The Minor Basilica of the Sacred Heart of Jesus, known as Basilica del Voto Nacional, is an important Colombian temple of Catholic worship, consecrated to Jesus Christ, under the patronage of the Sacred Heart of Jesus. It is the seat of the homonymous parish and belongs to the ecclesiastical jurisdiction of the archdiocese of Bogotá. Bogotá.[1][2][3].
The temple was built by the Claretian community, who has guarded it since then. Different architects participated in the work: Francisco Olaya in the first project, which consisted of an unfinished chapel; then Julián Lombana Herrera arrived, who took charge of the work and rethought the project, although with a strong intervention in the designs of the Spanish priest Antonio María Pueyo de Val, who would later be bishop of Pasto "Pasto (Colombia)"); but the transept and the dome, made later, are the work of the Dutch architect Antonio Stoute.[n. 1][4][5].
Other notable people who participated in the temple were the painter Ricardo Acevedo Bernal, author of the large oil paintings that adorn the ceiling, who also designed the stained glass windows in the side chapels and the main altarpiece along with his sculpture of Jesus Christ; Colombo Ramelli, from the Ramelli workshop, who was in charge of the interior ornamentation,[4] and that of the Italian sculptor Pedro Julio D'Achiard, who was in charge of the ornamentation of the façade.[6].
Also noteworthy are the workshops that have made works for the basilica, such as the "Talleres de arte Granda",[7] the "Casa Maumejean",[8] and the "Talleres de Arte Cristiano de Olot";[9]as well as the works of defunct companies, such as the "Talleres Candela" and the "Casa Rius".[10].
In 1881, construction of a chapel began on the private initiative of devotees to the Sacred Heart of Jesus, encouraged by Mrs. Rosa Calvo, who donated a large part of the lot on which it was built.[11] As a result of the Thousand Day War, Archbishop Bernardo Herrera Restrepo proposed in 1902 to the National Government to make a vow to the Sacred Heart of Jesus for the peace of Colombia and ordered that the unfinished and ruined chapel be became the Church of the National Vote to the Sacred Heart of Jesus.[12] The National Government accepted the archbishop's initiative and on June 22, 1902, the "first stone" for the construction of the temple was placed and blessed.[13] Since then, the church was the site of the consecration of Colombia to the Sacred Heart of Jesus, where the president of the republic, who was on duty, thanked Jesus Christ for his protection of the nation.[4].
Diagnosis of mixed foundation
Introduction
The Minor Basilica of the Sacred Heart of Jesus, known as Basilica del Voto Nacional, is an important Colombian temple of Catholic worship, consecrated to Jesus Christ, under the patronage of the Sacred Heart of Jesus. It is the seat of the homonymous parish and belongs to the ecclesiastical jurisdiction of the archdiocese of Bogotá. Bogotá.[1][2][3].
The temple was built by the Claretian community, who has guarded it since then. Different architects participated in the work: Francisco Olaya in the first project, which consisted of an unfinished chapel; then Julián Lombana Herrera arrived, who took charge of the work and rethought the project, although with a strong intervention in the designs of the Spanish priest Antonio María Pueyo de Val, who would later be bishop of Pasto "Pasto (Colombia)"); but the transept and the dome, made later, are the work of the Dutch architect Antonio Stoute.[n. 1][4][5].
Other notable people who participated in the temple were the painter Ricardo Acevedo Bernal, author of the large oil paintings that adorn the ceiling, who also designed the stained glass windows in the side chapels and the main altarpiece along with his sculpture of Jesus Christ; Colombo Ramelli, from the Ramelli workshop, who was in charge of the interior ornamentation,[4] and that of the Italian sculptor Pedro Julio D'Achiard, who was in charge of the ornamentation of the façade.[6].
Also noteworthy are the workshops that have made works for the basilica, such as the "Talleres de arte Granda",[7] the "Casa Maumejean",[8] and the "Talleres de Arte Cristiano de Olot";[9]as well as the works of defunct companies, such as the "Talleres Candela" and the "Casa Rius".[10].
In 1881, construction of a chapel began on the private initiative of devotees to the Sacred Heart of Jesus, encouraged by Mrs. Rosa Calvo, who donated a large part of the lot on which it was built.[11] As a result of the Thousand Day War, Archbishop Bernardo Herrera Restrepo proposed in 1902 to the National Government to make a vow to the Sacred Heart of Jesus for the peace of Colombia and ordered that the unfinished and ruined chapel be became the Church of the National Vote to the Sacred Heart of Jesus.[12] The National Government accepted the archbishop's initiative and on June 22, 1902, the "first stone" for the construction of the temple was placed and blessed.[13] Since then, the church was the site of the consecration of Colombia to the Sacred Heart of Jesus, where the president of the republic, who was on duty, thanked Jesus Christ for his protection of the nation.[4].
The basilica is in the neo-baroque style, it has a single longitudinal nave "Nave (architecture)") with 16 side chapels and a transept or transverse nave.[14] Above the transept "Cruise (architecture)") rises a double dome system, the outer one with a metal frame, it has a very long drum "Drum (architecture)") above which rises a glass dome with the colors of the Colombian flag; and internally there is a dome formed by a stained glass window that has the image of a sun with undulating rays.[14].
In 1964, Pope Paul VI granted the temple the liturgical title of Minor Basilica on February 14 of that same year.[3] In addition, the temple is included in the list of Assets of Cultural Interest of Bogotá by decree 606 of July 26, 2001,[15] and was declared an Asset of Cultural Interest of National Character -BIC- by resolution 1402 of July 16, 2012 of the Ministry of Culture of Colombia.[16].
In the last decades of the century, the Mártires sector suffered an economic and social decline, which led to the temple being forgotten, which caused the building to be in a great state of deterioration,[17][18][19] almost on the verge of collapse, for this reason the Mayor's Office of Bogotá, through the District Institute of Cultural Heritage -IDPC-, is carrying out the restoration, which was divided into three phases, the first, already completed, covered the entire body of the main façade (façade, buttress façade, choir and socochoir); the second, also completed, covered the transept, the presbytery and the dome; and the third and final phase, which will cover the longitudinal nave and the side chapels, was planned to begin in 2020, but is currently on hold because the contingency caused by the Covid 19 pandemic altered the plans.[20].
History
Context
After the Independence processes at the beginning of the century, Colombia began to suffer a series of civil wars over the course of that century. Between 1812 and 1886, the country suffered eight civil wars of national scope,[21] that is not counting the several minor war conflicts of a regional nature or the countless revolts. However, it would not be until 1848-1849 when the two blocs permanently opposed to each other throughout the rest of the century were formed: liberals and conservatives.[22].
Each one had the objective of obtaining the power of the central State to retain it and use it to exclude their rival, a confrontation that periodically worsened until they mobilized the masses to take up arms, increasing hatred between blues (conservatives) and reds (liberals).[23] The ideals that divided them could be summarized in their slogans, in their attitude towards the Catholic Church, the management of the economy and territorial administration. The conservatives said "God, country and family", identifying the country with the defense of the traditions of their culture and the Church, which they saw as a bastion of them. On the other hand, liberals fully identified with the ideals of the French Revolution, for which the Church was an obstacle to building a modern State, with religious tolerance and freedom of conscience, which could be summarized in "liberté, égalité, fraternité".[22].
However, in a divided country, trying to resolve its partisan conflicts, the Church constituted a unifying element, which led it to become a decisive electoral instrument, an influence that was feared in the liberal party. The new constitution of 1886 and the signing of the Concordat in 1887 apparently settled the differences between State and Church, based on the need for religious peace, the admission that the majority of Colombians professed Catholicism, and the conviction that the best education was that which was based on Christian civilization.[24]
However, a new war conflict was generated, since between October 1899 and November 1902 Colombia was bleeding in what was known as the War of a Thousand Days, which pitted the party that was in power, the Liberal, against the nationalists of the Conservative party.[25].
Parallel to these events, devotion to the Sacred Heart of Jesus began to spread throughout Colombia, especially thanks to the "Apostleship of Prayer" and the magazine "El Messengero del Corazón de Jesús" (monthly publication), both established in 1867 and which were very decisive in making this Catholic devotion known.[26].
In the magazine you can see in detail the growth of the cult, the connection to it of prominent figures from different religious orders and civil society, political issues and the advance of the Apostolate of Prayer worldwide. Sacred Heart of Jesus.[27] Likewise, Bernardo Herrera Restrepo, at that time rector of the Major Seminary of Bogotá, was director of the Apostolate of Prayer and who would later be bishop of Medellín.[26].
Later, the devotion reached such a level that at the end of 1891 a large number of municipalities in Colombia were politically consecrated to the Sacred Heart of Jesus, from Riohacha to Ipiales and from Panama to Arauca "Arauca (Arauca)"), a process that covered the entire Colombian geography.[26] Likewise, the municipality of Bogotá, through Agreement no. 10 of 1892 of the Municipal Council consecrated the city to the Heart of Jesus, and the act was carried out on October 12 of that year in the Cathedral of Bogotá.[26][27] Of course, all these political consecrations irritated the liberals who quickly began to make challenges in some municipalities.[26].
Outside the country, devotion grew exponentially, which is why, in 1899, Pope Leo
For all this, it is not surprising that the now Archbishop of Bogotá Bernardo Herrera Restrepo, due to the Thousand Days War, proposed in 1902 to the National Government to make a vow to the Sacred Heart of Jesus for peace in Colombia and ordered that the unfinished chapel become the Church of the National Vow to the Sacred Heart of Jesus.[29].
The proposal was supported by the national government, showing how in one building political, religious and civil powers converge in a way that is as palpable and influential in the life of republican and modern society, just as the Temple of the National Vote was. Politicians and ecclesiastics performed ceremonies there with great connotation for the country, around the idea that Colombia was a nation that practiced the Catholic faith, that it was under the protection of the Sacred Heart, and that, especially in times of war, it was essential to unite the determination of the parishioners to build this church and make a vote for peace.[24].
The visibility of the temple as a place of Colombia's consecration to the Sacred Heart of Jesus made it the undisputed scene of a Te Deum recited for several decades as the culmination of a very solemn annual ceremony, where the president of the republic thanked Jesus Christ for his protection of the nation, which clearly gave the temple great national relevance.[4].
The construction of the basilica was carried out in several phases that spanned from 1902 to 1938. It had two inauguration dates: the first was the consecration of 1916, when the façade and the longitudinal nave with its side chapels were structurally completed; the second in 1938, when the transept and the dome were blessed.[29] Architecturally, the temple is one of the significant examples of the architecture of the Republican period, which demonstrates the new taste for classical academic styles, which emerged as a result of the influence of the design of the National Capitol and the European fashion that was imposed, leaving the predominant popular forms that, classified as "colonial", symbolized regression and colonialism.[29].
1881-1911. Mrs. Rosa's project
In 1881 the construction of the chapel dedicated to the Sacred Heart of Jesus began on the west side of the Plaza de los Mártires, in the block "Manzana (urbanismo)") known as "Quinta de la Huerta de Jaime", which currently includes the area between Carrera 15 to Carrera 17, and between streets 10 and 11. The construction of the temple was an initiative of Mrs. Rosa Calvo Cabrera, who, being the owner of said block, donated the land for its construction and the sum of 1,000 pesos for the project.[11] For the year (1881) in which the construction of the chapel began, the population of Bogotá was 84,723 inhabitants.[31].
Because it is in his parish jurisdiction, Fr. Rudesindo Castillo, parish priest of the church of La Capuchina, took charge of the works,[11][n. 2] which were financed with alms from believers. This first construction was carried out under the direction of the architect Francisco Olaya (disciple of Thomas Reed), who died in 1888.[11] He was succeeded in directing the works by the architect Julián Lombana, although the exact date on which he took charge is not known.[11].
On May 6, 1898, the first chapel was opened.[32] In a letter dated September 16, 1900, Lombana's participation in the work was recorded and that a Board already existed:
In 1892 Doña Rosa died, her large property was fragmented into seven pieces of land that were inherited by her brothers and sisters, leaving the chapel lot free. Therefore, the heirs began the succession process and complied with the will of their relative by handing over ownership of the chapel lot to the archdiocese in 1901. The event was attended by the Archbishop of Bogotá, Bernardo Herrera Restrepo,[n. 3] as a representative of the archdiocese of Bogotá, to receive or accept:.
From that moment on, the archdiocese of Bogotá took over the construction of the temple. Then, Archbishop Herrera, upon seeing the devastating moment the country was going through as a result of the Thousand Days War, in a pastoral letter of April 6, 1902, proposed making a national vote for peace:[12].
However, this idea was not original to Archbishop Herrera, since the Basilica of the Sacred Heart "Basilica of the Sacred Heart (Paris)") in Paris was born from a private vow made in 1871, imploring an end to the evils of the Church and the calamities of France; In 1872 the Archbishop of Paris and the French Episcopate approved the vote and in July 1873 the National Assembly of France, by a majority of 244 votes, declared "... the construction of a temple at the top of Montmartre..." of public utility .... This event of the Church of the National Vote in France was recorded in the Colombian press in detail.[12].
Archbishop Herrera's initiative was supported by conservative president José Manuel Marroquín, through decree 820 of May 18, 1902, according to which the government would cooperate in the construction of the church, as a vote for peace in the country, contributing to the festivities and collecting contributions from individuals, public officials or anyone who wanted peace. Furthermore, it was proposed that on some day in June of that year, a Eucharist would be held in a temple to be designated and then a procession would be held to the temple under construction and a speech would be given there and then collect donations.[12].
1911-1916. The Claretians arrive
The construction of the church takes a different turn when Archbishop Herrera offers the temple to the Missionary Children of the Immaculate Heart of Mary community, known as the Claretians, who arrived in Colombia in 1908. Archbishop Herrera, who had met Mons. Antonio María Claret in Rome during the First Vatican Council, began to show great appreciation for the Claretian Congregation for the great work they were doing in the country.[41] Thus, in July 1911, Mons. Herrera offers the Temple of the National Vote to Fr. Juan Gil, at that time Claretian prefect in Colombia.[41] In addition, he warned that the temple was unfinished.
The pbro. Gil in his correspondence with Fr. Martín Alsina, Superior General, informed him about the Archbishop's offer:
In his letters, he reasons about the convenience of accepting the offer. The Community would finish the project and would be the Procuratorate of the Missions of Chocó and would become a missionary center. He emphasizes that he should consider sending "a father who is a good preacher and at the same time understands ailments." 7] and knowledge of architecture».[41] The superior then chose Fr. Spanish Antonio María Pueyo de Val, who fit the requested profile.[n. 8].
