ACADEMIC REPORT

THE EVOLUTION OF PERUVIAN ARCHITECTURE

AUTHORS

Xxxxxxx

xxxxxxx

ADVISOR

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COURSE

COMMUNICATIVE COMPETENCE

ALPHA PROGRAM

TRUJILLO - PERU

2019
Content

Introduction......................................................................................................................................2

Chapter 1: Pre-Columbian Architecture............................................................................................4

1.1 Architecture during the Early Horizon...............................................................................4

Moxeque...................................................................................................................................6

1.2 Architecture during the Intermediate Horizon..................................................................7

Nazca Architecture........................................................................................................................9

Moche architecture.................................................................................................................11

1.3 Architecture during the Middle Horizon..........................................................................12

1.4 Architecture during the Late Intermediate......................................................................12

1.5 Architecture during the Late Horizon..............................................................................13

Chapter II: Architecture during the Viceregal Architecture.............................................................16

Chapter II: Architecture during the Architecture of the Republic....................................................22

Conclusions.....................................................................................................................................23

Bibliography....................................................................................................................................24
 Introduction

Precentation

Architecture is the art and technique of designing and constructing buildings. The concept comes
from the Latin architectura which, in turn, has origins in Greek.

It can be said that architecture is responsible for modifying and altering the physical environment
to satisfy the needs of human beings. Architects are not only responsible for developing
constructions based on their form and utility, but also follow aesthetic precepts. For this reason,
architecture is often considered one of the fine arts. (Definición.org, s.f.) .

The architecture of Peru includes a wide variety of construction styles developed from the year
3000 BC. C. to the present day in the current territory and surroundings of the modern state
known as Peru. Its long tradition covers different historical periods from Ancient Peru, the Inca
Empire, the Viceroyalty of Peru and the Republic to the present day.

Peruvian colonial architecture is the conjunction of European styles influenced by indigenous

imagery. Two of the best-known examples of the Renaissance are the Cusco Cathedral and the
Church of Santa Clara in Cusco.

After this period, the cultural mix reached a richer expression in the Baroque style. Some
examples of this baroque period are the Convent of San Francisco in Lima, the Cathedral of
Cajamarca, or the façade of the University of Cuzco and, above all, the churches of San Agustín
and Santa Rosa, in Arequipa, are its exponents. most beautiful.

In the Amazon, Iquitos has its historic center that collects unique buildings built during the rubber
fever, highlighting the Ex Hotel Palace, the Mother Church of Iquitos and the Casa de Fierro.

The wars of independence left a creative void that French-inspired Neoclassicism filled. The 20th
century is characterized by eclecticism, which is opposed by constructive functionalism. The most
important example is Plaza San Martín in Lima.
 Chapter 1: Pre-Columbian Architecture

1.1 Architecture during the Early Horizon

Opinion

Images in annexes

Conclusions per chapter

General conclusions

The Early Horizon is a stage of the High Cultures period, spanning from the birth of the
Chavín Culture to its decline, that is, it coincides with the historical development of that culture.
The first part of this stage corresponds to the period

The oldest construction found in Peru is that of Sechin, 5,500 years old(Universia Peru, 2008)
Its function was that of an administration center for the production, distribution and reserves of
food and also for worship. 302 stone monoliths were found. It is probably the largest complex in
all of America in the pre-Hispanic past.

According to the study of(Samaniego, 1980) , the Temple of Cerro Sechín is a quadrangular
building measuring 51 meters on a side with a perimeter wall of stones engraved on its external
face. The interior is arranged with several rooms and structures in adobe, with the walls painted
in bright colors and representations of mythological figures, also painted.
 Phase 1: (2210-2040 BC), the Clay Temple is built with polychrome clay friezes; Phase 2 3:
Renovations to the Clay Temple; Phase 4: (1,800 BC) Construction of the Central Building and the
façade of reliefs engraved in stone; Phase 5: Construction of lateral and southern platforms. They
adorn the entire contour of the Main Building (also called the Central Building). The engraved
monoliths were placed interspersing large ones with representations of Warriors / Priests with
stacks of 3 or smaller ones with representations of human remains.

