“The tuth is that I never wanted to get away from you, but I had no other choice. My dad pushed me all this time to go to the University of Oxford. But you know what? Finally, I thought about it very well, and sincerely I’ve always lost all my friends for changing of country, and this time I was not going to allow it. I didn’t want to lose you. I thought that if we started to be together and then I had to go and leave you I would never forgive myself. That’s why I invented Fer’s thing, and that’s why I’ve been so distant all this time. So really sorry, forgive me if I was wrong, I should have told you the truth from the beginning, but I couldn’t. But believe me, it was all to protect you, I didn’t want to hurt you. Luna, I’ve never felt anything so strong for anyone. I never thought that I would love someone like I love you.”
The monastery of Santa Catalina, Arequipa, Peru: The cells.
As was customary in sixteen century nunneries throughout the Viceroyalty of Peru, the monastery of Santa Catalina in the city of Arequipa is arranged in what can be called an urban pattern. In this particular arrangement, the nuns´ cells are located along narrow streets and small plazuelas, unlike its masculine counterparts where the cells are placed surrounding the cloister.
These cells are in reality small houses, with several rooms and even small private patios where the kitchen is located. Each cell belonged to a nun who owned it until her death, being able to sell or transfer it to another nun as it was her private property. The cells in Santa Catalina are built in sillar, the soft, white volcanic stone characteristic of arequipeño architecture. Several roofing systems are used, from wooden pitched roofs covered tin ceramic tiles to stone vaults built with sillar.
Being an enclosed monastery, these cells were hidden from the eyes of the world fot nearly three centuries, until Santa Catalina was opened for public in the 1970´s.
Church of Santiago Apóstol, Pomata, Chucuito Province, Puno Region, Peru. Part 3: The main facade (c. 1794).
Facing a narrow street leading to the town´s square, the main facade of the church of Santiago at Pomata is more austere than the lavish lateral portal, but in no way less impressive. It was the last part of the church to be built and it consists of a portal within a projecting arch flanked by two huge tower bases. This particular arrangement, in which the portal is placed inside a deep projecting arch is rather common in Puno Region, and it is present in the churches at Lampa, Zepita, Vilque, Juliaca, among others. The portal is a large structure, three stories high - with a smaller fourth story- , with three bays framed by twelve columns, four on each story. These columns are different from those in the lateral portal, having a straight shaft carved in planiforme or mestizo style depicting a human figure holding vines entwined with flowers and leaves. The capitals seem to be highly stylized versions of the Corinthian order, consisting of two pairs of volutes in the first story and two rows of vertical leaves in the second and third stories. The entablatures, reduced to just a cornice, are also entirely carved with planiforme motives. The huge choir window, deeply splayed, occupies the second and third stories while shallow niches fill the rest of the spaces between the columns. The portal fits rather awkwardly within the projecting arch, with the outside columns of the third story not supporting its corresponding entablature.
Two huge tower bases flank the projecting arch that houses the portal. Of these, only the right base holds a belfry, while in the other an inscription states that it was built in 1794 (Quiroga año 1794). Over the base of the right tower two superimposed stories support the large belfry, composed of two arched openings on each of its four sides -an arrangement that resembles that of Cusco Cathedral - topped by a small dome over a cornice, surrounded by four pinnacles.