In October 1912, a delegation of five priests left for Colombia, headed by Father. Pueyo accompanied by Fr. Pedro Díaz, who would later be an essential collaborator in the work of the Voto church.
The pbro. Pueyo, who arrived with the position of superior, the highest ranking in Colombia, transmitted it to his Superior in Europe, Fr. Alsina, his first impressions upon arriving in Bogotá in December 1912, thus explaining the state of the temple they were going to receive:
Review that is complemented by the letter from Fr. Pedro Díaz, his right hand, written several months later:
The pbro. Martín Jové, apostolic worker in 1943, tells how the Claretians found the state of the work of the temple:
The pbro. Díaz also adds that recently arrived, at the end of 1912, "as the state of the temple works did not allow us to carry out the cult of the Vow, we limited ourselves at first to saying a mass very early so as not to hinder the work, and on Sundays there were two."[45].
The pbro. José Payás, in 1941, told El Voto Nacional Magazine his memories about the progress of the temple for the year 1914:
The pbro. Salvador Miró gave an account of the real estate that the Claretians received in 1912:
The pbro. Pueyo de Val had experience in religious architecture, and his diligent spirit and the importance of the work indicate that he intervened in the plans that were available at that time; The author of these plans had been the architect Julián Lombana, whose presence disappeared in this project after the direction of Fr. Pueyo. The memoirs of the Claretian fathers recount changes in the façade, in the height of the vaults, in the width of the lights, and in general highlight the work of the Claretian in contracting the ornamentation, he is the one who commissioned the artistic components of the temple.[48].
1916-1938. Expansion and beautification
The consecration of the temple was actually splendid, however the same priest. Pueyo recognizes that the church was not finished. In December 1916, three months after the Consecration, he communicated to Rome: «Fifteen altars were consecrated at the same time; The consecration was very solemn. Order V.R. May the Lord give us health and money to finish this temple and [] begin the great one of the Heart of Mary in Rome!».[65].
In that same year (1916) Fr. Pueyo de Val purchased a property with access on 10th Street in the name of the Claretian Community. In the innermost part of that land, years later, the current sacristy that houses the temple will be built. Furthermore, with this purchase, the Community's acquisition of land in the block begins. The Missionaries' House began to operate on said property, where the parents' cells were located and it was where the missionaries arrived when they arrived in Bogotá.[40].
On July 20, 1917, the new Sabana Station building was inaugurated (located on the current Avenida Centenario "Avenida Centenario (Bogotá)") -calle 13- with calle 18), which had greater capacity, becoming the central station of all the railway lines to the capital, converting the area between the temple and the station into an area of great commercial activity, in which important companies of the time established their headquarters or main warehouses or warehouses.[66].
On August 29, 1917, an earthquake occurred in the city that surprised the Claretians who were staying in the new house:
On November 26, 1917, Fr. Antonio María Pueyo de Val is named bishop of Pasto.[68] His episcopal consecration was on January 6, 1918, and was carried out in the same temple of the National Vote, which was conditioned to accommodate the high prelates of the Church, the President of the Republic, José Vicente Concha, who was one of the godfathers,[68][n. 14] and the most predominant part of Bogotá society.
That same day, in the afternoon, the new bishop conferred the sacrament of confirmation on about 200 children in the temple of the National Vow,[68] most of them were children of friends and acquaintances of the same prelate, who wanted to treasure the memory of seeing their children anointed by the newly consecrated hands of the one who had generated so much sympathy, mainly in the area around the temple.[69] The priest Ezequiel Villarroya Marcos is the one who replaces the pbro. Pueyo and takes charge of the temple from now on.
On March 24, 1918, an agreement was signed in Bogotá between Bernardo Herrera Restrepo, Archbishop of Bogotá, and Ezequiel Villarroya Marcos, Quasi-Provincial Superior of the Missionaries of the Heart of Mary in Colombia, in which they determined the conditions under which said community would take charge of the church:
In 1918, on the south side of the Plaza de Los Mártires, the building of the School of Medicine "Facultad de Medicina (UNAL Bogotá)") of the National University was partially inaugurated, although it was not completed until the 1930s. This project gave more importance and dynamism to the area around the temple.[71].
1938-2012. From brilliance to decay
Since 1930, when the liberal party came to power, the president stopped being present in the National Vote to renew the consecration of the Republic under the protection of the Sacred Heart. On the other hand, in 1945 Pope Pius XII referred to the temple as magnificent, and in a radio broadcast he evoked the relevance and meaning of the temple to Colombians:
Through Decree No. 16 of March 12, 1942, Archbishop Perdomo converted the temple of Voto into a parish "Parish (religion)") of the Sacred Heart of Jesus, and ratified entrusting it to the Claretian missionaries, naming Fr. Alfredo Martínez (parish priest between 1942 and 1948).[90]In October of that same year (1942) Mrs. Ana Lucía Palacios de Ruiz donated the baptismal font to the newly created parish.[91] The new parish life generated a drastic decrease in missions outside the city, for example in the year the parish was created (1942) 17 missions, 526 baptisms and 118 marriages;[90] and in 1945 there were only four missions, but baptisms, marriages and communions in the temple increased, in that year 1,206 baptisms, 259 marriages and 185,000 communions were performed.[92].
In 1947 the advance of Caracas Avenue reached the Plaza de Los Mártires, dividing it in two and the following year it continued its advance, taking away part of the School of Medicine building. The work on Caracas Avenue abruptly broke the unity between the historic center of Bogotá and the National Vote sector. In addition, the vegetation in the square was eliminated and later converted into a bus stop.[93].
The pbro. Ignacio Trujillo leads the initiative to create the main altar that Maestro Acevedo Bernal had designed at the request of the priest. Pueyo 35 years ago, which is why he traveled through various Departments of the country collecting donations.[94] Some time later, taking advantage of the delegation that traveled through Colombia to Spain in 1950 to the canonization ceremonies of Antonio María Claret, one of the envoys, Fr. Juan Punset, parish priest of the temple, uses the occasion to take the designs to the renowned "Casa Granda",[n. 20] which undertook to make them.[95][7] The commission for the execution of the main altar also included "legends to cover the front shaft of the four columns that support the dome", and the communion rail (railing) with the two ambos with their respective bronze eagles.[95].
After painful years of bipartisan violence, exacerbated in those years by the riots of April 9, 1948 that triggered the beginning of the era known in the country as "La Violencia", in 1952, the then president Roberto Urdaneta Arbeláez and the nuncio Antonio Samoré led a campaign for peace called the Pro-Peace Crusade.[96] The president had signed the 1st Law of the January 8 of the same year, therefore the day of the Heart of Jesus was declared a national civic holiday, named "Thanksgiving"; On January 8, the official consecration of the country to the Sacred Heart of Jesus would be renewed each year. On Tuesday, June 10, a large three-hour procession was held, in which the image of the Fallen Lord of Monserrate was lowered from the Monserrate hill to San Francisco and from there it was taken to the Church of the National Vow.[97][96][n. 21] In the atrium of the temple the Nuncio and the president made speeches.
2012-present. The resurgence
To carry out the restoration of the Temple, efforts began to be made, several donations were collected from German and Italian organizations, which made it possible to carry out the title study, the phytosanitary study, the first aid works on the roof that threatened to collapse and then the electrical network was changed, which represented a risk due to its age.[117] In the context of the agreement between the Ministry of Culture and the Episcopal Conference of Colombia, signed in 2010 and ratified in December In 2012, resources were allocated for the maintenance of the temple's roof.[117] In addition, the Ministry of Culture finally declared the basilica Asset of Cultural Interest of National Character by resolution 1402 of July 16, 2012.[16].
In 2011, the restoration process of the Basilica began with the "Formulation of the Special Plan for Management and Protection of the Historic Center" by the National University of Colombia, which was approved in 2013 by the "District Institute of Cultural Heritage of Bogotá" through resolution 204 of that year. Afterwards, consulting was carried out to prepare the comprehensive intervention project for the temple, which was approved by the Ministry of Culture through resolution 3612 of 2015.[118].
Between 2014 and 2015, first aid work was carried out in order to reduce the risks discovered in the course of the development of the comprehensive intervention project, since the temple showed serious problems of water leaks in the crypt area, which caused said space to be flooded and with a strong foul odor; In addition, the sculptures on the main façade were falling apart, endangering passers-by.[118][119].
The first aid consisted of creating septic tanks and conveying dirty water and runoff (which was not properly provided) to the sewer networks in the city center; The dirty water was properly dried and the interior was disinfected. The cleaning and maintenance of the façade was also carried out, the stones with cracks and looseness that could be a danger of falling were removed, the sculptures on the front were consolidated; One of them on the north side, that of San Pedro Claver, was removed, since it was very fractured and at risk of falling at any moment, which is why it was necessary to make a lighter replica, which was then installed in the place of the original. Another sculpture, also fractured and located on the south side of the façade, was repaired on site.[119].
In addition, a protective mesh was installed under the ceiling of the longitudinal nave to prevent any detachment from affecting the integrity of the parishioners. On the façade they also placed mesh and steel spikes to control the access of pigeons, which were causing serious problems for the building.[119].
According to the consultancy's diagnosis, it was identified that the greatest risk was the structural weakening of the building. For the adequate structural reinforcement, restoration and conservation of the building and its outstanding collection of movable property, the intervention was established in three stages according to the available resources.[120].
Authorship of the temple
The memories of the Claretians attribute to Olaya the authorship of the initial designs of the chapel promoted by Doña Rosa around 1881. Furthermore, at that time, Olaya and Doña Rosa were neighbors.[125] But those same memories indicate that what Olaya managed to build underwent several modifications that in the end his intervention completely disappeared.[126].
The first record of Julián Lombana's intervention in the temple of the Sacred Heart of Jesus dates back to 1900, when Lombana requested in a letter to the Central Board to increase the size of the church.[11] When Fr. Pueyo, explaining in a letter to his Superior in Europe the state of the temple that they were going to receive in 1912, says in one of his sections: "It is a shame that they have changed the plan several times, having altered in pejus (for the worse)",[43] which suggests that in those first years in which Lombana intervened, the initial project was modified several times. Additionally, Fr. José Payás, in 1941, recounted in El Voto Nacional Magazine his memories of the progress of the temple for the year 1914: "Although the shed had disappeared since mid-1914, the last remnant of the previous hermitage...",[46] another indication that what little remained of that unfinished chapel disappeared.
Due to the absence of planimetric documents from the first period in which Lombana intervened that confirm his authorship, this attribution can be questioned.[127] However, Alfredo Ortega Díaz, in his book "Arquitectura en Bogotá" published in 1924, considers the Temple of the Vote as one of the works of Julián Lombana.[128].
Things change again in the project with the arrival of the pbro. Pueyo de Val in 1912, which with his knowledge in architecture, plus his great focus and initiative that he had as leader of the Claretians in the Church of the Vow, and his direction in the works, meant that Lombana's intervention in the construction of the temple was no longer so clear.[129] There are several references that different pbros capture in their memoirs. Claretians, concerning the modifications that Fr. Pueyo made the designs of the nave and the façade.[129].
In the memoirs of pbros. Claretians mention several times the dedication and initiative that defined Fr. Pueyo. Even despite suffering an accident on the job (a plank fell on his head), in the rush to complete the temple for its consecration in 1916, "Father Pueyo could be seen day and night, covered in dust, fatigued, standing here and there ordering the most urgent works."[130].
The pbro. Carlos Mesa assures that Fr. Pueyo had renovated.
As mentioned before, there are several references that point out the modifications made by the pbro. I support the original plan, with the authorization of Archbishop Herrera. In the memory of Fr. Martín Jové, writing in 1943 from Caracas, says:
The same source asserts that Fr. Pueyo refused to carry out "any of the two very heavy projects that existed" for the façade and transmitted his ideas to the painter Ricardo Acevedo Bernal, who captured them on paper. The design that was finally made was his.[49] Unfortunately, no sketch or plan has been found that elucidates the extent of Lombana's authorship and that of Fr. Pueyo.[132].
As far as can be established, Julián Lombana worked on the area of the property originally established in the donation of 1892, to which were later added the two small portions of land on either side of the front of the property. That is, with the essentials to build the main façade as it is currently known, and which was inaugurated in 1913.[133] As soon as Pueyo de Val arrived in Bogotá, at the end of 1912, he informed his superior that the last third of the temple still needed to be tiled and that "the façade is in the middle of the cornice of the first body."[43].
However, Lombana and Fr. Pueyo did not have the western lands that currently make up the transept, or at least not all of them. As noted, the temple was consecrated in 1916, using the western part of the property donated by Doña Rosa Calvo as a presbytery.[133] As additional evidence is the plan found in the Bogotá Archive, which, although it is not dated, shows what was planned for the expansion of the temple (the transept, the dome and complementary spaces), signed by the Dutch architect Antonio Stoute[n. 1] and that in the end it was not carried out as stated in the aforementioned document. This plan, which is in color, indicates the sketch of the extension and the existing spaces around it, in which a space is seen in the southern half of the current presbytery, titled "current sacristy." Likewise, due to the way the details are indicated on the plan, the neighboring properties to the north of the church belong to individuals and are indicated as a "tall building" in the areas where the transept would later be added.[133].
The plan that shows the idea that was planned to be done, signed by Stoute, and the documents from the application procedures for the construction license for the dome in 1936, allow it to be added to the authors of the temple of the National Vow. With his intervention in the temple of the Vow, it was completed as it is currently known, with its transept, the dome and the sacristy.[133].
Taking all this into account, it is concluded that both Julián Lombana and Fr. Antonio Pueyo de Val are co-authors of the temple consecrated in 1916 and Antonio Stoute is the author of the extension inaugurated in 1938, that is, the transept, the dome and the crypt.[133].
Urban and social context
The basilica is located on the western side of the Plaza de Los Mártires, in the Voto Nacional neighborhood of the locality "Localidad (Colombia)") of Los Mártires in the city of Bogotá. This square is loaded with historical and cultural symbolism.[134] It houses in its center the Monument to the Martyrs "Monument to the Martyrs (Bogotá)"), a 17 m high obelisk placed in memory of the Martyrs of Independence who offered their lives for the country and, in addition, in the past it occupied a privileged place in the recreation of Bogota residents who They enjoyed the harmony and beauty of its gardens.[134] Due to its relevance, the name was extended to the current town of Los Mártires, an important area of the Historic Center of the city, characterized by great heritage and cultural wealth.