SECHÍN ALTO

According(Chicoinea, 2008) The Sechín Alto complex is an immense architectural complex

from the Early Formative period of ancient Peru (2,000 1500 BC). C.). It is located in the province
of Casma in the department of Ancash, on the left bank of the Sechín River, east of the town of
the same name. It was first explored by Julio C. Tello in 1937, verifying that the largest mound is a
cyclopean building of 300 m. long, 250 m. wide and close 35 m. Tall. It is built from the base with
enormous stones, some weighing more than ten tons, carved in the openings and/or corners, and
almost in their natural shape on the walls, with a construction with hand-made conical adobes in
the upper and central part. and large in size, preserving some polychrome bas-reliefs and mural
painting.
LOW SECHÍN

In 2008 he announced the discovery of a circular plaza 10 to 12 m in diameter, built of stone

and rectangular adobes. Twenty-five carbon dating tests from the area showed an age of 5,500
years for said structure, which places it in the Late Archaic period.(Universia Peru, 2008) .

Fuchs and his team of German and Peruvian archaeologists determined three construction
moments in Sechín Bajo: The first, developed around 3,500 BC, which corresponds to the sunken
circular plaza. The second, which has not been determined, in which larger buildings began to be
built in an area adjacent to the sunken circular plaza, surely driven by population growth. The
third, around 1,600 BC, where a structure 180 m long by 120 m wide was found. In its first phase,
it has two large rectangular patios, which, in its second phase, are subdivided into four patios with
curved corners and walls with niches. Much of its architecture is made of edged stone brought
from the nearest hills, for which a large workforce was necessary, which implies sophisticated
forms of government and administration. (Fuchs, 1997)

The building, like the others, has a square plan with curved corners and a stepped pyramidal
shape. The unevenness was solved with stairs, also plastered with mud and painted. It has three
large diameter semi-sunken circular wells. Sechín was a farming village with an important
architectural complex with a political-religious function. First there is a preference for clay, due to
its plasticity, then they use stone to represent what was possible in clay. Sechín presents us with a
town divided into social classes, the priests and warriors assuming the leadership of the
community, while the artisans, peasants and perhaps prisoners of war become dependents. The
development of Sechín was during the early formative period, consolidating in Casma a society on
new socioeconomic and political bases, managing to establish a culture of the same name on the
entire coast of Ancash.

Moxeque
In accordance with(Kauffmann, 2002) One of the greatest scholars of Peruvian culture,
Moxeque deserves to be considered one of the oldest and largest planned cities in the Andes. Its
construction began in 1800 BC along with the appearance of ceramics and was inhabited until 900
BC It is located in an arid, flat and gently sloping ravine, lateral to the fertile and extensive valley
of Casma. The opposition of two main pyramids (Moxeque vs Huaca A) that form the main axis
(orientation 41º NE), and between them a succession of rectangular square. Minor constructions
of "intermediate architecture" (Residence Complex in the drawing) are arranged in strict straight
lines on both sides of the squares, which served as administrative centers of the mid-level
bureaucracy. For its planners, orientation, symmetry and opposition were very important
features and they adhered rigidly to their schemes. For site researchers, there is solid evidence
that the Pampa de Las Llamas Moxeque complex was an organized and planned city. (Williams,
1980)

An important feature to take into account is that the builders of Pampa de la Llamas
Moxeque not only paid attention to the order and position of the buildings on the ground
(planning in 2 dimensions), the height of the buildings was also part of the strict planning they
applied. Thomas and Shelia Pozorski cite the following example: The Moxeque pyramid is 32
meters high and the Huaca A pyramid is 12 meters high, but if we take into account the
unevenness of the ravine on which they are built, we will notice that in reality the tops of the
pyramids are at the same height (Williams, 1980) .

Moxeque is a stepped pyramid (with at least 6 platforms) with a slit or central corridor that
does not cross it from side to side and that divides the summit in two, according to Julio C. Tello,
who visited and described it in 1937, resembles the shape of a gigantic armchair and functioned
as the main temple of this city.

1.2 Architecture during the Intermediate Horizon

 Regional interaction during the Intermediate Period (500-1000 AD) in the central-southern
Andes (corresponding to the Middle Horizon in the Central Andes) is essential for understanding
the territorial expansion of pre-Hispanic states in the Andes. In this period, changes have been
found in settlement patterns and land use in Cochabamba in the transition from the Early
Intermediate Period (200500 AD) to the Intermediate Period. It has been suggested that, in this
last period, Cochabamba is colonized by the Tiwanaku society to exploit agricultural resources.
Indeed, the Intermediate Period is characterized by the presence of Tiwanaku style ceramics, but
this cannot be assumed as the presence of highland populations.

