ST. FRANCIS V.O.T. CHAPEL
30 minutes
The Chapel of the Third Order of Saint Francis, popularly known as the Church of the Capuchins, is located on Ramón y Cajal street. This Baroque temple was designed by Andrés García de Quiñones in the mid-18th century. It was built over the northern apse of the church of the convent of San Francisco el Real, a convent founded in 1231 by disciples of Saint Francis of Assisi, which still preserves remains of the head of the old conventual church. Although the convent was destroyed in the 19th century, the chapel of the Franciscan tertiaries managed to survive the Peninsular War and the Disentailment. At the end of the 19th century, it was ceded to the community of the Capuchins, who built their new convent here.
Read More
In the Capuchin Convent, vestiges of two important moments in its history coexist: on the one hand, inside the current building are the imposing remains of the old Convento de San Francisco el Real; on the other, the Baroque chapel of the Venerable Third Order of Saint Francis is preserved, now used as the church of the Capuchin convent.
The Convento de San Francisco was founded around the year 1231 by disciples of Saint Francis of Assisi, occupying the site where the hermitage of San Hilario was located. Subsequently, the foundation was expanded thanks to the support of Infante Don Fadrique, son of Ferdinand III the Saint, who was buried in the main chapel of the church. His donations were joined by those of the Salamancan nobility, many of whose members also chose this convent as a burial place. The main chapel and the southern apse of the church, built in the 14th century, are still preserved. They feature pointed arched windows, exterior cornices decorated with human and animal heads, and Gothic vaults. The main chapel retains its magnificent stone altarpiece built in the 18th century. Its destruction began during the Peninsular War and continued with the ecclesiastical confiscations of the 19th century, which dismantled its ruins. The remains of the cloister were transferred to the old Hospital de la Santísima Trinidad, now converted into the Colegio de las Siervas de San José.
The chapel of the Third Order of Saint Francis was built in the mid-18th century over the northern apse of the Gothic temple of San Francisco, which housed the chapel of Santa Catalina. Works began in 1746 following the design of the architect Andrés García de Quiñones, although it was Simón Gavilán Tomé who completed them, taking charge of finishing both the presbytery and the main altarpiece. The church and the remains of the old Convento de San Francisco's plot are now occupied by the Capuchin friars. The Capuchins arrived in Salamanca in 1614 and remained here until the exclaustration of 1835. In 1898, the Capuchin community returned to Salamanca, settling in the church owned by the Venerable Third Order, which ceded it to them along with the adjoining house. In 1968, a building for university student residences was constructed, which became a college of philosophy and theology in 1974.
The Convento de San Francisco was founded around the year 1231 by disciples of Saint Francis of Assisi, occupying the site where the hermitage of San Hilario was located. Subsequently, the foundation was expanded thanks to the support of Infante Don Fadrique, son of Ferdinand III the Saint, who was buried in the main chapel of the church. His donations were joined by those of the Salamancan nobility, many of whose members also chose this convent as a burial place. The main chapel and the southern apse of the church, built in the 14th century, are still preserved. They feature pointed arched windows, exterior cornices decorated with human and animal heads, and Gothic vaults. The main chapel retains its magnificent stone altarpiece built in the 18th century. Its destruction began during the Peninsular War and continued with the ecclesiastical confiscations of the 19th century, which dismantled its ruins. The remains of the cloister were transferred to the old Hospital de la Santísima Trinidad, now converted into the Colegio de las Siervas de San José.
The chapel of the Third Order of Saint Francis was built in the mid-18th century over the northern apse of the Gothic temple of San Francisco, which housed the chapel of Santa Catalina. Works began in 1746 following the design of the architect Andrés García de Quiñones, although it was Simón Gavilán Tomé who completed them, taking charge of finishing both the presbytery and the main altarpiece. The church and the remains of the old Convento de San Francisco's plot are now occupied by the Capuchin friars. The Capuchins arrived in Salamanca in 1614 and remained here until the exclaustration of 1835. In 1898, the Capuchin community returned to Salamanca, settling in the church owned by the Venerable Third Order, which ceded it to them along with the adjoining house. In 1968, a building for university student residences was constructed, which became a college of philosophy and theology in 1974.