Since the 1930s, work began to open Caracas Avenue through the city of Bogotá from north to south.[135] Said avenue, as it passed through the Plaza de Los Mártires sector, caused great damage, since for its progress it was necessary to divide the square into two sections; in addition, part of the building of the School of Medicine "Facultad de Medicina (UNAL Bogotá)") and a hundred homes were demolished.[n. 27] The work on Caracas Avenue abruptly broke the urban integration between the rest of the historic center of Bogotá and the National Vote sector; In addition, the vegetation in the square was eliminated and later converted into a bus stop, with parking layouts painted on the pavement.[93].
Additionally, during the riots of April 9, 1948, the Los Mártires sector was affected by violence, looting and destruction, further wearing down the sector; Later, with the transfer of the market to the nearby Plaza España in 1956, it generated the arrival of crime in the sector, which led to the flight of traditional residents.[136] Over time, the old houses became tenements and hotels where travelers sought fleeting encounters (becoming a zone of tolerance), as well as merchandise warehouses or shops.[136].
In 1967, the expansion of Caracas Avenue was carried out, going from two to four vehicular lanes and removing pedestrian passages and gardens, which generated an increase in vehicular flow.[135] Additionally, with the expansion of Carrera Décima, a few blocks to the east of said avenue, the isolation with the rest of the historic center was further exacerbated.[136] All of these problems favored the economic and social degradation that since The second half of the century is recorded in the area, and it only got worse.
At the end of that century, two dangerous places were established near the Basilica, a few blocks away was the Cartucho and a few meters away was the Bronx "El Bronx (Bogotá)"), which housed drug traffickers, street dwellers, gangs and prostitution. Curiously, these crime centers were located less than a kilometer away from the Casa de Nariño, the National Capitol and the Palace of Justice, which in that same order, are the highest seats of the executive, legislative and judicial powers of the Colombian state. In addition, in the vicinity there is also the Liévano Palace, headquarters of the Mayor's Office of Bogotá and the Archbishop's Palace where the archdiocese of Bogotá operates.
In 2000, the Cartucho was intervened by the authorities (in its place the Tercer Milenio Park was built), which caused part of that crime to move to the Bronx, which was intervened on May 28, 2016, by more than 2,500 men from the National Police and the Army[137] and some social assistance agencies.[138] After the operation, the beginning of the urban renewal process of the sector was announced, including demolitions and other initiatives.[139].
As part of the renovation plan for the sector, the Plaza de los Mártires and its obelisk, along with the Temple of the Vote, began to be intervened for its restoration; By September 2016, the plaza and the Los Mártires obelisk were recovered, and between 2016 and 2017 the first stage of the restoration of the Basilica was carried out.[136] Then between 2018 and 2020, the second stage of the restoration of said temple was carried out.
Currently, for the renewal and recovery of the Voto Nacional and La Estanzuela neighborhoods, the Mayor's Office of Bogotá, through the Bogotá Urban Renewal and Development Company (RenoBo), is carrying out the first three stages of the Partial Plan Voto Nacional – La Estanzuela, with a 100% public investment, which includes the construction of a large institutional project that will include the Bronx Creative District, the Multicampus Creative Talent Center and the new administrative headquarters of the Local Mayor's Office of Los Mártires, these last two are being built on the block of the old Bronx, which was one of the most dangerous places in Bogotá.[140][141].
The current land uses in the Voto Nacional neighborhood are mainly commerce, followed by housing, and collective facilities.[142] For example, of the uses of the block "Manzana (urbanismo)") where the temple is located, 43% corresponds to commerce, 30% to facilities, 10% to housing and 8% to urban voids.[143].
Commerce is divided between formal and informal. Among the formal trade, hardware stores, agribusiness, textiles and household items stand out. Among informal trade, the sale of tools stands out mainly, and on a smaller scale clothing and food.[144].
The majority of the residents who inhabit the neighborhood are floating population who live in tenements, mainly street vendors, who live there due to proximity to work and low rental costs, on average they reside in the sector for 4 years.[145].
The presence of the Otavalo indigenous community (Ecuador) also stands out, which has strong ties with the Parish of the National Vote.[145] This indigenous community, which has a wide presence in the sector, fervently participates in the Eucharistic celebrations. In addition, the use of their indigenous language is promoted during the celebration of their prayer meetings.[114].
Within the framework of the square, on its western side, there is from left to right: Philosophy building (main headquarters of the Claretians in Colombia), Basilica of the National Vow, Cural House and some old republican houses that were home to wealthy families that lived in the sector, today they are used as tenements and for commerce.
On the south side of the square is the building that was the headquarters of the Recruitment Battalion, in neoclassical style, designed by the French architect Gastón Lelarge and erected between 1916 and 1930. Its original function was to be the headquarters of the Faculty of Medicine "Facultad de Medicina (UNAL Bogotá)") of the National University, and it is declared Asset of Cultural Interest of National Character.[146] Currently this building neoclassical is being intervened to be the headquarters of "Bronx Creative District", a project that seeks to promote culture, creativity, entrepreneurship and memory in the Colombian capital.
On the eastern side is Caracas Avenue, and is followed by a fragment of the Plaza de los Mártires that was generated by the division caused by the passage of said road. This avenue is a TransMilenio bus corridor (BRT type mass transportation system) and in the northeast corner of the square is located
the Avenida Jiménez station "Avenida Jiménez (station)") of said system.[147].
A station for the future Bogotá metro will also be built, the first line of which will be elevated, so the station will also be elevated and will be built above the Avenida Jiménez station of the TransMilenio, on Caracas Avenue between 11th Street and 13th Street. of Los Mártires, for which around half of the properties in the aforementioned block have already been acquired and demolished, and we are waiting for the project works to begin in that sector.[150].
Building Features
Contenido
La basílica fue construida en estilo neobarroco, uno de los estilos de la arquitectura historicista, que tenía como fin revivir la arquitectura de tiempos pasados. El edificio cuenta con una única nave "Nave (arquitectura)") longitudinal con 16 capillas laterales y un transepto o nave transversal. El encuentro entre esta última y la nave longitudinal genera el crucero "Crucero (arquitectura)") sobre el cual se prolonga hacia el occidente un ábside poco profundo condicionado a la forma del lote en su origen, con forma poligonal; todo lo cual conforma junto con la nave longitudinal y las capillas laterales la planta en cruz latina.[151].
Encima del crucero se levanta la cúpula que es un sistema de cúpula doble, la exterior que cuenta con un tambor "Tambor (arquitectura)") muy prolongado sobre el cual se levanta una cúpula de vidrio con los colores de la bandera de Colombia, cuya linterna "Linterna (arquitectura)") remata en una custodia "Custodia (liturgia)"); e internamente se encuentra una cúpula formada por un vitral que tiene la imagen de un sol con rayos ondulantes y rectos.[151].
Sus dimensiones totales son 68,41 m de longitud por 20,00 m de ancho entre la nave longitudinal y las capillas laterales, los cuales se amplían en la fachada a 27,44 m y en el transepto a 30,00 m, en cuanto a su altura total en fachada hasta la escultura del Jesús es de 38,60 m, en la cumbrera de la nave longitudinal es de 18,63 m y en la cúpula exterior hasta la custodia es de 53,80 m de altura.[151].
La fachada principal está conformada por tres cuerpos y cinco calles, los cuales se van reduciendo en la medida en que gana altura.[152] Solo las tres calles centrales coinciden con el ancho de la nave longitudinal y de las capillas laterales, y por el contrario las otras dos están conformadas por dos volúmenes que se adosan a ellas, prolongándose en los laterales. Los tres cuerpos están separados por cornisas y las cinco calles están separadas por medias pilastras y columnas.
Materials and structure
Structurally, the building works as load-bearing or load-bearing walls that transmit all the weight to the foundations and these in turn to the ground. The foundation of the basilica is generally constituted in a traditional system of cyclopean stone foundations with lime and sand mortar glued, however, depending on its location in the complex, some characteristics change.[153].
In the façade area, the system is characterized by having an exclusive cyclopean stone foundation, a continuous foundation with a depth of 4 m from the level of the atrium and steps as it approaches its base. On the other hand, inside the temple, the depth of the foundation can reach up to 2.70 m and it is also a mixed foundation of solid bricks and stones. In the area of the transept, the most important variation is that in addition to the continuous foundation, there are concrete footings, "Footing (foundation)"), which provide support to the pillars that in turn support the domes.[153].
The wall "Wall (architecture)") of the main façade has an average thickness of 2 meters in its first body, it is made up of a mixed masonry system in solid carved stone and solid brick executions, which is covered on the outside by an 18 cm carved ashlar that acts as a large veneer on the outside, this element containing the stone carving forming the base that has the architectural forms shown. see on the façade.[154].
The second body is made up of a well-made factory "Factory (construction)") made of solid brick with a stone-like finish, 1.15 meters thick, arranged in various shapes, through which a load-bearing system is achieved that in turn serves as a base for the third body, which is made up of a load-bearing brick wall with a stone-like finish. From the middle body there are a series of internal vaults that support a central pillar on which the statue of Jesus rests.[154].
Behind the entire façade wall there is a wooden structure, which makes up the counterfaçade that contains several mezzanines, in which the bells and the entire clock system are located. This wooden structure corresponds to the “Pan de Bois” structural system or wooden framework, and on the outside it has a stone-like finish. The third body ends in a wooden capulín, with a brass cover, which was built around the central pillar that supports the statue of Jesus.[154].
In the solid lateral walls of the central axis of the façade, two circular ducts are developed, the southern one houses a spiral staircase in carved stone of good workmanship, which communicates with the choir level. The other duct on the north side houses the bell ropes that come from the bell tower level.[154].
The choir and choir are denoted by a system of load-bearing side walls on the first floor, 1 meter thick, in mixed masonry, following the system of the side walls, in solid carved stone and solid brick as executioners at different heights, these interlock with the walls of the side volumes of the façade.
On the second floor, the choir, in addition to the lateral closing walls in solid brick masonry, is concreted with a system of semicircular arches that start at the mezzanine level.[154].
The side walls that face the chapels and the exterior are conceived in a mixed masonry system in solid carved stone and solid brick as executioners at different heights, presenting discharge arches in different sections. These walls are altered by a series of niches that protrude to the outside, the product of an intervention after their origin, some of which were built in the center of the discharge arches. In the upper parts of said side walls it is combined with solid brick masonry. The niches are made of solid brick in "Rig (construction)") with a thin partition.[154].
Attached to these side walls are the transverse walls that close the side chapels and define their space, on which a system of barrel vaults is formed, which are made of ceramic planks. But in addition, these walls serve as buttresses for the diaphragmatic arches that are above the longitudinal nave, built of solid brick, with an average of 50 cm thick. The columns of the longitudinal nave, in its lower body and basement, were built in solid brick and carved solid stone (stone discs and central axis) which forms the shaft of the column.[154].
The walls of the transept are also load-bearing, they are made of solid bricks, they are 45 cm thick, which have a very important slenderness as they are 20 meters high without additional structure. The load-bearing system of the presbytery is conceived with four concrete pillars reinforced with railway beams and smooth steel straps, this system that used a solid brick formwork, this being a coating to which the cast cement elements are anchored that give the appearance of a surface to them. The pillars support the dome, which is made up of a system of beams and columns with reinforced concrete corbels, on which the stained glass drum is built in solid brick masonry.[154].
The exterior dome is defined by a system of radiating metal structure supported by a very long drum, which is also a metal structure that in turn is supported by a concrete ring. The drum and the base have complementary enclosures in hollow block coated with stone-like mortar.[n. 28][154] The dome is covered by pieces of laminated glass textured with the colors of the Colombian flag, these pieces are supported by a radiated metal grid.[155].
The dome ends in a lantern "Lantern (architecture)"), which has a small elongated dome that is made up of aluminum-silicon alloy sheets, screwed and welded to an internal iron structure. Above this elongated dome is the large monstrance that is made of bronze for its base and copper sheets for the sun, using modules welded and riveted on an iron structure.[155].
The roof "Cover (construction)") of the longitudinal nave and transept is gabled and of the side chapels is single-gabled and is made of baked clay tiles. The roof structure is made up of king post type trusses and straps made of round wood, on which it originally had a reed mat, which had a layer of mortar and on top of it the clay tile. Currently, given the intervention in 2012, the support system of the tile has been modified by fiber cement, on which the clay tile rests.[156].
The ceiling system in the longitudinal nave is supported by the main braces, forming a self-supporting ceiling using a wooden framework that is pointed by rods like small pendulums.[156] In the lateral arms of the transept, the ceiling is achieved with cement shells on metal meshes with a smooth rod framework in main arches, these elements are hung from the main structure of the roof (king post truss). The false vaults are covered on the inside with cement mortar and painted plaster.[156].
The floor of the presbytery is made of white marble; However, on the general floor and in the ossuary crypt of the temple, the pavement is composed of pigmented cement tiles (known as hydraulic mosaic) measuring 20x20 cm.[157].
Abroad
On the outside of the temple, the volumetry of the building is clearly identified with the spatial layout and composition of the interior, its shape allows us to clearly distinguish the different bodies that compose it. Furthermore, only the main façade faces directly onto the public space, the other sides of the temple adjoin other properties.
The main façade faces directly the western side of the Plaza de Los Mártires; It is completely symmetrical, it is made up of three bodies separated by entablatures and five streets separated by columns "Column (architecture)") and pilasters, which are on smooth plinths, have fluted shafts and Corinthian capitals. As the façade gains height, the five streets become smaller, forming that staggering that can be seen on the front.
The first body, which consists of five streets, is mainly perforated at its base with the openings that give entry through three doors and through the windows of the side bodies. The Corinthian colonnade is made up of two types: the separate ones that are almost tangent to the wall located behind, which is the true support of the entablature, and the pilasters that are attached to the wall.[158].
The separate columns are found in pairs, on different planes and on the sides of the main entrance. The first pair of columns supports the split curved "Frontón (architecture)" pediment while the second pair is located on a plane posterior to the first columns.[158] These columns frame the central portal, the largest, highlighting its importance. While the pilasters frame the side portals and the windows of the first body.
