesus, The Triumph of the Holy Family, The Name of Mary and finally that of the death of James. Over and above the magnificent collection, the most important image in the church is that of Tata Santiago. In the Andean region, devotion to the image of Santiago Matamoros is deeply rooted because of its links to the pre-Hispanic divinity known as Illapa. The image of Tata Santiago of Guaqui is celebrated every year from 23 to 25 July, and is the object not only of devotion but also of profound reverence because, as the people say, he is an outspoken saint. In 2005, Tata Santiago was promoted general by the Armed Forces of Bolivia; as a result, he is no longer dressed like the apostle but in army uniform, wearing a hat and often carrying sunglasses, watches, and other accoutrements of a high-ranking military officer, everything worked in precious metals and rich cloth. For the feast, which grows larger and more crowded each year, the faithful from other areas and from the town organize groups to dance in the main square in homage to the saint. The latter, however, cares only for morenadas, dance of black people or people disguised as blacks, so the feast is mainly a parade of morenadas. On the twenty-fifth, the saint’s feast day, the faithful take the festivities on the lake and make offerings to him on rafts made of reeds.
The church of Santiago de Guaqui was built between 1784 and 1788. The primitive church arising from the first evangelization was torn down to build the great church now forming part of the town. The ground plan is in the shape of a Latin cross, with a single nave and a dome to close the crossing. Inside, the dome is decorated with wall paintings in temper depicting the four Evangelists on pendentives and floral foliage on the principal arch and parts of the chapels of the transept. Two great belfries frame a rather austere portal, with flower vases carved in the stone and helicoid pillars adorned with foliage climbing around them. All in the natural reddish hue of the stone in this area. The interior of the church shows fully developed mestizo baroque in the main altarpiece, the side chapels, the seventy-odd paintings and forty images assembled there. The carvings of the main altarpiece
church of Tiahuanaco
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he Tiahuanaco society seems to have become consolidated as a population concentrated close to the temples of the archaeological site around 800 B.C. By 500 B.C. the population was considerable and had grown larger than the neighboring societies, which
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