Iglesia de San Francisco de Asís (Santa Cruz de Tenerife)

The Parish Church of San Francisco de Asís ( Parish Church of San Francisco de Asís ) is the church of the former Franciscan monastery of San Pedro Alcántara in Santa Cruz de Tenerife.

History

King Charles II in 1676 approved the establishment of a Franciscan monastery in Santa Cruz de Tenerife. 1677 has started with the construction of the monastery.

The construction of the monastery, which was given the name San Pedro de Alcántara, was completed in 1680 with the help of a grant of Bishop García Ximénez now. As a church served the chapel of Nuestra Señora de la Soledad, which its founder Tomás de Ayala had ceded to the Franciscans.

In the years 1705-1710 a tower of dressed stone on the plans of living in the monastery José Pérez was created. In this three bells were hung. The monk also designed the main sanctuary, which was built in this period. The crossing and the entire main chapel were built by Andrés Rodríguez Bello 1713-1715.

The construction of the monastery and its church received a new impetus thanks to the contributions of Bishop Lucas Conejero, who preferred instead of Las Palmas de Gran Canaria, the actual bishopric to live in Santa Cruz. He chose in the period 1718 to 1724 the Franciscan monastery to his residence. While his presence and Thanks to him, the church organ was purchased, completed the main altar, raised the roof and the altar are gilded. An illustration of this bishop depends on the right side of the main altar space above the door to the sacristy. The main altar was covered with stone slabs of the Canary Islands and Dutch bricks. There was a monastery cell, called the cell of the bishop, built, direct access from the monastery offered by a corridor and a staircase to the choir.

Between 1760 and 1762, a second ship on the left, the south side was built. The construction of a new tower at the end of the 18th century led to an ongoing dispute with the parish priest of Nuestra Señora de la Concepción (Santa Cruz de Tenerife). The pastor of the church could not take action against the tower of the monastery was higher than that of its church law. But the monks had suspended four bells in the tower. The parish priest found out that there was an old Papal Bull from the beginning of the 15th century, which did not allow the monasteries to own more than a bell. He therefore appealed to the Bishop's Ordinariate against it. In fact, possession of the monastery, as is apparent from the inventory of 1708, has always been at least three bells. However, this did not hang in a tower, which was higher than that of the parish church. The monks defended themselves with a bull of Pope Innocent XI. of 12 February 1685 the previous one of Pope John XXII. picked up. However, this referring to the Dominican Order. The bishop Cervera, who was himself a Franciscan reform of the Order of San Pedro de Alcántara, gave instructions that the monks should at least depend on a bell. As it was for them to the honor of the patron, the Franciscans went to Rome, where she. Pius VI were granted the right to hang as many bells in the tower, as they wanted. The parish priest then gave for his church with a tall tower in order. The Franciscans, however, hung in its tower of up to five bells, the last in 1792.

The church was used in the dissolution of the monastery during the disentailment in Spain from 1821 as additional parish church of the parish of Concepción. 1824, the church was closed. The monastery was finally lifted after some back -and-forth in 1835 as part of the disentailment in Spain. The church was used from 1848 again as a parish church of the municipality of Concepción. From 1850, the church was the parish church of an independent parish. In 1907, the church was in a ruinous state, so they had to be closed one year for renovations. The buildings of the monastery were, demolished in 1929, with the exception of the church tower. In their place, the current courthouse and the building of the museum was built. At the site of the monastery garden of the Plaza del Príncipe de Asturias (Santa Cruz de Tenerife ) was applied. Another fundamental renovation was the church building in 1970. The church was declared on 23 December 2008 Bien of Interest Cultural.

Exterior

The facade is divided into three parts, corresponding to the three ships. The main entrance in the center consists of a semicircular arch, framing the spiral columns. Above the entrance is closed by a snap gable in which a niche is with the image of the patron saint. In the upper gable area there are circular window. The entrances to the aisles have plain round arch. Above that window are in a semicircular arc. The front end with a ledge interconnecting the three bodies.

Interior

The building has a rectangular plan and is divided into three naves separated by arches, which are based on strong pillars of red tuff. The nave has rectangular windows on the sides. The ceiling of the nave and the two aisles have traditional Canarian wooden ceilings. The floor is covered with square white and black stone slabs. There is an octagonal wooden pulpit, whose surfaces bear pictorial representations on a pillar of the nave and the left aisle.