The second body is made up of three streets, in the central one is the split curved pediment (very common in Baroque architecture), in whose break zone is the choral window and above it is the medallion of Constantine Augustus and above it the national coat of arms of Colombia, said central street is framed by four Corinthian columns, two on each side, smaller in size than those of the first body; In the side streets there are two blind semicircular arches framed by pilasters.[158] These columns and pilasters rest on smooth plinths, which are part of the plinth at the ends of which the shield of Archbishop Bernardo Herrera Restrepo and the statue of Saint Toribio are located to the south; and to the north the emblem of the Claretians and the statue of Saint Peter Claver.[158].
Finally, the façade is finished with the rectangular-based bell tower, which is made up of a single street framed by simple pilasters. At the ends, on the second body, are the statues of Saint Luis Beltrán (to the south) and Saint Rosa de Lima (to the north). In the last body is the shield of Pope Benedict XV, above it there is an opening made up of a semicircular arch with doors (from which the image of Jesus Christ emerges like a cuckoo); Then the face of the clock is located, which is located just between the facade of the bell tower and its roof, on which is the statue of the Sacred Heart of Jesus.[158].
Inside
When entering the temple through one of its three large doors, the first space that is found is the sotacoro, an area located at the foot of the temple under the high choir, which serves as a vestibule, a transition space to the other areas of the temple. The width of the sotacoro coincides with the three central streets of the façade. Above the socochoir is the upper choir, the space where the tubular organ is located. After the sotacoro is the longitudinal nave "Nave (architecture)"), which goes to the presbytery, above it is a series of diaphragmatic arches that rest on the transverse walls that define the space of the sixteen side chapels, eight on each side, which are distributed longitudinally.[152] Between the ceiling located between the diaphragmatic arches are the eight large paintings by the master Ricardo Acevedo Bernal.
As already mentioned, each side chapel is clearly demarcated by the transverse walls, at the beginning of each wall there is a column, which serves as a frame for each chapel, said column has a Corinthian capital and a smooth shaft, the latter has in its first third a ring-like molding on which a Station of the Cross is located. windows inside the niche. Around each niche there is an altarpiece made of different materials. The chapels communicate with each other through perforated openings in the walls that divide said chapels, giving the impression of side naves, but they really are not.[159].
The final chapels (which correspond to Cartagena and the Police) are larger than the others, this is because originally the area between these chapels corresponded to the first presbytery "Presbytery (architecture)") that the temple had when it was inaugurated in 1916.
Finally we find the transept or transversal nave, which is the extension inaugurated in 1938 after acquiring some neighboring land. The meeting between the transept and the longitudinal nave generates the transept "Cruise (architecture)"), to the west of this is a shallow apse, with a polygonal shape; The crossing of these naves forms the Latin cross plan of the temple. The presbytery covers the area of the transept and the shallow apse.[152][159].
In the south arm of the transept, on its western wall, is the main entrance to the sacristy, and to the east are the stairs to go down to the ossuary crypt; and in the north arm there is, to the west, the altarpiece in which the image of Antonio María Claret is venerated.[160][161].
The arms of the transept are unequal as they are conditioned to the shape of the lots that were acquired for the expansion, since unfortunately the necessary ones for the project that was initially planned could not be obtained.[75] Even so, this inequality is almost not noticeable in the interior, since the architect Antonio Stoute played with the internal perspective so that the viewer would not easily notice said inequality.[n. 29].
The general floor plan of the Basilica has 1,238 m² (not including the sacristy, ossuary crypt and priestly house).[162] The capitals, the Stations of the Cross, the entablature, the moldings and other pieces of ornamentation inside the temple were made by ornatist and sculptor Colombo Ramelli, from the Ramelli workshop.[4].
artistic elements
Paintings
The master Ricardo Acevedo Bernal designed and executed between 1917 and 1920, the 10 paintings made in the oil on canvas technique, whose work had a total value of 4000 pesos paid by the priest. Pueyo de Val, before his transfer as bishop of Pasto.[8].
According to the memories of the Claretians every first Friday of the month, Acevedo came to take communion at the Vow and during the day he stayed in the choir painting the paintings.[8] For the 10 paintings he charged the sum of four thousand pesos, which the Claretians themselves recognize as intrinsic, due to the great work and artistic quality of the works, it was more of a good gesture, a gift.[8].
In 1989, at the jubilee commemoration (75 years) of the Claretian community in Colombia, Fr. Rafael María Cuéllar took advantage of the occasion and "initiated efforts to restore the beautiful paintings of the master Acevedo Bernal",[175] these efforts were unsuccessful because the paintings were not restored and are currently suffering from an advanced state of deterioration.[176][177].
The 10 paintings are made up of the 8 large canvases that are decorating the ceiling of the longitudinal nave and the 2 paintings that are located in the chapels of Pamplona and Ibagué, respectively.[178].
The 8 paintings on the ceiling are: “The Adoration of the Three Wise Men,” “The Holy Family,” “The Wedding at Cana,” “Let the Children Come to Me” (Fr. Otero and Monsignor Rubio and Sánchez appear in this painting), “The Transfiguration,” “Triumphal Entry into Jerusalem,” “The Last Supper,” and the “Appearance of the Sacred Heart of Jesus to Saint Margaret” (Mons. Pueyo appears in this box).
The 2 paintings in the side chapels are: "Jesus' prayer in the garden - The agony in Gethsemane",
"The Coming of the Holy Spirit."
These works generally stand out for the religious style of the recreated scenes, which continue the guidelines of colonial art, in accordance with the canons of Catholic art treatise writers, such as Juan Interián de Ayala, who established the ways of painting scenes and standardizing religious images related to both the life of Jesus and hagiographic paintings.[178] This allows us to analyze the way in which even in the century the artists employed by the church, such as Acevedo, continued to be guided by These norms of representation established by the Council of Trent in Europe, repeating its symbology, colors and attributes, and even the way of naming the iconographic themes for the works.[178].
Artistically, it is necessary to highlight the quality of the artistic work achieved in these large-format paintings, with human-scale figures that accentuate the realism of the scene and an abundant color palette that, through the use of blue and brown tones, achieves dramatic shadows. It should be noted that the varnish was used locally, highlighting the difference between planes of the work.[178].
From the main door towards the presbytery, there is first the pictorial work of "The Adoration of the Three Wise Men" which has a richness in its composition. The work represents the scene where the three Wise Men, having found Jesus following a star, lie before him worshiping him and offering him gold, incense and myrrh. Here Acevedo carried out the work under the same guidelines as art writers such as Juan Interián de Ayala.[179] The adoration scene in Bethlehem is one of the oldest and most recreated in the artistic world.
The next pictorial work is The “Holy Family”. This religious scene is widely recreated in religious art, here Master Acevedo represented the Holy Family maintaining the canons of the religious scene and explicitly teaching attributes of the passion of Christ, such as the cross where he was crucified, the crown of thorns with which he was crowned in a tone of mockery while he was whipped, and the spear that was stuck in his side at the crucifixion.[180] In this painting an unidentified character can be seen, due to his clothing he is possibly It is a priest from the Claretine community.
The next pictorial work is "The Wedding at Cana" which has a large number of characters and a richness in its composition. This scene describes the first miracle performed by Jesus, which took place at a wedding in Cana of Galilee that was also attended by his mother and his disciples. Master Acevedo continued what was stipulated iconographically, preserving the canons of representation of the religious scene in the essence of the image, but he allowed himself to vary the composition by placing Jesus in the center, with the bride and groom on his right, the groom offering three jars and a servant on the left, the other three.[181].
The next pictorial work is "Let the children come to me" which has a large number of characters and a richness in its composition. Master Acevedo normally continued what was indicated in the treatises, but he incorporated Fr. Otero and Mons. Rubio and Sánchez,[77] who stood out in the consolidation of the Claretian community in Colombia and in the construction of the Temple of the National Vow.[181] Furthermore, "on the painter's initiative, he used boys and girls from Bogotá families as models."[182].
The next pictorial work is "The Transfiguration of Jesus", which has great richness in its composition, and in which Acevedo continued what was indicated in the treaties, including exactly the indicated characters, the glare and the white clothing of Jesus.[183] The work represents the scene of Jesus and three of his apostles, Peter, James and John, meeting on a mountain to pray. On the mountain, Jesus begins to shine with bright rays of light, then the prophets Moses and Elijah appear next to him.
The next pictorial work is The "Triumphal Entry into Jerusalem" which has a large number of characters and a richness in its composition. The work represents the scene of Jesus' triumphal entry into Jerusalem that takes place in the days before the Last Supper, marking the beginning of his passion.[184] That is why the work is the predecessor of the one that follows it. This scene is recreated in accordance with what is stipulated by the Scriptures and the canons of art writers, such as Juan Interián de Ayala.[184].
The next pictorial work is "The Last Supper", one of the works with the greatest number of characters and richness in its composition, whose design has a preliminary work of three sketches, in which the location of the characters, the background, the proportion and foreshortening of the bodies were varied.[185] The work represents the scene of the Last Supper of the last days of the life of Jesus of Nazareth as narrated in the New Testament. The religious character of the scene corresponds to a classic iconographic theme recreated in Latin America since the colonial period.[185].
The last work on the ceiling is the pictorial representation of Saint Margaret Mary Alacoque and the revelation of the Sacred Heart of Jesus, which is the only scene in the group of 10 oil paintings that does not allude to an episode in the life of Jesus, but to a hagiographic event that occurred to the saint belonging to the Order of the Visitation.[186] On June 16, 1675, Jesus manifested himself to Sister Margaret Mary. with his heart open, and pointing with his hand to his heart and according to his testimony, the aforementioned Heart was surrounded by flames, crowned with thorns, with an open wound from which blood flowed and a cross emerged from the inside.[186].
For the Temple, this work is of great value, as it stands out in the symbolic values of the painting, since it remembers the moment in which the devotion to the Sacred Heart of Jesus began and spread thanks to Sister Margarita María Alacoque. This painting has a different shape from the rest of the paintings on the ceiling, as it was made when the first presbytery of the temple was located in this space. Furthermore, in this painting, Maestro Acevedo included the figure of Mons. Antonio María Pueyo de Val with raincoat.
In a vertical position, presiding over the chapels of Pamplona and Ibagué, are the paintings "The Prayer of Jesus in the Garden - The Agony of Gethsemane" and "The Coming of the Holy Spirit - Pentecost", works also made by the master Acevedo. In the first, the artist continued with what was indicated iconographically by the conciliar treatises, but also used additional elements that make it easier for the observer to link the theme with the passion of Christ, since the angel with the green cloak, apart from carrying the cross, has the crown of thorns in his right hand, which relates to an iconographic theme called The Agony of Gethsemane.[187].
As for the painting The Coming of the Holy Spirit, this scene corresponds to an iconographic theme called Pentecost, which Master Acevedo represents under the guidelines of art treatises.[187] The work represents the scene where they are all gathered in the same place and tongues of fire appeared to them and landed on each of them and the Holy Spirit above them.
To create these works, Maestro Acevedo carried out a preliminary study with pencil sketches, some even colored with watercolor, which were published together with the news of the installation of the paintings in the church in 1920 in Cromos Magazine.[188] These sketches help analyze the careful work of proportions and metrics, the organization of the composition and its planes in accordance with elements such as depth and perspective.[188].
Master Acevedo titled the sketches of these works like this: "For the mural painting in the National Vote, Peace begins the century", works that when installed on the ceiling in a horizontal position give the appearance of mural painting. These sketches are preserved in the Graphic and Documentary Archive of the National Museum of Colombia.[188].
In the basilica there are two groups of mural paintings: the first is located in the pendentives and the second integrates the architectural spaces of the building.[189].
In the first group, located in the pendentives, under the tabor of the dome, just above the presbytery, there are four paintings of notable artistic and aesthetic quality, since the compositions of each of the images have a number of elements and attributes that make up the iconographic scene of the four biblical evangelists (Matthew, Mark, Luke and John).[189] Unfortunately, no information has been found in the serial publications of the temple or of the Claretian Community, not even in the epistolary documents of the Claretian fathers, which is why the authorship of these four works is unknown although it is presumed that they were created in 1938 when the dome and transept of the Church were inaugurated.[189][190].
The second group is made up of sections divided into 28 spaces that correspond to the modules between arches and columns in the ceiling and vaults of each chapel and the south and north arms of the transept, also including the mural painting that precedes the vault of the stained glass dome. a design of geometric figures and phytomorphic motifs, combined with a color palette, which is replicated along the walls, ceiling and vaults with details that adjust to the shapes of each of the areas. It also accentuates the religious symbolism of the temple.[189] The author of the decorative mural painting is the artist Colombo Ramelli, from Ramelli's workshop.[191].
In general, more than 60% of the mural painting has been intervened on different occasions, a fact that was corroborated with the mural study carried out in 2012 through the elaboration of stratigraphic coves.[189] [n. 31].
Sculptures
The façade of the temple is adorned by a sculptural group that is divided into three groups that correspond to: 1) statues, 2) shields, and 3) decorative elements attached to the façade.
The statues are a group made up of 5 elements, which are important works of the façade because they are unique and original works.[192] As the dominant element is a cast iron sculpture with a gold finish of Jesus standing in a victorious position, with his right hand he raises and in his left hand he holds a wooden cross on whose horizontal crossbar is the Latin phrase "IN HOC SIGNO VINCES" (with this sign you will win) and on his chest he has a flaming heart wrapped with a crown of thorns.[193] The statue is located at the top of the façade and was blessed and installed on December 8, 1913 in a pompous ceremony.[59] There is also a set of four statues made of poured cement with an iron frame inside, which correspond to different American saints (Saint Rose of Lima, Saint Toribio, Saint Luis Beltrán and Saint Pedro Claver), designed by Ricardo Acevedo Bernal. and made by the Argentine sculptor Juan C. Atehortúa, of which those of San Toribio, San Luis Bertrán and San Pedro Claver, were delivered and installed in 1914 and that of Santa Rosa de Lima was installed in 1915. the Ramelli.[192].
These saints were related to the viceroyalty of Peru and the viceroyalty of New Granada, and iconographically they show relevance as part of the decoration of the façade, to the extent that they reinforce the idea of their own (American) religious language that complements the figure of the victorious Jesus as the central theme of the entire National Vote and that is positioned above (literally and metaphorically) all the saints on the façade.[192] It is noteworthy that the location of the American saints Towards the two sides of the façade, on the two upper levels, they serve as a frame of reference for the central decorative element: the coat of arms of Colombia. In that sense, with Christ on high, the four saints of America protect and guard the Republic of Colombia.[192].
