Travel Reference
In-Depth Information
combines a variety of architectural styles. The side door facing the plaza and main door look-
ing onto Calle Ortiz are both highly decorative seventeenth-century stone porticos carved in
the distinctive
mestizo-Baroque style
, while the square belltower with three balconies dec-
orated with statues of the Apostles and Evangelists dates from the late eighteenth century; the
clock in the tower, which still keeps perfect time, was made in London in 1772.
The decor in the lavish
Neoclassical interior
dates back to 1826, with soaring pillars
painted in immaculate white and piped with gold, extravagant crystal chandeliers and
massive silver candlesticks. A side chapel houses the jewel-encrusted image of the
Virgen
de Guadeloupe
, the religious patron of Sucre. Painted in 1601 by Fray Diego de Ocaña, the
image quickly developed cult status, and wealthy devotees began sticking gold, diamonds,
emeralds and pearls to the picture as an expression of faith or in gratitude for wishes granted
and miracles performed. These were arranged in a more orderly fashion when the image was
laminated in gold in 1734, and though the popular saying that the value of the jewels would
be enough to pay off Bolivia's international debt is probably an exaggeration (as well as a
veiled critique of the wealth of the Church compared to the poverty of many Bolivians), the
glittering opulence of the bejewelled Virgin is astonishing nonetheless.
Museo Eclesiastico
The entrance to the museum is beside the cathedral on Calle Ortiz • Mon-Sat 10am-noon & 3-5pm • Bs20
Although it is open in the mornings for Mass, the best way to see the cathedral - and the Vir-
gin - is as part of a visit to the
Museo Eclesiastico
, which boasts a fine collection of colonial
religious art. Visits are by
guided tour
only, so it's best to turn up shortly after opening, as
otherwise you may have to wait a while for the next group to form; tours last about an hour.
Among the paintings on display is a series of portraits of saints by the Cochabamba-born
master of the mestizo-Baroque style, Melchor Pérez de Holguín, as well as several works
in a much more European style by the sixteenth-century Italian-born Jesuit Bernardo Bitti,
who studied under Raphael. There's also a substantial hoard of finely crafted silver and gold
religious paraphernalia, much of it encrusted with gems, further evidence of the enormous
wealth that flowed through Sucre (and the Church) during the silver-mining boom in Potosí.
Iglesia de San Felipe Neri
Two blocks southwest of Plaza 25 de Mayo on Calle Ortiz • Roof access Mon-Sat 2.30-6pm • Bs10
The formidable Neoclassical bulk of the
Iglesia de San Felipe Neri
, with its two tall bell
towers was built in the last years of the nineteenth century. This is the only building in the
city not painted white - its tall brick and stone walls have been left bare, as they have been
throughoutitsexistence.Thechurchitselfisrarelyopentothepublic,butyoucangetuponto
its roof to enjoy the splendid panoramic views across the city - access is via the adjoining
former monastery, which boasts an elegant colonial courtyard surrounded by arched cloisters
on two levels, and is now a school.