Main altar

The main altar of the church is of particular importance to art history. It was carved in 1733 and in the years 1736-1739 vergoldet.Er is regarded as one of the most interesting of the archipelago. This is especially true for the exceptional crop and pictorial decoration. The figure of the Immaculate Conception is the work of originating from La Orotava artist Nicolas Perdigón Oramas. On the left side of the altar is a native of South America figure of Saint Francis of Assisi in the 18th century. The figure of St. Dominic on the right side is the work of an unknown artist of the 17th century. It comes from the defunct Dominican monastery in Santa Cruz de Tenerife. The ceiling of the chancel bears paintings in the Portuguese style, representing the Coronation of the Virgin by the Trinity. The side walls show z.T. in grisaille, which are the artist Carlos Acosta attributed scenes that relate to the Eucharist. The areas above the arches between the aisles and the chapels are covered with fresco paintings from the late 18th century. A particularly interesting applies the paint on the field over the arch between the nave and the altar room. It shows a representation of Mary Immaculate, who, assisted by Charles III. and the Franciscan Order, fights for the dogma of the Immaculate Conception.

Chapel of the Señor de las Tribuliciónes

The chapel on the front wall of the right aisle is a chapel of Louis IX. (France) built in the years 1721-1722. For many of the faithful of the city of Santa Cruz de Tenerife is the altar of the " Señor de las Tribuliciónes ", which is located in this chapel, the main altar of the Kirche.Die plastic was South or Central America produced according to a traditional Indian method. The bust is in the interior of processed corn leaves and corn stalks filled mark. This fabric strips are embedded. The whole is covered with a plastic mass from the pith of corn stalks and a binder, which is obtained from plant onions. It is equipped according to the holidays of the liturgical year with different textiles. The fame of this sculpture based on the fact that an epidemic in 1893 ended after the sculpture was brought through the city streets in a procession. For this reason it is known as the " Señor de Santa Cruz ".

In the side niches are the figures of Santo Domingo de la Calzada and the San Expedito, above the Señor de las Tribulaciones San Alfonso María de Ligorio, below the Señor de las Tribulaciones of blessing a baby Jesus.

On the right side wall of the chapel stands in a niche the figure of the Sagrado Corazón de Jesús.

Altar of Saint Joseph

The altar of St. Joseph is located in the right aisle of the church. It was built in the years 1730-1733. In the central niche of the altar is a statue of Saint Joseph and the Infant Jesus. In the upper part of the altar of the Holy Laurentius and St. John are paintings of Saint Francis represented.

Altar of Cristo de la Buena Muerte

The passage, formerly the Church and Monastery of association, is now covered by an altar in Neorenaisance style, which shows a " Cristo de la Buena Muerte ". He comes from the transition period between the 17th and 18th centuries.

Altar of Saint Anthony of Padua

The altar of St. Anthony of Padua is the last altar in the right aisle. It contains figures of Saint Anthony of Padua, Saint Cajetan of Thiene, Peter of Alcantara, of the Immaculate heart of Mary, Salvator of Horta, Luis Beltrán and St. Roch.

Hermano Pedro Hermano figure of Pedro de San José

The altar is dedicated to the first saint of the Canary Islands, the Hermano Pedro de San José Betancur. The illustration is from the year 2004.

Baptistery

In the right aisle is a baptistery under the stairs leading to the organ loft, furnished.

Altar the souls

The background of the Allerseelenaltars in the left aisle is a painting that coming from Tenerife painter Rafael Henríquez was born in 1737. It shows the intercession of St. Dominic and St. Francis of Assisi for the souls in purgatory.

Sueño de San José

The group of St. Joseph with an angel represents the " Sueño de San José "; they form in the left aisle of the counterpart to the figure of Hermano Pedro de San José.

Altarpiece of the Virgin of Consolation

In this altar are in the middle of the Virgin of Consolation from the 18th century, left the Saint Clare of Assisi in the 18th century, as well as the right of Saint Rita ( from 1945 ) to the center below the figure " Our Love woman of the seven Sorrows " presented (a small to bekleidende figure).

Altar of Saint Buenaventura

This altar is located in the left aisle. He was gilded in 1740. In the lower niches are the statues of the Holy Buenaventura, of St. Blaise of Sebaste, and St. Francis of Paula.

Chapel of the Virgen del Retiro

Located on the front wall of the left aisle, the chapel of the " Virgen del Retiro " with the " Virgen de los Dolores ," the artist Luján Pérez from the 18th century in the center. The figures of St. John the Baptist and St. Lucy of Syracuse can be seen in the side niches. the altar was created in the years 1751-1753.

707936
de