Most of the architecture of this civilization has careful planning and technology. Its
construction was advanced for the time.

Among the buildings, the sunken patios, stepped pyramids and platforms stand out. The
famous pyramids of the city are Akapana, Puma Punku, Kalasasaya and the semi-subterranean
temple, Kori Kala and Putuni. In addition to Puerta del Sol, the Ponce and Benett monoliths were
declared World Heritage by UNESCO in 2000. Three of the most relevant works of architecture
and sculpture of the Tihuanaco culture: La Puerta del Sol, Kalasasaya and Puma Punku (Davies,
1998) .

The door of the sun; This construction is located in the semi-subterranean courtyard and is
the most emblematic religious temple of the architecture of the Tihuanaco culture. This large
block of stone measures 3 meters high by 3.73 meters wide, and weighs approximately 12 tons.
This monolith is sculpted on its entire surface in flat relief. In the center is the god of Wands. This
door gives access to the temple of ceremonies in Tiwanaku. The huge stone was brought from a
distance of between 100 to 300 kilometers (Protzen & Nair, 2013) .

Kalasasaya, It is also known as the central courtyard of ceremonies and measures 126 meters
long by 117 meters wide. Its shape is rectangular and it is semi-subterranean. To go down, single
stone stairs with six steps are used, surrounded by a rock wall adorned by nail heads. In
Kalasasaya there are three recognized sculptures: the Ponce monolith, with a height of three
meters with zoomorphic shapes; the monolith El Fraile or God of Water, which represents a
mystical being and has a height of two meters; and the Puerta del Sol.

Puma Punku, It translates as Puma Gate and is recognized for its enormous stones and its
impressive cuts and location, which have an approximate weight of 131 tons. However, many are
smaller. As part of the work instruments, stone hammers were found throughout the andesite
quarries. These stones were ground and polished. They also used metal tools. The H-shaped
blocks represent a real mystery, as these stone blocks fit perfectly together.

Nazca Architecture
The architecture of the Nazca culture is mainly characterized by the construction of large urban
and ceremonial centers, and by the peculiar engravings on the ground. This culture developed in
the coastal areas of southern Peru, especially between 100 BC. and 800 AD; although much older
and later archaeological remains have been found in the region.

In this culture, the engravings on the ground stand out. They created them by removing deposits
of manganese and iron oxide that covered the stony surface of the desert, exposing the lighter
soil beneath, and placing the cleared stones along the edges.

These drawings are only visible from the air. Its motifs are animals, as well as straight lines and
geometric shapes.

Characteristics of urban centers

According to archaeological evidence, there was a substantial difference between the concept of
a ceremonial center and that of a city or housing nucleus, both in terms of the construction model
used and in the choice of where to erect the buildings.

Linear-shaped homes

The natural formations that extended to the river valleys favored the construction of homes.
Thus, the villages emerged in a linear manner and parallel to the central lines.

Delimitation through walls

The residential spaces were arranged on level embankments and delimited by retaining walls.
These were covered by roofs, supported by huarango poles (a desert plant species) and acacia
walls used as a barrier.
Cahuachi: example of Nazca architecture

The history of architecture of the Nazca culture is characterized by substantial changes in the use
of materials, construction techniques and organization of space. And Cahuachi, the most
important sacred site of the Nazca civilization, was no exception. This site was used for harvest
festivals, ancestor worship and burials. It is made up of a series of enormous ceremonial mounds
and plazas.

Cahuachi was built on the southern bank of the Nazca River, in the stretch where it runs
underground. The water table here would have survived most droughts. For that reason it was
considered a sacred place. Water was managed through underground aqueducts and cisterns
with terraced entrances, to irrigate the surroundings and ensure a constant supply.