Likewise, on the façade there is a group of shields sculpted in stone or cement which correspond to those of the Republic of Colombia, of Pope Benedict XV, of Archbishop Bernardo Herrera Restrepo and of the Claretians, in addition to the medallion of Constantine Augustus and a small shield with the letters IHS, the monogram of Jesus. 1915. The author of these carvings is unknown, although the coat of arms of Colombia and the medallion of Constantine Augustus were designed by Ricardo Acevedo Bernal, made of cement and sand mortar with a stone-like finish and executed by the D'Achiardi workshop, which was directed by Pedro Julio D'Achiardi, an Italian sculptor and ornamenter who lived in Colombia since the end of the century and who participated around 1926 in the remodeling of the Cathedral of Ibagué.[195] [196].
The coat of arms of Colombia has at the top a cross from which rays come out and in its center is a heart that corresponds to the iconography of the Sacred Heart of Jesus. The shield together with the cross is 1.96 m high. At the bottom of said shield appears the manufacturer's inscription "TALLERES D'ACHIARDI".[195].
Stained Glass
The stained glass windows in the side chapels of the basilica were designed by the artist Ricardo Acevedo Bernal under the ideas of the priest Antonio María Pueyo de Val who was in charge of the construction of the temple between 1911 and 1916. The stained glass windows were installed between 1915 and 1916 and cost around 10,000 pesos and were manufactured in Madrid, Spain.[8].
The stained glass windows are made of painted glass, they were made by the Maumejean House,[8] a family business that was founded in 1860 by Jules Pierre Maumejean, who at the age of 23 established his first workshop in Pau "Pau (France)") (France) on Montpensier Street. The founder's children expanded the company to Madrid and Paris.[208][n. 33] Joseph Jules Maumejean created the Maumejean workshop on Paseo de la Castellana n. in Madrid in 1898. 64, place where the 16 stained glass windows of the National Vote were made, as stated in the signature of each stained glass window. The Maumejean workshops are a prestigious Artistic House of Stained Glass that has had numerous commissions, not only from France and Spain, where they were established, but also from the rest of Europe, Africa, Asia and America.[208] Some of their best-known works adorn the Bayonne Cathedral, the Biarritz Town Hall, the Cathedral of Seville, the Cathedral of Burgos, the Cathedral of Mary Immaculate (Vitoria) "Cathedral of Mary Immaculate (Vitoria)"), the Diocesan Museum of Sacred Art of Álava and the Basilica of the Assumption of Our Lady (Lequeitio) "Basilica de la Asunción de Nuestra Señora (Lequeitio)"), and became the official stained glass makers of the Royal House of Alfonso (Chiquinquirá)") are also from that house.
Each stained glass window has an outstanding aesthetic value, both for the management of a wide range of colors and for the fine work to establish shadows, lights and the saturation of tones; Even the assembly of the glass plays with the composition of the designs of each scene.[209].
The group of stained glass windows in the side chapels illustrate a repertoire of saints, philosophers and theologians who defended Christian dogmas that iconographically show 17 centuries of the history of the Catholic Church. In documents, 16 stained glass windows appear referenced, but today 14 are preserved,[210] since the stained glass windows of the chapels of Cartagena and the National Police disappeared, possibly due to the modification of the old presbytery,[211] since the current altarpieces of said chapels were made by the Talleres de Arte Granda, and in one of them you can see the remains of the frame of one of the windows. Each stained glass window contains one or two saints, each corresponding to a different century, starting chronologically with the chapel of Panama (century) and ending in that of Popayán (century) as follows:[210].
The stained glass windows that are on the left, as you look at the altar. They are the following.
Other notable elements
Organ
In the first decades of the construction of the temple there was an organ that was "obtained occasionally for 1,000 pesos, but it was of no use."[219] Some time later, efforts were made to obtain a new instrument to give splendor to religious ceremonies. Finally, in 1932 the new organ arrived, brought from Spain and manufactured in Bilbao by Juan Dourte's "Nuestra Señora de Begoña" organ house.[n. 18] The instrument was made of polychrome wood, metal stringing and ivory. It was blessed on August 7, 1932 and cost 15,000 pesos.[219].
The organ is made up of 25 registers "Register (music)") (sounds) divided into two manual keyboards and a keyboard that is played with the feet (pedal player), which serves for the low bass. It has 8 hooks combined with the three keyboards. All the keyboards are arranged on a console, which is separate and placed in front of the organ with a view of the central nave. Its transmission is mechanical with an electric motor.[219].
Its origin and authorship make the organ of the voting temple a piece of great quality, since Juan Dourte was a prominent Spanish organ builder and his factory was a renowned organ house that had won a Grand Prize in 1929 at the International Musical Exhibition of Barcelona.[220][221] The factory operated from 1924 in Begoña (Bilbao), manufacturing instruments not only for Spain, but also for several American countries and the Philippines.[221].
crystal lamps
There are four glass lamps, which were made by Talleres de Arte Granda, which arrived in 1954 and were part of the presbytery's order.[100] They are not really the same, since two have a different design from the other two.
Clock
In the tower of the main façade of the basilica is the clock, it was blessed and inaugurated on August 21, 1938 by Archbishop Ismael Perdomo Borrero, along with the expansion of the temple (transept, crypt and dome).[84] On the occasion of the inauguration of the expansion, and the celebration of the fourth centenary of the founding of the Colombian capital, the municipality of Bogotá presents the temple with the clock;[84] This was ratified in Agreement 35 of the City Council, with which "authorizations are given to the executive to make the transfers required by the purchase of a clock for the temple of the National Vote."[84].
After the installation, it was possible to synchronize the clock with the minor bells of the temple and with a statue of the Sacred Heart of Jesus, which, like a cuckoo, comes out at a certain time, initially it came out to indicate 7 in the morning, 12 noon and 6 in the afternoon.[84] However, the original sculpture that carried out this work was replaced by one in resin and plaster, with a gold finish and resistant to the elements, probably due to the deterioration of the original.[222] This sculpture is a golden statue of Jesus standing, who points with his left hand to his flaming heart and his right hand is raised in an attitude of blessing.
The instrument is a mechanical tower clock that works by gravity, it was manufactured by the famous German company J. F. Weule in its factory in the town of Bockenem, Lower Saxony, a company that existed from 1836 to 1966.[n. 19] The instrument is characterized by having three spheres or faces made of copper sheets, located on the north, south and east sides of the tower, in which the hours are represented by Roman numerals, and a chime made up of three bells synchronized with the mechanism.[222][223].
The clock consists of two frames or mechanism cages, the main and largest one has three sections that correspond to the quarter mechanism, which is responsible for ringing the bells every 15 minutes and has two bells for the bim bam; the hour mechanism, which rings the largest bell the number of times corresponding to the hour; and the time mechanism, located in the center of the cage, which is responsible for moving the hands "Hand (mechanical)") that is, the measurement of time and in turn is the computing mechanism. The second cage has the mechanism that operates the door and the tray that takes the statue of Jesus outside and can be programmed to come out the desired number of times. The cages are made of cast iron, the gears are made of bronze and the axles are made of iron. The bob (weight) of the pendulum is made of cast iron and the rod that supports it is made of wood. The entire assembly was placed on a metal "table", with dimensions corresponding to the movement and protection of the pendulum.[223].
To access the clock it is via a spiral staircase that goes from the choir to the bell tower, behind two small wooden doors the operating mechanism is located. On one of these doors is attached a document dated February 12, 1989 that details the care of the instrument and mentions the four clock mechanisms. Additionally, it points out that the cuckoo mechanism is made with ropes and the way in which the movement must be carried out so that the statue comes out properly.[n. 34] Currently, this rope system is no longer preserved, and was replaced by a tray that works mechanically by means of wheels.[222].
In the first stage of restoration of the temple, which focused on the body of the façade, the clock was also intervened. But before this process, the instrument was, in general terms and without considering its particular mechanical functioning, in good condition. From an exclusively material point of view, it showed slight wear on its parts, something natural due to its years of operation, and it also presented small points of corrosion on some of the metal parts, which are explained as normal alterations of these metals (mainly bronze and iron) with interaction with the environment.[223].
Finally, the watch was operated on in November 2017 by the prominent watchmaker Juan Carlos Llano Sendoya, who carried out meticulous restoration work. In this process, when stripping the spheres it was found that they suffered alterations, specifically it was discovered that the number 4 was originally represented by "IIII",[n. 35] which is common in this type of large format watches, and which for some unknown reason was changed to "IV"; It was also discovered that originally the faces had the inscriptions «A. Duran" at the top and "Bogotá" at the bottom, which were covered with paint. It is unknown what they are referring to, if it could be an allusion to the importer/marketer of the watch. After the restoration process, the spheres recovered their original appearance. The statue of Jesus was scheduled to go out every day at 9 in the morning, 12 noon and 3 in the afternoon.[224].
Bells
The bell tower of the basilica currently has five metal "Bell (instrument)") bells and each one is marked with a date and factory seal. The first bell of which there is a record was donated in 1913 by "a lady called Salustiana de Aldana, who had no other protection after God than a stall in the market place, with her savings she managed to pay for the first bell that cost her the sum of 333 pesos."[59].
However, currently said bell is not preserved; It was most likely replaced by the set of three bells, which arrived in 1931 from Germany. This set consists of two small ones (approximately 40 cm high) and one medium one (approximately 60 cm high). The three bells are made of bronze, they were made by "Mefecerunt Franzfelillingsóhne Auolda Germania", and are currently part of the chime of the bell tower clock; However, they are the pieces that first arrived at the church of the entire time mechanism, given that after seven years the clock would arrive. The sound system of the bells consists of external hammers that strike them to produce the chimes, which are activated by means of sprockets and chains of the clock mechanism.[80].
After three decades of the arrival of the German bells, two larger bells arrived from Spain, made of bronze, one called "Heart of Mary" and the other "Heart of Jesus", which were manufactured in June 1961 by the prominent workshop of the Portilla Brothers in Santander "Santander (Spain)"), Spain.[80][n. 36] Their sound system is wobbly, which is why each one has its own clapper that makes them sound when they are wobbled. This system is activated from the sacristy by means of electrical equipment and are used to announce religious acts, therefore they are also called liturgical bells.[80].
Baptismal font
When Archbishop Ismael Perdomo elevated the Church of the Vow into the parish of the Sacred Heart of Jesus through Decree No. 16 of March 12, 1942,[90] the temple automatically saw the need to acquire a baptismal font to impart the sacrament of baptism, which is why, in October of that same year (1942) Mrs. Ana Lucía Palacios de Ruiz gave the newly created parish the baptismal font.[91].
Originally the font was located in an enclosure located at the foot of the north entrance of the main façade, said enclosure served as the baptistery, some time later the font was moved to the north arm of the transept, near the presbytery, where it is currently located.[225] This relocation was due to the Second Vatican Council which established that the baptismal fonts must be in the presbytery or adjacent to it.
The basin is made entirely of marble of various colors, including the lid. The cup (concave container into which water is poured) has an octagonal shape, which is supported by a central pillar and by four columns "Column (architecture)") that have Corinthian style capitals and smooth shafts.[n. 37] The pillar and columns rest on an octagonal base and this in turn rests directly on the ground. The dark brown marble predominates in the basin, it is present in the cup, the pillar and the base. Although the cup and lid have parts of white marble, in the case of the cup, each face of the octagon has white marble with carved images that are interspersed between images alluding to the four evangelists and images alluding to Jesus and the Eucharist. The columns have a red marble shaft and the capital and base are made of white marble.
Pavement
The floor of the temple's presbytery is composed of white marble and was installed by Casa Granda in 1952 along with the entire new presbytery.[94][157] On the other hand, the floor of the rest of the temple is made up of tiles known as artisanal hydraulic tiles or hydraulic mosaics.[157].
From the beginning the temple had a brick floor as a pavement, this is what the priest highlighted. Martín Jové, in a letter from 1913:
That pavement continued for several more years, with that floor being consecrated in 1916 and it was not until 1919 when "a mosaic floor was placed on the floor of the temple."[226] The new pavement was achieved thanks to the various donations that were achieved through the publication of advertisements in the Magazine El Voto Nacional, in which the sums donated weekly by each family were published, and in exchange benefits were offered such as monthly healing eucharists, posthumous donations for several years after the death of the donor, and even niches in the crypt of the temple for people who made the highest donations.[227] These announcements indicated how progress was going, and the sections that were missing for completion:.
According to the memoirs of the Claretians, the "Temple of the Vow was one of the first buildings paved with tiles."[10] The mosaic tile, also known as hydraulic mosaic, is a decorative pigmented cement tile that became popular between the 20th century and 20th century, due to its variety of motifs, designs and colors, and its low cost compared to other types of tiles, having great acceptance. Some businesses imported these tiles from Spain, however factories such as the Hydraulic Mosaics and Artificial Granite company, owned by Jesús María Tobón, which was the one that made the pavement for El Voto, provided their products at half the cost of those brought from Spain,[229] and thanks to advertising advertisements, published in national printed publications such as El Grafico or the El Voto Nacional magazine, they allowed it to be one of the largest factories. known.[227].
Most of the paving in the temple is with green tiles with white stripes and some red tiles that form Greek crosses scattered among the green ones. On the other hand, in the middle of the floor of the longitudinal nave there is a strip that goes from the main entrance to where the presbytery begins and is made up of tiles with repetitive phytomorphic and geometric motifs and have red, white, green, and brown colors, they are the most striking and artistic.[227].
In general terms, these tiles have missing parts and a high degree of surface wear that results in a dull surface. Furthermore, the pavement, in general, is not level as it shows subsidence in several areas, due to the composition of the support strata and the high humidity of the soil.[230].
Plates
Scattered inside the Basilica are several plaques, mostly made of marble, commemorating various events, and only one is found outside.
Dependencies
Ossuary crypt
The Crypt of Ossuaries is located in a basement just below the transept and the sacristy, and in a semi-basement located in the south patio, between the temple and the Claretians' building; It has a total area of 623.23 m², of which 434.11 correspond to the basement and 177.35 m² to the semi-basement; It consists of several galleries that contain the ossuaries, access to the enclosure is through a staircase located in the south arm of the transept.[231][162] The basement crypt was built between 1931 and 1938, when the transept and the dome were built, which is why it is the work of the architect Antonio Stoute.
Due to the close link with the Claretian fathers and with the temple, the mortal remains of the teacher Ricardo Acevedo Bernal and his wife lie in the crypt of oraries, which were brought on January 10, 1963 from Rome, Italy, where the artist had moved and where he would later die.[176][232] In the crypt of ossuaries, there are also the remains of Mrs. Rosa Calvo Cabrera, donor of much of the land for the temple and the Italian sculptor Pedro Julio D'Achiardi, ornamenter of the church's façade.[232].
