Iglesia y convento de San Francisco de Asís (18th century)
The church which had been built on the site where the convent stands today was seriously damaged after two tropical storms in 1680 and 1692, finally losing its tower due to a hurricane in 1694. In 1730, serious reconstruction works were begun and the arrival in Havana of Bishop Brother Juan Lazo de la Vega in 1737 gave the final impetus that was needed to complete the works. For many years it was considered the city's most elegant and important building. The ground plan was in the shape of a Latin cross with domed ceilings, while its 42 meter-high tower was then considered the tallest in Havana and the second highest in Cuba after the Iznaga Tower (45m) in Trinidad. Once more in 1846 a hurricane would come to destroy part of the building, this time the sculpture that crowned the tower, which was later rebuilt. San Francisco marked the starting point for the procession of the Stations of the Cross on Good Friday that ended at the Humilladero Chapel at the Plaza del Cristo. During the year of the British control over Havana, it was used for Anglican services and in 1841, when the Order of San Francisco was reinstated, Queen María Cristina of Spain ordered the closure of the building and the transfer of the members of the religious order. In 1907, the property was purchased by the government. Today it is a concert hall, the Museum of Sacred Art, a centre for art exhibitions and a theatre hall.
The church which had been built on the site where the convent stands today was seriously damaged after two tropical storms in 1680 and 1692, finally losing its tower due to a hurricane in 1694. In 1730, serious reconstruction works were begun and the arrival in Havana of Bishop Brother Juan Lazo de la Vega in 1737 gave the final impetus that was needed to complete the works. For many years it was considered the city's most elegant and important building. The ground plan was in the shape of a Latin cross with domed ceilings, while its 42 meter-high tower was then considered the tallest in Havana and the second highest in Cuba after the Iznaga Tower (45m) in Trinidad. Once more in 1846 a hurricane would come to destroy part of the building, this time the sculpture that crowned the tower, which was later rebuilt. San Francisco marked the starting point for the procession of the Stations of the Cross on Good Friday that ended at the Humilladero Chapel at the Plaza del Cristo. During the year of the British control over Havana, it was used for Anglican services and in 1841, when the Order of San Francisco was reinstated, Queen María Cristina of Spain ordered the closure of the building and the transfer of the members of the religious order. In 1907, the property was purchased by the government. Today it is a concert hall, the Museum of Sacred Art, a centre for art exhibitions and a theatre hall.
Convento de Santa Clara de Asís (17th century)
The concern of Havana's best families over the fate of their unmarried daughters led to the construction of this convent, given that not only in Havana but 'inland.there are many maidens who are daughters of the same parents who do not have the means to marry them off in accordance with their status'. The royal license was granted, the money was collected and construction works began in 1638 and completed in 1643. The convent was subsequently rebuilt and included extensions to the cloisters and smaller but continued changes which ended in the construction of the second floor for tall cells, the completion of the church, an infirmary and an orchard. In 1922, the building was abandoned by the nuns due to its dilapidated state. Repaired and open to the public for the first time, it was purchased by fraudulent means by the Department of Public Works. Open once more to the public, its bare exterior walls contrast with the richness of the interior. Today it houses the Centro de Conservación, Restauración y Museología (CENCREM), the organization responsible for restoring artefacts.
The concern of Havana's best families over the fate of their unmarried daughters led to the construction of this convent, given that not only in Havana but 'inland.there are many maidens who are daughters of the same parents who do not have the means to marry them off in accordance with their status'. The royal license was granted, the money was collected and construction works began in 1638 and completed in 1643. The convent was subsequently rebuilt and included extensions to the cloisters and smaller but continued changes which ended in the construction of the second floor for tall cells, the completion of the church, an infirmary and an orchard. In 1922, the building was abandoned by the nuns due to its dilapidated state. Repaired and open to the public for the first time, it was purchased by fraudulent means by the Department of Public Works. Open once more to the public, its bare exterior walls contrast with the richness of the interior. Today it houses the Centro de Conservación, Restauración y Museología (CENCREM), the organization responsible for restoring artefacts.
Iglesia del Santo Cristo del Buen Viaje (17th century)
Erected in 1640 simultaneously with the Plaza del Cristo around the ermita del Humilladero-the final station of the Vía Crucis or procession of the Stations of the Cross on Good Friday which began at the San Francisco de Asís convent-very little remains of the original building. The present edifice, which still holds religious services, was enlarged with three new sections and chapels. Around the mid 18th century, a new façade was also built and the ground plan adopted the shape of a Latin cross. The octagonal-shaped towers on the façade are a rarity in Cuban religious architecture, as well as the unusual balcony at the centre of the façade. In 1932 two new naves were added escorting the old single one. Despite the numerous changes, it still has the spirit of a colonial building.
Erected in 1640 simultaneously with the Plaza del Cristo around the ermita del Humilladero-the final station of the Vía Crucis or procession of the Stations of the Cross on Good Friday which began at the San Francisco de Asís convent-very little remains of the original building. The present edifice, which still holds religious services, was enlarged with three new sections and chapels. Around the mid 18th century, a new façade was also built and the ground plan adopted the shape of a Latin cross. The octagonal-shaped towers on the façade are a rarity in Cuban religious architecture, as well as the unusual balcony at the centre of the façade. In 1932 two new naves were added escorting the old single one. Despite the numerous changes, it still has the spirit of a colonial building.