Architectural features

The initial phase is distinguished by the use of quincha walls. The quincha is a traditional
construction system in South America. It is a framework made with cane or bamboo, which is
then covered with a mixture of mud and straw. In the later phases, adobe elements were used to
build the walls. These were originally conical in shape, later resembling bread. The final phase
was characterized by the substantial presence of artificial fill, and by the reuse of old adobe walls
and elements. Additionally, the use of public spaces varied, as well as the more exclusive spaces
located on the stepped terraces that give shape to the pyramidal constructions. The use of
separate rooms was maintained over time and intensified during the fourth phase of Cahuachi.
These were supported by columns on the outer perimeter of the temples. These temples were
interspersed with large public areas, such as plazas, ceremonial enclosures and corridors.

Main structures

Two structures stand out in this ceremonial center. The first is the Great Temple, whose
dimensions exceed 150 x 100 meters at the base, and 20 meters in height. This is located in the
center of the southern part of the site.

The second structure, the “Great Pyramid”, is located next to the Great Temple.

Ross, L. d. (2009). Art and Architecture of the World's Religions. California: ABCCLIO.

Ching, F.; Jarzombek, M. M. and Prakash, V. (2011). A Global History of Architecture. New
 Jersey: John Wiley & Sons.

Orefici,G. (2017). The function and distribution of space in the urban and religious centers of
the Río Nasca Valley. In R. Lasaponara, N. Masini, and G. Orefici (eds.), The Ancient Nasca
World: New Insights from Science and Archaeology, pp. 181196. Cham: Springer.

Bachir Bacha, A. and Llanos Jacinto, O. (2006). The Great Temple of the Ceremonial Center
of Cahuachi (Nazca, Peru). In Anthropological Dimension, year 13, Vol. 38, pp.4986.

Orefici, G. (2017). Cahuachi architecture. In R. Lasaponara, N. Masini, and G. Orefici (eds.),

The Ancient Nasca World: New Insights from Science and Archaeology, pp. 343362. Cham:
Springer.

Rodríguez Gálvez, H. (s/f). Quincha, a tradition of the future.

Cartwright, M. (2016, July 08). In Ancient History Encyclopedia. Retrieved September 26,
2017, from ancient.eu b

Moche architecture
The Mochicas took advantage of the materials that nature provided them for the construction of
their homes and ceremonial enclosures.

Since important rock quarries cannot be found on the coast, they used adobe (mud brick) and
quincha as raw materials, which is the use of cane and mud for the construction of the walls.

To support the buildings, mainly the houses, they used large carob tree trunks as columns.

The raw materials for construction and labor were obtained through tribute from the people, who
had to "give" their contribution to the State, both in materials (adobe for example) and in work.

This has evidence such as that on the bricks we find various marks that are like "the seal of each
family" and proof that the tribute has been fulfilled.

The Shape of the Huacas

The huacas or temples were built as proof of the greatness of the town in gratitude to the gods.
The Mochicas developed an important monumental architecture (the huacas) which highlights the
stepped and truncated pyramid shape that they gave them.

According to scholars, the truncated pyramid shape was acquired over the years, during which
different priests ruled over them, and each one was responsible for the construction of a part
since the part built by his predecessor was buried upon his death. This explains the cake shape
that these huacas take.

The monumental architectural complexes of the Mochica culture fulfilled religious or

administrative functions and are made up of several stepped terraces that cover the entire width
of the building, maintaining a symmetrical order with inclined ramps towards patios or plazas.

Architecture of the Mochica Culture

Regarding decoration, they made decorative motifs based on animals, plants, divinities and scenes
of daily life; it is not for nothing that they are considered the best ceramists of Ancient Peru. The
construction of houses were erected in small communities without forming large cities. The
houses contained their own patio and a gable roof for rain. Among the main architectures of the
Mochica Culture we find: Huaca de la Luna in Trujillo, Huaca del Sol in Trujillo, Huaca El Brujo in
Ascope.

The so-called Huacas del Sol and de la Luna are the most conspicuous exponents of the ancient
Moche capital. I visited the huacas as a child with my father and then as an architecture student,
however I was very interested in visiting them again recently, since it was inevitable to avoid
making a parallel between these adobe pyramids and the Temples of the Sun and the Moon in
Teotihuacan. , Mexico . To my surprise, the name Huacas del Sol y de la Luna was given to them
by Julio C. Tello, precisely in a reference to Mexican temples, but that do not correspond to the true
function of Peruvian structures. Another surprise was that instead of the Avenue of the Dead that
separates both temples in Teotihuacán, a city has been discovered buried between the two Moche
huacas.