Sacristy
The sacristy of the basilica is divided into two areas, which are located in the block located in the southwest of the temple, which was part of the old headquarters of the Claretians. This block has several floors, which are mostly used by the Claretian community and are not part of the parish use. The main sacristy has direct access to the temple through a large door that communicates with the south arm of the transept and through a smaller door that communicates with a hallway, which leads to the back of the presbytery.[160][233].
In the main sacristy, which has an area of approx. of 74.09 m², the objects that are necessary for religious celebrations are kept, such as unconsecrated hosts, chalices, chasubles, stoles, etc., and access is restricted to the general public. In the center of said enclosure is the "sacristy table" measuring 5 m long x 2 m wide and has several compartments to store liturgical elements.[160][162].
The secondary sacristy or warehouse has an area of approx. of 119.87 m² and is located just after the main sacristy, but on a higher level, as a kind of mezzanine; This area mainly stores items that are not for everyday use and that are used in certain events of the year, such as Easter, December, patron saint's day, etc.[160][233][162].
Miscellaneous
Schedules
The current schedule of masses is detailed in the following table. The schedules are subject to changes or variations depending on the patron saint holidays, Easter, Christmas, or depending on the saints' calendar.
The parish office's office hours are Monday to Friday 9:00 a.m. m. to 11:30 a.m. m. and from 2:00 p.m. m. to 4:30 p.m. m.
• - Address of the parish office: Cra. 15 #10-71, Bogotá, Colombia.
• - Telephone: (+57) 601 5625914.
Live broadcast
Every Sunday at 8:00 a.m. m., the Colombian television channel "Caracol" broadcasts the Holy Mass live, which is held from the Basilica of the National Vow and is presided over by Father. Darío Echeverri González, parish priest of the temple.[234][235].
Notes and references
References
• - Archdiocese of Bogotá.
• - Annex: Basilicas and cathedrals of Colombia.
• - List of Catholic basilicas.
• - National Monuments of Colombia.
• - Wikimedia Commons hosts a multimedia category on Minor Basilica of the Sacred Heart of Jesus.
• - Official page of the Basilica of the Sacred Heart of Jesus - The National Vote.
• - Official page of the Archdiocese of Bogotá.
• - Official page of the Claretian Missionaries in Colombia.
• - on YouTube.
References
[1] ↑ a b c Antonio Stoute, fue un arquitecto neerlandés que ejerció su profesión en Colombia desde antes de 1912 y posiblemente hasta 1939, fue célebre por su conocimiento en arquitectura religiosa. Fue contratado en varias oportunidades por comunidades religiosas en Bogotá y en otras ciudades para edificar principalmente templos. Para los claretianos realizó también los planos para la edificación del Colegio El Cerro de Zipaquirá, hacia 1930. Entre sus obras más destacadas están la Catedral de Nuestra Señora de los Remedios, en Riohacha, para la cual fue llamado por la Orden Capuchina, en la que reformó la fachada, dándole más artístico y marcado estilo, evitando que se desplomara, además de componerle las paredes, se colocaron los cuatro altares de mármol y sobre el Altar mayor se levantó una cúpula.
[2] ↑ Después de la destrucción del templo de San Victorino por un terremoto en 1827, la parroquia se trasladó a la Iglesia de La Capuchina. Ibáñez, Pedro María (1952). Crónicas de Bogotá, tomo II, capítulo XXX, p. 65.: https://babel.banrepcultural.org/digital/collection/p17054coll10/id/2396/
[3] ↑ El arzobispo Bernardo Herrera Restrepo se enfocó en la concreción del templo del Voto Nacional, para lo cual ya contaba con experiencia. Había sido el sucesor del arzobispo Vicente Arbeláez, quien le había protegido desde muy joven y le confió varios cargos muy destacados, como la dirección del Seminario Mayor de Bogotá durante 14 años. Fue obispo de Medellín entre 1885 y 1891, en dicha ciudad retomó la construcción de la nueva catedral, la cual se encontraba suspendida por fallos en los diseños. Herrera solicitó el concepto al arquitecto Mariano Santamaría sobre esos diseños, el cual los descalificó y señaló graves errores en los planos. Luego acudió a Francia, en donde contrató al arquitecto Charles Carré para los nuevos diseños y la dirección de las obras. Curiosamente, el arquitecto Carré antes de venir a Colombia se desempeñaba como inspector de los trabajos de la Iglesia del Sagrado Corazón de Montmartre (París), conocida como la Iglesia del Voto Nacional en Francia.
[4] ↑ a b Belisario Castro había heredado el lote número 3, a través de la sucesión de bienes de su esposa Pía Rincón de Castro, quien a su vez, lo adquiere por medio de una compra realizada a las herederas de Rosa Calvo: Clara Calvo de Márquez, Ana Calvo de Vélez y Soledad Calvo. • Reina Mendoza, Sandra (2016). Paz y el Sagrado Corazón: Iglesia del Voto Nacional. Bogotá: Instituto Distrital de Patrimonio Cultural. p. 61.
[5] ↑
[6] ↑ Aunque ya existía una junta previa, así lo indica la consulta que el arquitecto Lombana hace a una Junta en 1900. • Mesa Gómez, Presbítero Carlos Eduardo (1984). El padre Pueyo Obispo de Pasto, 1917-1929. Medellín: Editorial Zuluaga. p. 25.
[7] ↑ Achaque: uno de sus significados es: Tema del que se trata o sobre el que se piensa. Sinónimos: asunto, materia.
[8] ↑ El pbro. Juan Gil había coincidido con el pbro. Antonio Pueyo de Val en el capítulo provincial de Castilla de 1901. • Mesa Gómez, Presbítero Carlos Eduardo (1984). El padre Pueyo Obispo de Pasto, 1917-1929. Medellín: Editorial Zuluaga. p. 22.
[9] ↑ Casa aledaña a la Iglesia de La Capuchina, perteneciente de la Curia. Calle 14 número 216. • Reina Mendoza, Sandra (2016). Paz y el Sagrado Corazón: Iglesia del Voto Nacional. Bogotá: Instituto Distrital de Patrimonio Cultural. p. 73.
[10] ↑ El pbro. Pedro Díaz menciona, en septiembre de 1913, que «pocos meses antes apenas alcanzaban a divisarse las columnas del primer cuerpo [de la fachada]». • Comunidad Claretiana (1962). Bodas de oro de la Comunidad Claretiana de Bogotá: 1912-1962. Bogotá: Editorial el Voto Nacional. p. 73.
[11] ↑ El pbro. Pueyo, después de su llegada, fue elegido miembro de la Junta organizadora del primer congreso eucarístico nacional. • Mesa Gómez, Presbítero Carlos Eduardo (1984). El padre Pueyo Obispo de Pasto, 1917-1929. Medellín: Editorial Zuluaga. p. 28.
[12] ↑ En realidad la fachada no está hecha toda en piedra. El primer cuerpo de la fachada está conformado por una técnica mixta en piedra labrada y verdugadas en ladrillo macizo, que al exterior está cubierto por piedra que hace las veces de un gran enchape al exterior. El segundo y tercer cuerpo están constituidos en ladrillo macizo con acabado símil piedra. Ver sección: Materiales y estructura.
[13] ↑ El Palio fue donado por don Calixto Andrade. • Comunidad Claretiana (1962). Bodas de oro de la Comunidad Claretiana de Bogotá: 1912-1962. Bogotá: Editorial el Voto Nacional. p. 57.
[14] ↑ El presidente de la República le obsequió un cáliz al recién ordenado obispo y dio un banquete en su honor. Al día siguiente, al marcharse a Pasto, el obispo Pueyo no se llevó los obsequios recibidos por su consagración: cálices, cruces, ornamentos, tarjetas ni flores, quedaron en su celda (habitación). Mesa Gómez, Presbítero Carlos Eduardo (1984). El padre Pueyo Obispo de Pasto, 1917-1929. Medellín: Editorial Zuluaga. p. 68.
[15] ↑ a b Anuncio publicitario en un medio español en 1919. La Casa Candela fue una destacada empresa española de ornamentos textiles sagrados y de imaginería religiosa. José Candela Albert fue un destacado empresario español, su taller establecido en Valencia, España, comenzó en el área de los ornamentos textiles sagrados para iglesia, el cual logró un alto grado de reconocimiento, gracias en gran medida a las cualidades diplomáticas de su fundador, quien recibió en 1913 el Regium Exequatur, quedando así acreditado y habilitado para desempeñarse como Viceconsul de Colombia en Valencia. El diplomático y empresario utilizó al máximo sus contactos internacionales y sus magníficas relaciones con la jerarquía católica para alcanzar pedidos que prestigiaron su negocio concediéndole cierta importancia internacional en particular entre el clero hispanoamericano y norteamericano recibiendo así pedidos desde Canadá hasta Sudamérica.
[16] ↑ a b Portada de un catálogo de la Casa Ruis.El escultor José Rius nace en Barcelona, España, en un hogar humilde, a temprana edad muestra interés por la escultura. A la edad de 15 años entra como ayudante en el taller de quien más adelante sería su suegro, el escultor Claudio Garrich de quien aprendería el oficio. En 1886, funda junto con su suegro, la Casa Rius y sus instalaciones se localizaban en la calle Claris, núm. 69 de Barcelona. El taller se dedicaba inicialmente a la escultura religiosa y pesebrista. Gracias a los contratos firmados y a su esfuerzo hizo construir en 1914 la nueva sede del taller en la calle de Rosselló, núm. 195 de Barcelona, el taller se ubicó en los bajos del edificio y la vivienda familiar la tenía en el segundo piso del mismo edificio.
[17] ↑ a b c Anuncio publicitario en un medio español en 1928.El Arte Cristiano es una empresa española de imaginería religiosa y figuras de belenes con más de 130 años de antigüedad. Alrededor de 1850, había una actividad textil muy importante en Olot, España (algodoneros, tejedores, etc.), por lo tanto, ya existía una base artesanal desarrollada. Para apoyar esta industria, se creó una escuela pública de dibujo para enseñar a los jóvenes las artes gráficas. En la Provincia de Gerona nació la primera industria de imaginería religiosa (con base textil). En 1880 se establece la empresa de escultura religiosa que se llamó «Vayreda, Berga y Cía», que dos años más tarde pasó a llamarse «El Arte Cristiano». Varios artistas, entre los cuales se hallan escultores de renombre internacional han transitado por los talleres de dicha empresa, elaborando esculturas que han contribuido con el prestigio de la marca y que también han sido exportadas a varias naciones de los cinco continentes. En El Arte Cristiano, fueron innovadores al introducir un nuevo material y una nueva técnica de moldeaje, en concreto la pasta cartón madera, que permite aligerar el proceso de moldeado y, por lo tanto, la velocidad en la creación de imágenes. La empresa aún continúa produciendo y comercializando sus numerosos modelos originales, aunque desde el principio también trabaja con tallas de madera y actualmente utiliza nuevos materiales como fibra de vidrio, resina de poliéster con carbonato de calcio, entre otros.
[18] ↑ a b Anuncio publicitario de 1926 en un medio español.Juan Dourte (1895-ca.1970) funda en 1924 la fábrica de «Órganos Nuestra Señora de Begoña». En 1926 se inaugura el nuevo edificio sede de la empresa en Begoña (Bilbao) cerca de la iglesia El Carmelo (en el actual barrio Santuchu), pues muy cerca de ahí, Dourte contaba con un importante almacén de secado de maderas que favorecía mucho a su empresa. Juan Dourte estudia organería con el maestro organero alemán Juan Melcher, quien procedía de la casa alemana E.F. Walcker & Cie, y quien luego trabaja en España inicialmente con Aquilino Amezua y posteriormente con Eleizgaray y Cía. En 1929 la casa Dourte gana un Gran Premio en la Exposición Internacional de Barcelona. La casa Dourte se convierte en una gran empresa que llega a construir y a trabajar en centenares de instrumentos a lo largo de más de cincuenta años de existencia.
[19] ↑ a b Instrucciones de mantenimiento para un reloj de torre J. F. Weule de 1906. Se puede ver la imagen de las instalaciones de la fábrica, que actualmente están demolidas. J. F. Weule fue una afamada fábrica alemana de relojes de torre y fundición de campanas en la localidad de Bockenem en Baja Sajonia (Alemania), que existió desde 1836 hasta 1966. Los productos de la empresa se caracterizaron por su alta calidad, durabilidad y precisión relativamente buena. La empresa también fabricó relojes de estación y de calle.
[20] ↑ a b c Talleres de Arte Granda es una empresa española especializada en arte sacro, fue fundada en 1891 con el nombre de Talleres de Arte por el presbítero y artista Félix Granda a la edad de 23 años y recién ordenado sacerdote, para lo cual recibió permiso para desempeñar su labor artística lo que permitió dirigir el taller hasta su muerte en 1954. Después de su fallecimiento la empresa pasa a llamarse Talleres de Arte Granda. El taller es especialista en arte sacro, se dedica a la elaboración artesanal de objetos para el culto y al acondicionamiento y restauración de iglesias en los cinco continentes. Realizan todo tipo de piezas artísticas destinadas al culto: retablos, esculturas, obras de orfebrería y ornamentos textiles; obras únicas, elaboradas a mano por un equipo multidisciplinario formado por arquitectos, dibujantes, historiadores de arte, escultores, plateros, policromadores, restauradores, carpinteros, cinceladores y bordadoras, entre otros. En el año 2000 en la ciudad de Chicago se estableció la filial Granda Liturgical Arts, que atiende el mercado norteamericano.
[21] ↑ El templo de Monserrate estuvo por un tiempo a cargo de los Claretianos. • Reina Mendoza, Sandra (2016). Paz y el Sagrado Corazón: Iglesia del Voto Nacional. Bogotá: Instituto Distrital de Patrimonio Cultural. p. 100.
[22] ↑ Contenía un local para la operatividad de la imprenta, que anteriormente operaba en una pequeña habitación en la casa de la comunidad de la calle 10. • Reina Mendoza, Sandra (2016). Paz y el Sagrado Corazón: Iglesia del Voto Nacional. Bogotá: Instituto Distrital de Patrimonio Cultural. p. 102.