The chapel was built in the mid-18th century following the plans of Andrés García de Quiñones. From an architectural point of view, its exterior stands out for its sobriety, with an aesthetic close to neoclassicism. Amidst this austerity, the main portal stands out, located at the foot of the temple. The lintelled door, framed by a wide bolection molding, is flanked by two large composite-order columns. Above it, a crowned shield displays Franciscan symbols. Presiding over the ensemble is a shell-shaped niche housing the image of Ferdinand III the Saint (for others, it would be St. Louis IX of France), accompanied on the sides by two female figures placed on volutes.
From an architectural point of view, the space is characterized by its sobriety. However, upon entering the interior, the general impression is one of great Baroque style, due to the profusion of altarpieces distributed on both sides of the nave. The interior of the temple features a single nave covered by a barrel vault with lunettes. This nave is compartmentalized by pilasters that delimit four shallow arches housing stone altars.
The main chapel was built by Simón Gavilán Tomé. Both the apse shell, the altarpiece, and the side doors, made of Villamayor stone, are richly ornamented with foliage and rocaille. The altarpiece highlights the reliefs of the Stigmatization of St. Francis and the Holy Face. The side niches house two notable carvings of St. Louis and St. Isabel. In the center of the main altarpiece is the image of the Christ of Agony, a work carved in walnut wood by the sculptor Bernardo Pérez de Robles, known as 'El Indiano' (The Indian) due to his stay in Peru. The author donated the carving in 1671 to the Third Order under the commitment to be buried in the chapel and to have the bell rung every night in remembrance of Christ's agony.
The six altarpieces flanking the nave were also carved in stone. They feature exuberant decoration with a clear Churrigueresque influence. Those closest to the entrance contain the sculptures of St. Roch and St. Margaret of Cortona; the central ones, the images of St. Anthony of Padua and St. Joseph, and those closest to the presbytery, those of the Immaculate Conception and St. Francis of Assisi.
On the western wall of the church, just above the choir, an imposing 18th-century mural painting extends, a work by the artist Juan Simón Blasco Sando. The scene depicts the offering of the old convent's temple to St. Francis. In the foreground, the figure of King Ferdinand III stands out, holding the church's plan as a symbol of delivery. Behind him, St. Francis appears in a supplicant attitude, imploring the Virgin's protection. She, in turn, raises the petition to the Eternal Father, represented above seated on a throne of clouds.
From an architectural point of view, the space is characterized by its sobriety. However, upon entering the interior, the general impression is one of great Baroque style, due to the profusion of altarpieces distributed on both sides of the nave. The interior of the temple features a single nave covered by a barrel vault with lunettes. This nave is compartmentalized by pilasters that delimit four shallow arches housing stone altars.
The main chapel was built by Simón Gavilán Tomé. Both the apse shell, the altarpiece, and the side doors, made of Villamayor stone, are richly ornamented with foliage and rocaille. The altarpiece highlights the reliefs of the Stigmatization of St. Francis and the Holy Face. The side niches house two notable carvings of St. Louis and St. Isabel. In the center of the main altarpiece is the image of the Christ of Agony, a work carved in walnut wood by the sculptor Bernardo Pérez de Robles, known as 'El Indiano' (The Indian) due to his stay in Peru. The author donated the carving in 1671 to the Third Order under the commitment to be buried in the chapel and to have the bell rung every night in remembrance of Christ's agony.
The six altarpieces flanking the nave were also carved in stone. They feature exuberant decoration with a clear Churrigueresque influence. Those closest to the entrance contain the sculptures of St. Roch and St. Margaret of Cortona; the central ones, the images of St. Anthony of Padua and St. Joseph, and those closest to the presbytery, those of the Immaculate Conception and St. Francis of Assisi.
On the western wall of the church, just above the choir, an imposing 18th-century mural painting extends, a work by the artist Juan Simón Blasco Sando. The scene depicts the offering of the old convent's temple to St. Francis. In the foreground, the figure of King Ferdinand III stands out, holding the church's plan as a symbol of delivery. Behind him, St. Francis appears in a supplicant attitude, imploring the Virgin's protection. She, in turn, raises the petition to the Eternal Father, represented above seated on a throne of clouds.