1.3 Architecture during the Middle Horizon

1.4 Architecture during the Late Intermediate

CHIMÚ ARCHITECTURE

One of the characteristics of Chimú society is its rigid division into social groups and at the same
time one of the most accepted ideas is that the citadels were true palaces in which the select
nobility lived, almost completely isolated from the outside world. Their access was restricted,
these palaces not only served as elite homes but also gathered inside officials in charge of
receiving the products that the people gave as tribute.

It is also believed that there were artisans at the service of the nobles and that certain sectors of
the palace housed the servants and were clearly differentiated from the area inhabited by the
lords. It is assumed that each of the palaces gave birth to a ruler and that when he died, he was
buried in the sector of the funerary platforms. The palace still belonged to him and his relatives
continued to live in it, paying him homage. The next ruler had to build his own palace in which he
would live and be buried when he died. This means that the palaces were built one after the
other, as successive rulers died. The successors of the mythical Tacaynamo would have been
buried there, each one in his palace.

The characteristic feature of Chimu architecture is its friezes, which were made from clay and
were used to decorate the walls. These are flat relief figures that completely cover long walls. One
of the places where the greatest number of friezes is concentrated is in the capital city of
Chanchán with patios and passageways profusely decorated with geometric figures of fish and
birds. It is known that the friezes had bright colors, which made their motifs stand out even more.

1.5 Architecture during the Late Horizon

Inca architecture

Inca architecture is the most important of the pre-Columbian architectures in South America. The
wise Inca builders who sculpted their greatest works of art in stone built eternal creations full of
life and deep respect for the environment that surrounded and welcomed them. The capital of
the Inca Empire, Cusco, still contains many fine examples of Inca architecture, although many Inca
masonry walls have been incorporated into colonial Spanish structures.

Jhon Rowe's research in the capital of the Inca Empire or Tahuantinsuyo, allowed him to establish
that the basic unit of Inca Architecture was a rectangular enclosure, built with rock or adobe, with
elegant masonry; Several of these enclosures arranged around a patio and surrounded by a wall
define the minimum Inca architectural unit: the court. The Inca settlements were also
characterized by their orthogonal plan.

The Incas inherited the architectural legacy of the Tiwanaku (Tiahuanaco), who emerged in the
2nd century BC. c., in present-day Bolivia. The peculiar Inca style of giving shape and volume to
the stone is unique, especially if we observe the interesting composition patterns used, combining
the landscape with architectural art, causing harmony in the environment. Scholars have called
"padded" the protuberant style of the stone mass that grows inward from its limits or edges, as if
the weight of the wall compressed the stone.
Already in 1802, a notable traveler and keen observer, such as von Humboldt, when exploring the
mountains of Ecuador and the northern mountains of Peru, defined Inca architecture by three
characteristics: solidity, simplicity and symmetry . Solidity : the walls were built with duly carved
and polished stones, which were joined with admirable precision without using any mortar that
served as a mixture or joining element. This solidity has meant that the architectural ensembles
remain unchanged over time.

They used the stone in large blocks without much need to use mortar. The stones, which were
gigantic, were used in such a way that they fit together. An example of this architecture is found
in Sacsayhuaman, which is a very large fortress with several of these stone blocks.

Simplicity : The buildings did not have many overly complicated ornaments and decorations, any
kind of artistic decoration in their constructions, only what was necessary to keep it standing.
Their figures represented their gods; The stones had a polygonal shape with several sides and
angles, their size being variable.

Symmetry : Since the walls and constructions were all related to the complex. The walls had a
trapezoidal shape (wide at the base and thin at the top), this was because the stones rested
directly on the ground and they did not use foundations. The doors were also trapezoidal, they
did not use windows, but they did use niches or niches that were carved on the sides of the
entrances to the monuments.
The parts of their constructions were equal from their axis. In the plan, the symmetry is difficult to
appreciate since the spaces are superimposed, although they usually converge at an apex or in
some cases, in a main room.

The citadel of Machu Picchu is an example of Inca architecture, other important sites include
Sacsayhuamán and Ollantaytambo. The Incas also developed a wide road system spanning most
of the western length of the American continent to connect to their immense empire "Caminos
del Inca" (Capac Ñam)

1.Civil architecture : Represented by the constructions of houses in the communities or ayllus,

also the residences of the Inca rulers that they ordered to be built during their mandate in Cusco.