[23] ↑ El barrio Class comenzó desde una invasión en terrenos de la comunidad claretiana; por lo cual la comunidad prefirió no desalojarlos y en su lugar los acomodó para fundar el barrio, cuyo nombre quiere decir Claretianos Seculares. • Reina Mendoza, Sandra (2016). Paz y el Sagrado Corazón: Iglesia del Voto Nacional. Bogotá: Instituto Distrital de Patrimonio Cultural. p. 102.
[24] ↑ En el 2017, el promedio de un dólar a pesos colombianos fue de 2 951.32.
[25] ↑ En el 2019, el promedio de un dólar a pesos colombianos fue de 3 281.09.
[26] ↑ En el 2020, el promedio de un dólar a pesos colombianos fue de 3 684.95.
[27] ↑ A inicios del siglo XX, comenzó la construcción del edificio de la Escuela de Medicina de la Universidad Nacional, el cual fue parcialmente inaugurado en 1918, aunque no se completó hasta la década de 1930.
[28] ↑ Pañetar: Ámbito Colombia. Enlucir, cubrir con pañete las paredes, techos, etc., de una edificación. Pañete: Capa o enlucido de yeso, estuco, cemento u otro material, que se da a las paredes, techos, etc. y que permite darles un acabado.
[29] ↑ En la planimetría oficial del templo se puede ver cómo los brazos del transepto no están alineados entre sí, son desiguales; en cambio, en el plano del proyecto original que se tenía planeado inicialmente se pueden ver los brazos perfectamente alineados e iguales, pero lamentablemente no se pudieron adquirir todos los predios vecinos que se requerían, por lo cual el arquitecto Stoute tuvo que adaptar el proyecto a los fragmentos obtenidos.
[30] ↑ Rosetón, en este caso se refiere a: Artes decorativas. Adorno que presenta motivos florales dispuestos en círculo.
[31] ↑ Una Cala Estratigráfica es el análisis de los antecedentes de los materiales que han sido parte de un edificio durante años, se podría decir que son las capas de pintura, barniz o material constructivo que posee un muro, una barandal, balcones u otros componentes del edificio. Es por ello que a través de ese análisis se puede conocer la historia de los cambios que fue sufriendo el inmueble a restaurar.
[32] ↑ La imaginería es una especialidad del arte de la escultura, a la representación plástica de temas religiosos, por lo común realista y con finalidad devocional, litúrgica, procesional o catequética. La técnica más habitual es la talla en madera policromada, pero también existen otras técnicas y materiales para elaborar imágenes. Algunas de estas técnicas fueron especialmente concebidas para uso procesional, que tienen como característica diferenciadora que sus creadores buscaban, teniendo como uno de sus principales objetivos el aligerar el peso de su carga. Las imágenes devocionales con fines procesionales constituyen un tipo de imágenes en las que se fusionan arte y artesanía y se engloban dentro de la denominación genérica de «imaginería ligera».
[33] ↑ Anuncio publicitario de la Casa Maumejean en 1919, en donde citan los trabajos importantes recientemente ejecutados y entre ellos está el templo del Voto Nacional y la basílica de Chiquinquirá en Colombia.La Casa Maumejean es una empresa de vidrieras artísticas con más de 150 años de antigüedad. En 1860, Jules Pierre Maumejean, procedente de una familia de pintores de loza, y con 23 años de edad establece en Pau (Francia) su primer taller en la calle Montpensier. Jules se casó con Marie Honorine Lalanne y tuvieron cinco hijos: Joseph Jules Maumejean, Jean Siméon Henri Maumejean, Léon Ernest Maumejean, Marie Thérèse Maumejean y Charles Emile Maumejean. Todos los varones siguieron la trayectoria artística del padre y se volvieron rápidamente en destacados pintores sobre vidrio. Sin embargo, Joseph, Henri y Charles trabajaron en colaboración, mientras que Léon se mantuvo independiente en París, ciudad en la que murió en 1921.En 1890, Jules Pierre Maumejean instala un taller en Anglet, trasladandolo a Biarritz en 1893, ciudad en la que falleció en 1909. La proximidad de Biarritz con San Sebastián (España), que por aquel entonces era el lugar de veraneo de la aristocracia y la Familia Real, llevarían a Jules a entrar en contacto con la alta sociedad madrileña, lo que le permitió obtener numerosos encargos y le llevaron a convertirse en proveedor de la Casa Real de España.A finales del siglo XIX, en España tuvo lugar un resurgimiento del uso del vidrio gracias, no solo a las restauraciones de las vidrieras existentes en las catedrales góticas y otros monumentos, sino igualmente a las nuevas corrientes arquitectónicas que utilizaron el vidrio tanto como elemento arquitectónico y decorativo en la llamada «arquitectura del hierro». Había nacido el Art Nouveau o modernismo, que junto con el posterior Art Decó, ofrecieron nuevas posibilidades artísticas a la utilización del vidrio. Por lo cual, en 1898 Joseph Jules Maumejean estableció un taller en Madrid en la calle Abascal, n.º 39, trasladándose pocos años más tarde al Paseo de la Castellana, n.º 64. Luego llegarían los talleres de Barcelona, y San Sebastián, este último especializado en mosaicos, una técnica en la que destacó sobre todo el establecimiento parisino dirigido por Charles. A partir de este momento todos los talleres quedarán agrupados en la S. A. Maumejean Hermanos, con sede en Madrid, lo que sin duda contribuyó de forma decisiva al éxito de la empresa y al gran número de obras salidas de sus talleres existentes en España y especialmente en Madrid.En París, los Hermanos Maumejean crean un nuevo taller, inscrito en el año 1921 como taller de "Mosaicos-esmaltes de Venecia", constituyéndose dos años más tarde como Sociedad Anónima con el nombre de «S.A. Maumejean», con sede en el mismo edificio donde estaba el taller. Poco después, abren en Hendaya otro nuevo taller, que tendrá con el tiempo un gran éxito comercial. Henri, que dirigía el taller de Madrid, fallece en 1932, quedando a cargo del mismo su hermano Joseph, que fallece en 1952, cinco años más tarde Charles, en París, fallece en 1957 y su hijo Georges en 1970.Así fue culminando la saga de la larga dinastía Maumejean, vitralistas que trabajaron incansablemente durante tres generaciones seguidas. Los hermanos Maumejean siempre intentaron producir sus encargos utilizando técnicas tradicionales como el emplomado, pero sin olvidar nuevos avances, como el Cloisonné. La casa Maumejean ha realizado bellos vitrales destinados tanto a edificios públicos, religiosos y particulares, principalmente de Francia y España, aunque muchas de sus obras han sido encargos procedentes de otros países de Europa, América, Asia y África.El taller del paseo de la Castellana se trasladó a la calle Zabaleta hasta hace pocos años, cuando se trasladó a Alcalá de Henares, tras hacerse cargo de la firma el artesano Francisco Hernando Pascual.
[34] ↑ Instrucciones para el mantenimiento del reloj del Voto Nacional Bogotá: «si esto se cumple habrá reloj para muchos años». Dado en el Voto Nacional el día 12 de Febrero de 1989. Rogelio Morcillo y su hermano José Humberto. Documento adherido a una de las puertas de acceso al reloj del campanario en la torre.
[35] ↑ Sestercio del emperador romano Antonino Pío: el reverso lleva la indicación «COS IIII» en lugar de IV (COS significa cónsul).8 reales de 1794 usando IIII en lugar de IV como número de reinado de Carlos IV de España.El 4 relojero. Es común ver en las caras de muchos relojes el uso de IIII para el numeral 4, en lugar del correcto IV, debido a lo cual existen varias teorías, históricas, estéticas y prácticas. El sistema de numeración romano, derivado del que empleaban los etruscos, inicialmente se basaba en el método aditivo (I más I eran II, V más I eran VI, y II más II eran IIII). Al pasar el tiempo decidieron empezar a usar el método sustractivo en el cual el número anterior resta su cantidad al siguiente. De esta forma, en lugar de escribir 4 como la suma de 2 más 2 (IIII) pasó a escribirse como la resta de 5 menos 1 (IV). Aun así, en la antigua Roma continuaron escribiendo IIII. Y de hecho preferían usarlo de esta forma por superstición. En latín, el IV corresponde a las dos primeras letras del dios romano Júpiter (IVPPITER), el dios más importante de la mitología romana (su equivalente griego es Zeus), y los romanos consideraban que utilizar IV para denominar un número era inapropiado e impío. De este modo, el uso de IIII no era (ni es) incorrecto.
[36] ↑ El Taller de los Hermanos Portilla, es una empresa familiar española experta en la fabricación y la reparación de campanas desde hace varias generaciones. Gracias a la experiencia en la fundición de campanas, el taller también realiza en bronce esculturas y placas con relieves.
[37] ↑ En el catolicismo, las pilas bautismales se utilizan típicamente para bautismos por aspersión, suelen constar de tres partes: copa o vaso, fuste y basa, pie o pedestal. La copa en el que se vierte el agua es más o menos voluminosa, suele ser de boca redonda u octogonal, este ultimo es en referencia a los siete días de la creación y la «nueva creación», o a la circuncisión de Jesús , que, según la costumbre judía, tuvo lugar al octavo día después de su nacimiento.
[38] ↑ a b Parroquia del Sagrado Corazón de Jesús. «Parroquia – Antecedentes». Consultado el 10 de octubre de 2023.: https://votonacional.com.co/parroquia/
[41] ↑ a b c d e Reina Mendoza, Sandra (2016). Paz y el Sagrado Corazón: Iglesia del Voto Nacional. Bogotá: Instituto Distrital de Patrimonio Cultural. p. 25.
[43] ↑ a b Cohen D., David (2014). «Ficha Bienes Muebles: Capitel Corintio. Hoja 1 de 8». anexo 2 – Fichas de diagnóstico y propuesta de intervención. Bogotá: Consorcio Restauración Voto Nacional - Contrato de Consultoría 295/13 del Instituto Distrital de Patrimonio Cultural.
[44] ↑ a b c d Mesa Gómez, Presbítero Carlos Eduardo (1990). Los Claretianos del Voto Nacional (1912-1989). Medellín: Editorial Zuluaga. p. 66.
[45] ↑ a b c d e f g h i Comunidad Claretiana (1962). Bodas de oro de la Comunidad Claretiana de Bogotá: 1912-1962. Bogotá: Editorial el Voto Nacional. p. 146. «Relato escrito por el pbro. José Payás en 1941.».
[46] ↑ a b c d e f g Del Castillo, Lina Esmeralda (2016). Paz y el Sagrado Corazón: Iglesia del Voto Nacional. Bogotá: Instituto Distrital de Patrimonio Cultural. p. 152-153.
[47] ↑ a b c d e f g h i j k l m n ñ o Comunidad Claretiana (1962). Bodas de oro de la Comunidad Claretiana de Bogotá: 1912-1962. Bogotá: Editorial el Voto Nacional. pp. 73-74.
[48] ↑ a b c d e f g Mesa Gómez, Presbítero Carlos Eduardo (1984). El padre Pueyo Obispo de Pasto, 1917-1929. Medellín: Editorial Zuluaga. p. 25.
[49] ↑ a b c d e f g Henríquez de Hernández, Cecilia (1989). «El Sagrado Corazón en la historia de Colombia». Revista de la Universidad Nacional (1944 - 1992) (núm. 22): pp. 83-85. Consultado el 10 de octubre de 2023.: https://repositorio.unal.edu.co/handle/unal/47722
[50] ↑ a b Reina Mendoza, Sandra (2016). Paz y el Sagrado Corazón: Iglesia del Voto Nacional. Bogotá: Instituto Distrital de Patrimonio Cultural. p. 72.
[51] ↑ a b Salazar Bayona, Sheril Natalia (2019). La ciudad en el tiempo. El patrimonio construido de Bogotá. Bogotá: Instituto Distrital de Patrimonio Cultural. p. 111. ISBN 978-958-52575-1-1.
[52] ↑ Alcaldía Mayor de Bogotá (26 de julio de 2001), Decreto 606: Por medio del cual se adopta el inventario de algunos Bienes de Interés Cultural (no. 2438 del 26 de julio de 2001), Bogotá, D. C.: Registros Distritales, consultado el 10 de octubre de 2023 .: https://www.alcaldiabogota.gov.co/sisjur/normas/Norma1.jsp?i=5366&dt=S
[53] ↑ a b c Ministerio de Cultura (29 de julio de 2012), Resolución 1402 del 16 de julio de 2012 por la cual se declaran Bien de Interés Cultural de ámbito Nacional la Basílica del Sagrado Corazón de Jesús, también conocida como iglesia del Voto Nacional (No.48.506), Bogotá, D. C.: Diario Oficial de Colombia, pp. 4 a 5, ISSN 0122-2112 .: https://es.wikipedia.org//portal.issn.org/resource/issn/0122-2112
[59] ↑ a b Piccoli, Guido (2004). El sistema del pájaro: Colombia, laboratorio de barbarie. Tafalla: Editorial Txalaparta. p. 42. ISBN 848136360X.
[60] ↑ Piccoli, Guido (2004). El sistema del pájaro: Colombia, laboratorio de barbarie. Tafalla: Editorial Txalaparta. p. 43. ISBN 848136360X.
[61] ↑ a b Reina Mendoza, Sandra (2016). Paz y el Sagrado Corazón: Iglesia del Voto Nacional. Bogotá: Instituto Distrital de Patrimonio Cultural. p. 29.
[63] ↑ a b c d e f Henríquez de Hernández, Cecilia (1989). «El Sagrado Corazón en la historia de Colombia». Revista de la Universidad Nacional (1944 - 1992) (núm. 22): pp. 81-82. Consultado el 10 de octubre de 2023.: https://repositorio.unal.edu.co/handle/unal/47722
[64] ↑ a b Reina Mendoza, Sandra (2016). Paz y el Sagrado Corazón: Iglesia del Voto Nacional. Bogotá: Instituto Distrital de Patrimonio Cultural. p. 31.
[66] ↑ a b c Reina Mendoza, Sandra (2016). Paz y el Sagrado Corazón: Iglesia del Voto Nacional. Bogotá: Instituto Distrital de Patrimonio Cultural. p. 21.
[67] ↑ Reina Mendoza, Sandra (2016). Paz y el Sagrado Corazón: Iglesia del Voto Nacional. Bogotá: Instituto Distrital de Patrimonio Cultural. p. 35.
[72] ↑ Montoya, Arturo (1952). Jesucristo y Colombia. Con ocasión de los 50 años de paz (21 de noviembre, 1902) y de la consagración oficial de la República al Sagrado Corazón de Jesús (22 de junio, 1902). Bogotá: Imprenta Nacional. p. 37 y ss. «La comisión responsable de esta celebración estaba compuesta por Antonio Gutiérrez Rubio y Lisimaco Paláu.».