Convento e iglesia de Nuestra Señora de Belén (18th century)
With the arrival in Havana of the first members of the Order of Bethlehem, arrangements were made to build a convent for them with the collection of alms and the contribution of Bishop Diego Evelino de Compostela. The edifice, which is located in Compostela Street between Acosta and Luz, was completed in 1718 and served as headquarters for this religious community until 1842 when the property was confiscated by the Spanish Colonial Government. Permission had been granted in 1772 to lay a vaulted arch over Acosta Street in order to connect the convent with several houses that had been purchased on the other side of the street, thus enlarging the property. The building was occupied by the vice-captain general and by an infantry battalion until 1854 when the Society of Jesus was re-established and the Jesuits took possession of the convent in compensation for the property that had been confiscated a century before. Historian Félix Arrate spoke with much respect of this church whose ground plan had the shape of a cross, domed ceiling, and stone statues and pictures of religious figures, home today of the Office for Humanitarian Affairs of the City Historian's Office.
With the arrival in Havana of the first members of the Order of Bethlehem, arrangements were made to build a convent for them with the collection of alms and the contribution of Bishop Diego Evelino de Compostela. The edifice, which is located in Compostela Street between Acosta and Luz, was completed in 1718 and served as headquarters for this religious community until 1842 when the property was confiscated by the Spanish Colonial Government. Permission had been granted in 1772 to lay a vaulted arch over Acosta Street in order to connect the convent with several houses that had been purchased on the other side of the street, thus enlarging the property. The building was occupied by the vice-captain general and by an infantry battalion until 1854 when the Society of Jesus was re-established and the Jesuits took possession of the convent in compensation for the property that had been confiscated a century before. Historian Félix Arrate spoke with much respect of this church whose ground plan had the shape of a cross, domed ceiling, and stone statues and pictures of religious figures, home today of the Office for Humanitarian Affairs of the City Historian's Office.
Catedral de La Habana (18th century)
The order of Jesuits had been trying to establish themselves in Cuba since 1645 when the town council discussed the matter and the possibility of finding a home for the order. Their entry in the Island was formally requested in 1656, and in 1682, approx 37 thousand pesos in alms had been collected for the construction of their church. In 1727, a plot was granted for the school and the church, whose building works began in from 1748 to 1750. in addition, the Bishop Brother Gerónimo Valdés explained to the King of Spain that Havana's Parroquial Mayor (main parish church), located on a corner of Obispo Street of Plaza de Armas, was 'completely in ruins and its walls were crumbling', and insisted on the need of another building 'worthy of this city'. In the middle of the construction works, by royal decree, the Jesuits were expelled from every Spanish possession; consequently, they had to leave Cuba and their property as confiscated by the colonial Government. The works of the church were interrupted, as it was decided that the edifice would be dedicated to the main parish, which was completed in 1777. In 1782, the church was consecrated as the Cathedral of Havana, being officially confirmed in 1793. Two towers, different in size, one on each side of the building, emphasize its unique Baroque style, which, perhaps due to the rustic materials that were used, it is devoid of the profuse sculpted ornamentation so frequent in other cathedrals of the continent. Its square openings have been many times repeated on other Cuban buildings, this too being an element that departs from the classical edifices of those days. Early in the 19th century, the baroque altars were replaced by neoclassical ones, urged by Bishop Espada, a fervent admirer of Neoclassicism.
The order of Jesuits had been trying to establish themselves in Cuba since 1645 when the town council discussed the matter and the possibility of finding a home for the order. Their entry in the Island was formally requested in 1656, and in 1682, approx 37 thousand pesos in alms had been collected for the construction of their church. In 1727, a plot was granted for the school and the church, whose building works began in from 1748 to 1750. in addition, the Bishop Brother Gerónimo Valdés explained to the King of Spain that Havana's Parroquial Mayor (main parish church), located on a corner of Obispo Street of Plaza de Armas, was 'completely in ruins and its walls were crumbling', and insisted on the need of another building 'worthy of this city'. In the middle of the construction works, by royal decree, the Jesuits were expelled from every Spanish possession; consequently, they had to leave Cuba and their property as confiscated by the colonial Government. The works of the church were interrupted, as it was decided that the edifice would be dedicated to the main parish, which was completed in 1777. In 1782, the church was consecrated as the Cathedral of Havana, being officially confirmed in 1793. Two towers, different in size, one on each side of the building, emphasize its unique Baroque style, which, perhaps due to the rustic materials that were used, it is devoid of the profuse sculpted ornamentation so frequent in other cathedrals of the continent. Its square openings have been many times repeated on other Cuban buildings, this too being an element that departs from the classical edifices of those days. Early in the 19th century, the baroque altars were replaced by neoclassical ones, urged by Bishop Espada, a fervent admirer of Neoclassicism.