2.Military architecture : Constructions specialized in the defense of the Inca territories, served as
refuge and places of counterattack, such as the Inca military or ceremonial fortress located two
kilometers north of the city of Cusco that began to be built during the government of Pachacutec,
in the 15th century; However, it was Huayna Cápac who gave it the final touch in the 15th
century, also the fortress of Ollantaytambo and according to several authors the fortified citadel
of Machupicchu.

3.Religious architecture : Temple constructions dedicated to the cult and adoration of the Inca
gods such as:

The Koricancha : originally Inti Kancha ("Temple of the Sun") is the Inca temple. It was one of the
most revered and respected temples in the city of Cusco. The golden enclosure , as it was known,
was a sacred place where homage was paid to the greatest Inca god: the Inti (Sun), so they could
only enter on an empty stomach, barefoot and with a load on their back as a sign of humility, as
indicated by the senior priest Willaq Umu.

Acllahuasis : called the House of the Chosen , it corresponds to the residential buildings of the
acllas , which were groups of women specialized in religious and productive activities in the Inca
empire.
 Chapter II: Architecture during the Viceregal Architecture

Historians of Peruvian viceregal architecture have not yet formulated an organic classification that
encompasses all its regional manifestations in a system. It is true that some historians
differentiated schools and that they have worked within certain limitations to determine the
chronology of the most important monuments; but no progress has been made to indicate the
priority of some schools over others, nor to involve them in an overall correlation for all Peruvian
viceregal architecture; Perhaps it would have been premature in some ways to present a general
organization, because even until very recently new architectural areas that are not very well
known or simply not previously analyzed have been investigated, such as those of Apurímac,
Chumbivilcas and the Coica valley. (San Cristobal, 2008) .

The viceregal architecture of Lima appears organized into periods from the well-known study of J.
Bernales Ballesteros; Subsequent rectifications have been introduced in this initially formulated
plan that have not yet been subject to further review.

Angulo Iñiguez organized his classic work based on the division of the history of viceregal
architecture by complete centuries. This is a useful didactic criterion for editorial purposes; not
from a criterion of academic systematization. It is superfluous to insist that not all the
architectures of the vast Latin American region moved at the same chronological pace; and even
within the Viceroyalty of Peru, the development of all the regional schools did not coincide for
chronological centuries either: some span between the end of one century and the beginning of
the next; and still within the same century there were schools that were differentiated from each
other. Nor was the novelty of a century in relation to the preceding one a symptom of stylistic
heterogeneity; nor did continuity within the same century imply the homogeneity of all the
architecture carried out in it. The reference of the viceregal architectural works to a specific
century denotes their affiliation to major stylistic guidelines that do not coincide with those of
European architecture according to a strict parallelism, given the asynchronous development of
the viceregal ones in relation to the European ones. This reference corresponds, therefore, to a
macrostylistic delimitation; while to know the specificity of Peruvian viceregal architecture, a
microstylistic reference is of interest, in which the peculiarities of each school stand out, even
within comparable chronological limits. (San Cristobal, Arquitectura Virreinal Peruana. Teoría
sobre la historiografía de la arquitectura virreinal, 1999) .
Wethey's classic work, focused only on the viceregal architecture of Peru, represented the first
attempt to organize the knowledge accumulated until then into a sequential systematization of all
Peruvian architecture. It was about correlating certain monuments based on their similarities, and
differentiating groups with stylistic homogeneity from others that show heterogeneous
characteristics with respect to the former. It was decisive for this task to specify the criteria
followed for the grouping and differentiation of the monuments. Two different interpretative
criteria appear intermingled in Wethey's work. On the one hand, any observer can verify that the
Peruvian viceregal monuments are concentrated in some very defined geographic centers: Lima,
Cuzco, Collao, Arequipa, Northern Peru, etc., like large geographic regions. It is also confirmed
that within the geographical proximity there are unavoidable differences between the
homologous monuments from ancient times and those also homologous from other later times;
and this occurs markedly at least in some geographic regions, such as Lima, Cuzco and Collao.
( Nordenflycht, 2008) .

From different perspectives, the generic imprecision and vagueness of the classical styles always
reappears: the Renaissance and the Baroque to precisely define the various modalities of
architecture in the regional centers of Peru.

The differences were accentuated with no less intensity and extension between the regional
groups of covers during the period of the long validity of the viceregal baroque. The baroque style
was, therefore, lacking in content expressible in concrete guidelines to be able to be applied to
18th century covers as irreducible to each other as those from Lima, those from Jamarquina, and
those from the Huancavelican core of La Catedral, Santa Bárbara and Julcamarca, all of them
different. regarding the design and form of its volumetric expansion.

We can presuppose two models of interpretation applicable to regional schools: one the
horizontal treatment in which the schools were located on the same horizon within each style;
another is the vertical treatment in which the schools follow a chain even within the same style.
Looking at things in a close-up, it would seem that the problem of the plurality of regional schools
within each of the great periods: the Renaissance and the Baroque period, is reduced to the
horizontal differentiation of the models specific to each school. The methodological treatment
followed by Wethey seems close to the horizontal model. But looking at things in historical depth,
the differentiation of Peruvian regional schools emerged progressively in a meaningful sequence
of processes in which each school was formed at the appropriate time in relation to the rest. The
diversity of the Peruvian regional schools is important in that each school, far from constituting an
autarkic and consistent process from itself, is concatenated with the remaining schools at an
appropriate moment within the global process of development of Peruvian viceregal architecture.
The architecture of the Coica valley during the second half of the 18th century affirmed its
specificity on the budget of the façade-to-the-foot scheme proposed by the rural architecture of
the Cusco and Puno highlands of the same century; and this last modality in turn presupposes the
great Cuzco baroque of the second half of the 17th century. The sequential chaining of processes
is an essential condition to affirm the specificity of each one. The baroque style sets all regional
processes; but it does not define the specificity and differentiation of each one in particular within
the long period that in viceregal Peru continued until the 19th century, at least in some schools.
(Liernur, 1991) .

The first period of Peruvian viceregal architecture would last from the beginning of the definitive
constructions of the 16th century until approximately 1630, depending on the case. This cycle was
dominated by Renaissance schemes for the covers; and received very significant contributions
from the late Spanish Gothic consisting of the ribbed vaults, and from the Mudejar for the
wooden frameworks with three or five panels in addition to certain ornaments such as the alfiz
and the three-lobed arches. A homogeneous conformation was introduced for the floor plans of
the churches, manifested in two or three models on which the later Baroque introduced
important conversions for the major churches and also for some minor ones. This Ticomudéjar
Renaissance period extended throughout the territory of the Viceroyalty of Peru; although only
some areas still preserve important Renaissance monuments, and in others they have been
modified. He was far from imposing the homogeneity of the cover designs for all the regional
architectural centers of Peru. Almost all the Renaissance doorways in Lima, Arequipa, Trujillo,
Cajamarca, Huancavelica and other places have disappeared; in such a way that it is not feasible
to redo the complete study of this entire viceregal period. The assumption of whether the
diversity of viceregal architectural schools during the Baroque began to take shape during the
Renaissance period can be proposed as a working hypothesis to be investigated; and this is based
on the heterogeneity that is observed between the designs of the currently existing Renaissance
covers. (Bryce, 2010) .

We distinguish with the name of formative baroque a period in which the guidelines began to
take shape that reached their full potential in the viceregal baroque schools. This cycle began with
the reconversion of the large convent churches of Lima to transform them into a basilica plan with
three open naves with an internal transept; from the first third of the 17th century; and also with
the modification of the design of the main door of the Cathedral of Lima, which became the
altarpiece door from 1628.(Benavides, 1988) .

This formative baroque period includes at least three very clearly defined independent regional
processes: the first is the Lima formative baroque, which lasted approximately until 1660. During
its validity, the model of the basilica plan with three open naves and an internal transept was
consolidated; The first half-barrel vaults were covered with lunettes; The type of towers that
would make up the great baroque façade at the foot of the churches were structured; and the
first pilasters with modillions as capitals appeared on the doorways and in the bell bodies of the
belfries and towers, which later became the preferred type of supports on the doorways of the
18th century in Lima; and finally the grid design was established for the altarpiece portals with
two sections and three streets in each section.(Crespo, 2006) .

The full baroque period is called the period in which some regional schools showed the creative
plenitude achieved in their models of door designs, the modality of volumetric expansion, and the
architectural components. The first period to achieve its specific profile was the Cuzco full
baroque of the second half of the 17th century, which was concentrated in the churches of the
city of Cusco itself. He created a peculiar design for the altarpiece portal inaugurated in the
Cathedral. He also integrated it with a special form of volumetric expansion consisting of the
advancement of the block of the entire central street, with the two side streets remaining in a
setback plane; and finally he modeled a characteristic type of bell towers that had some
irradiation outside the city through the solitary and free-standing tower of Lampa. During this
period, the great conventual churches of Cusco remodeled their initial Elizabethan Gothic plan to
convert it into a basilica plan, following the example of the conventual churches of Lima.
(Kauffman, 1979) .

The Lima full baroque period lasted from the 1660s until the second third of the 18th century,
thus surpassing that of the Cusco full baroque period. It began with the construction of the
currently missing churches of Ntra. Mrs. of Los Desamparados and the Hospital of San Juan de
Dios; and it was fully expressed in the small churches of the 18th century with its Latin cross plan
with very short arms, the special volumetry of its upper crowns, with the model of the façade at
the foot and with the design of the façades and the altarpiece with a second body. delimited by
pilasters with modillions at the top and also at the base. It is a set of architectural characters
totally different from those of the full Baroque of Cuzco; despite the fact that both have in
common the use of the cornice of the first entablature open in vertical arches along the central
space.(Serrera, 2001) .

The Arequipa full baroque period is considered the third regional cycle of this stage. It started at
the same time as the two previous periods: Lima and Cuzco, as it remained active from the 1680s
to 1750. The planar decoration of its covers should not make us lose sight of the specificity of the
design on the major and minor covers, so different from the Cuzco and Lima designs. The
expansion of the volume in its façades by blocks of supports extended vertically in pieces of
pilasters enclosed within the large semi-oval pediment, and the liberation of the Arequipa façades
with respect to any façade scheme at the foot, lacking the delimitation by the lower bodies of the
towers, constitute specific architectural characteristics of the Arequipa school and differentiated
from those of the Lima and Cuzco schools.(Stastny, 1999) .

The full Baroque was followed by another more dispersed cycle, of shorter duration, although of
great architectural magnificence. It is the broad baroque period of peripheral diffusion, which
encompasses architectural creations made in places outside the cities of Lima, Cuzco and
Arequipa, in regional centers deployed during the first half of the 18th century after the periods of
full baroque. This cycle should not be understood as an irradiation or prolongation of the full
Baroque in its Lima, Cuzco or Arequipa versions; but as creative and independent architectural
movements, although of shorter duration and production of monuments. These are groups widely
dispersed throughout Peruvian geography, and also with asynchronous development between
them. The only characteristic they have in common is the stylistic autonomy that radically
differentiates them from each other and from the preceding schools of full baroque.(Castro, 1945)
.

Above the specific differences, they all appear as Peruvian viceregal covers. No matter how
different they are from each other, they do not fit adequately into any other Spanish-American
architecture other than that of Peru. The difficulty lies in being able to specify what makes it
possible to identify all those representative covers that are so different from each other as
Peruvian. The fact that they were built during the Spanish viceregal government, and also that
they were located in the territory of the former Viceroyalty of Peru, are extrinsic connotations
that do not concern any of their architectural characteristics. The conformation similar to
Peruvian altarpieces suits some covers; but not to all of them. Nor is the circumstance of using a
specific type of support relevant, since covers of different designs used the same ones, and similar
covers used different supports.(Miro, 1949) .
The division into periods, groups and schools does not dismantle the unity of Peruvian viceregal
architecture. It is always possible to recognize the common scheme of the regular grid in the
various regional covers of Peru. Of course, this is a general scheme that is still indeterminate; and
not of a specific design, which is what characterizes the various Peruvian schools and regional
groups. In any case, the viceregal builders found in the regular grid scheme a free field to express
their original creativity; which allowed the creation of schools without abandoning the common
support of the Peruvian viceregal architecture (Liernur, 1991) .
Chapter II: Architecture during the Architecture of the Republic
Conclusions
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