[73] ↑ Montoya, Arturo (1952). Jesucristo y Colombia. Con ocasión de los 50 años de paz (21 de noviembre, 1902) y de la consagración oficial de la República al Sagrado Corazón de Jesús (22 de junio, 1902). Bogotá: Imprenta Nacional. p. 42 y ss.
[74] ↑ Montoya, Arturo (1952). Jesucristo y Colombia. Con ocasión de los 50 años de paz (21 de noviembre, 1902) y de la consagración oficial de la República al Sagrado Corazón de Jesús (22 de junio, 1902). Bogotá: Imprenta Nacional. p. 38.
[75] ↑ Montoya, Arturo (1952). Jesucristo y Colombia. Con ocasión de los 50 años de paz (21 de noviembre, 1902) y de la consagración oficial de la República al Sagrado Corazón de Jesús (22 de junio, 1902). Bogotá: Imprenta Nacional. p. 39.
[76] ↑ Archivo General de la Nación. Notaría 3ª, escritura 446, 1903.
[77] ↑ a b Reina Mendoza, Sandra (2016). Paz y el Sagrado Corazón: Iglesia del Voto Nacional. Bogotá: Instituto Distrital de Patrimonio Cultural. p. 63.
[78] ↑ a b c Mesa Gómez, Presbítero Carlos Eduardo (1984). El padre Pueyo Obispo de Pasto, 1917-1929. Medellín: Editorial Zuluaga. p. 21.
[79] ↑ Mesa Gómez, Presbítero Carlos Eduardo (1990). Los Claretianos del Voto Nacional (1912-1989). Medellín: Editorial Zuluaga. p. 6.
[80] ↑ a b c Mesa Gómez, Presbítero Carlos Eduardo (1984). El padre Pueyo Obispo de Pasto, 1917-1929. Medellín: Editorial Zuluaga. p. 23. «La fuente principal usada por el pbro. Carlos Mesa es la biografía escrita por el secretario particular del obispo Pueyo en Pasto, el pbro. español Teodoro Domínguez del Río, publicada apenas un año después de la muerte del Obispo de Pasto: Reseña biográfica del Ilmo. Y Rvmo. P. Antonio María Pueyo de Val C.M.F, Obispo de Pasto. Tipografía Voto Nacional, 110 páginas. Bogotá, 1930.».
[81] ↑ a b c Mesa Gómez, Presbítero Carlos Eduardo (1984). El padre Pueyo Obispo de Pasto, 1917-1929. Medellín: Editorial Zuluaga. p. 26.
[82] ↑ Comunidad Claretiana (1962). Bodas de oro de la Comunidad Claretiana de Bogotá: 1912-1962. Bogotá: Editorial el Voto Nacional. p. 18.
[83] ↑ a b c d e f g Comunidad Claretiana (1962). Bodas de oro de la Comunidad Claretiana de Bogotá: 1912-1962. Bogotá: Editorial el Voto Nacional. p. 145. «Testimonio de pbro. José Payás tomado a su vez de la Revista El Voto Nacional, 1941.».
[84] ↑ Comunidad Claretiana (1962). Bodas de oro de la Comunidad Claretiana de Bogotá: 1912-1962. Bogotá: Editorial el Voto Nacional. p. 190. «El pbro. Salvador Miró escribe esto en los años cincuenta.».
[85] ↑ Mesa Gómez, Presbítero Carlos Eduardo (1990). Los Claretianos del Voto Nacional (1912-1989). Medellín: Editorial Zuluaga. p. 22. «Relato escrito por Gerardo Arrubla, en “La Sociedad", el 12 de diciembre de 1915.».
[86] ↑ a b c d e Comunidad Claretiana (1962). Bodas de oro de la Comunidad Claretiana de Bogotá: 1912-1962. Bogotá: Editorial el Voto Nacional. p. 31.
[87] ↑ a b Mesa Gómez, Presbítero Carlos Eduardo (1984). El padre Pueyo Obispo de Pasto, 1917-1929. Medellín: Editorial Zuluaga. p. 27.
[88] ↑ La Iglesia. Órgano oficial de la Arquidiócesis de Bogotá, 1914, p. 410. Circular 20 de julio de 1914.
[89] ↑ Periódico El Tiempo (Bogotá): p. 3. 19 de marzo de 1933. «en el artículo de prensa escribieron mal el apellido, es Antonio Pueyo.».
[90] ↑ Periódico El Tiempo (Bogotá): p. 3. 20 de mayo de 1913.
[91] ↑ Periódico El Tiempo (Bogotá): p. 3. 5 de junio de 1933.
[92] ↑ Periódico El Tiempo (Bogotá): p. 3. 19 de agosto de 1913.
[93] ↑ Presidente Carlos E. Restrepo, Unión Republicana. Diario Oficial de Colombia, 14966, 12 de agosto de 1913.
[94] ↑ Congreso de Colombia. «LEY 1 DE 1913 (agosto 06)». Sistema Único de Información Normativa del Estado colombiano. Consultado el 10 de octubre de 2023. «Tomado del Diario oficial; Año XLIX; No. 14966; 12 de agosto; 1913; Pág. 1.».: https://www.suin-juriscol.gov.co/viewDocument.asp?ruta=Leyes/1555464
[95] ↑ Congreso de Colombia. «LEY 2 DE 1913 (agosto 06)». Sistema Único de Información Normativa del Estado colombiano. Consultado el 10 de octubre de 2023. «Tomado del Diario oficial; Año XLIX; No. 14966; 12 de agosto; 1913; Pág. 1.».: https://www.suin-juriscol.gov.co/viewDocument.asp?ruta=Leyes/1556504
[96] ↑ a b c Comunidad Claretiana (1962). Bodas de oro de la Comunidad Claretiana de Bogotá: 1912-1962. Bogotá: Editorial el Voto Nacional. p. 45.
[97] ↑ Mesa Gómez, Presbítero Carlos Eduardo (1990). Los Claretianos del Voto Nacional (1912-1989). Medellín: Editorial Zuluaga. p. 17 y ss. «Relato escrito por Gerardo Arrubla, en “La Sociedad", el 12 de diciembre de 1915.».
[98] ↑ Mesa Gómez, Presbítero Carlos Eduardo (1984). El padre Pueyo Obispo de Pasto, 1917-1929. Medellín: Editorial Zuluaga. p. 92.
[99] ↑ Delgadillo, Hugo (2008). Repertorio ornamental de la arquitectura de época Republicana en Bogotá. Bogotá: Instituto Distrital de Patrimonio Cultural. p. 75. ISBN 9789584426505.
[100] ↑ a b c d e f Comunidad Claretiana (1962). Bodas de oro de la Comunidad Claretiana de Bogotá: 1912-1962. Bogotá: Editorial el Voto Nacional. p. 56-57.
[101] ↑ Mesa Gómez, Presbítero Carlos Eduardo (1984). El padre Pueyo Obispo de Pasto, 1917-1929. Medellín: Editorial Zuluaga. pp. 33-34.
[102] ↑ Mesa Gómez, Presbítero Carlos Eduardo (1990). Los Claretianos del Voto Nacional (1912-1989). Medellín: Editorial Zuluaga. p. 26.
[104] ↑ Comunidad Claretiana (1962). Bodas de oro de la Comunidad Claretiana de Bogotá: 1912-1962. Bogotá: Editorial el Voto Nacional. p. 60. «Relato del pbro. Ezequiel Villarroya.».
[105] ↑ a b c Comunidad Claretiana (1962). Bodas de oro de la Comunidad Claretiana de Bogotá: 1912-1962. Bogotá: Editorial el Voto Nacional. pp. 62-63.
[106] ↑ Mesa Gómez, Presbítero Carlos Eduardo (1984). El padre Pueyo Obispo de Pasto, 1917-1929. Medellín: Editorial Zuluaga. p. 66.
[107] ↑ Comunidad Claretiana (1962). Bodas de oro de la Comunidad Claretiana de Bogotá: 1912-1962. Bogotá: Editorial el Voto Nacional. pp. 67-68.
[110] ↑ Reina Mendoza, Sandra (2016). Paz y el Sagrado Corazón: Iglesia del Voto Nacional. Bogotá: Instituto Distrital de Patrimonio Cultural. p. 87.
[111] ↑ a b c d Comunidad Claretiana (1962). Bodas de oro de la Comunidad Claretiana de Bogotá: 1912-1962. Bogotá: Editorial el Voto Nacional. p. 106.
[112] ↑ a b c d Reina Mendoza, Sandra (2016). Paz y el Sagrado Corazón: Iglesia del Voto Nacional. Bogotá: Instituto Distrital de Patrimonio Cultural. p. 89.
[113] ↑ Congreso de Colombia. «LEY 33 DE 1927 (octubre 20)». Sistema Único de Información Normativa del Estado colombiano. Consultado el 10 de octubre de 2023. «Tomado del Diario oficial; Año LXIII; No. 20627; 24 de octubre de 1927; Pág. 1. El Presidente de Colombia era Miguel Abadía Méndez».: https://www.suin-juriscol.gov.co/viewDocument.asp?id=1589257
[114] ↑ a b c Mesa Gómez, Presbítero Carlos Eduardo (1990). Los Claretianos del Voto Nacional (1912-1989). Medellín: Editorial Zuluaga. p. 65.
[116] ↑ a b Comunidad Claretiana (1962). Bodas de oro de la Comunidad Claretiana de Bogotá: 1912-1962. Bogotá: Editorial el Voto Nacional. p. 101.
[117] ↑ a b c d e Del Castillo, Lina Esmeralda (2016). Paz y el Sagrado Corazón: Iglesia del Voto Nacional. Bogotá: Instituto Distrital de Patrimonio Cultural. p. 224.
[118] ↑ Reina Mendoza, Sandra (2016). Paz y el Sagrado Corazón: Iglesia del Voto Nacional. Bogotá: Instituto Distrital de Patrimonio Cultural. p. 95.
[119] ↑ Revista El Voto Nacional, 1923.
[120] ↑ La Iglesia. Órgano oficial de la Arquidiócesis de Bogotá., vol. XXXII, n. 1, enero 1938, p. 9.
[121] ↑ a b c d e f Comunidad Claretiana (1962). Bodas de oro de la Comunidad Claretiana de Bogotá: 1912-1962. Bogotá: Editorial el Voto Nacional. p. 138.
[122] ↑ Reina Mendoza, Sandra (2016). Paz y el Sagrado Corazón: Iglesia del Voto Nacional. Bogotá: Instituto Distrital de Patrimonio Cultural. p. 92.
[123] ↑ Revista El Voto Nacional, n. 450. mayo 16 de 1938, p. 192.
[124] ↑ Reina Mendoza, Sandra (2016). Paz y el Sagrado Corazón: Iglesia del Voto Nacional. Bogotá: Instituto Distrital de Patrimonio Cultural. p. 97.
[125] ↑ Mesa Gómez, Presbítero Carlos Eduardo (1990). Los Claretianos del Voto Nacional (1912-1989). Medellín: Editorial Zuluaga. p. 37.
[126] ↑ Montoya, Arturo (1952). Jesucristo y Colombia. Con ocasión de los 50 años de paz (21 de noviembre, 1902) y de la consagración oficial de la República al Sagrado Corazón de Jesús (22 de junio, 1902). Bogotá: Imprenta Nacional. p. 19 y ss. «Fue la primera vez que el Papa habló por radio para Colombia, el 30 de septiembre de 1945, con ocasión del Congreso de Cristo Rey celebrado en Bogotá.».
[127] ↑ a b c Comunidad Claretiana (1962). Bodas de oro de la Comunidad Claretiana de Bogotá: 1912-1962. Bogotá: Editorial el Voto Nacional. pp. 149-150.
[128] ↑ a b En la base de la pila bautismal se encuentra una placa metálica que dice: OBSEQUIO DE DOÑA ANA LUCIA PALACIOS DE RUIZ A ESTA PARROQUIA — OCTUBRE DE 1942 —.
[129] ↑ Comunidad Claretiana (1962). Bodas de oro de la Comunidad Claretiana de Bogotá: 1912-1962. Bogotá: Editorial el Voto Nacional. p. 155.
[130] ↑ a b Reina Mendoza, Sandra (2016). Paz y el Sagrado Corazón: Iglesia del Voto Nacional. Bogotá: Instituto Distrital de Patrimonio Cultural. p. 52.
[131] ↑ a b c d e f g h Comunidad Claretiana (1962). Bodas de oro de la Comunidad Claretiana de Bogotá: 1912-1962. Bogotá: Editorial el Voto Nacional. pp. 182-183.
[132] ↑ a b c Comunidad Claretiana (1962). Bodas de oro de la Comunidad Claretiana de Bogotá: 1912-1962. Bogotá: Editorial el Voto Nacional. pp. 167-168.
[133] ↑ a b Comunidad Claretiana (1962). Bodas de oro de la Comunidad Claretiana de Bogotá: 1912-1962. Bogotá: Editorial el Voto Nacional. p. 175.
[135] ↑ Congreso de Colombia. «LEY 1 DE 1952 (enero 08)». Sistema Único de Información Normativa del Estado colombiano. Consultado el 10 de octubre de 2023. «Tomado del Diario oficial; Año LXXXVIII; No. 27804; 16 de enero de 1952; Pág. 1.».: https://www.suin-juriscol.gov.co/viewDocument.asp?id=1555879
[136] ↑ Montoya, Arturo (1952). Jesucristo y Colombia. Con ocasión de los 50 años de paz (21 de noviembre, 1902) y de la consagración oficial de la República al Sagrado Corazón de Jesús (22 de junio, 1902). Bogotá: Imprenta Nacional. pp. 27 y 55. «Celebración transmitida por radio.».
[138] ↑ a b c d Comunidad Claretiana (1962). Bodas de oro de la Comunidad Claretiana de Bogotá: 1912-1962. Bogotá: Editorial el Voto Nacional. p. 194.
[139] ↑ a b Comunidad Claretiana (1962). Bodas de oro de la Comunidad Claretiana de Bogotá: 1912-1962. Bogotá: Editorial el Voto Nacional. p. 193.
[140] ↑ Mesa Gómez, Presbítero Carlos Eduardo (1990). Los Claretianos del Voto Nacional (1912-1989). Medellín: Editorial Zuluaga. p. 43.
[141] ↑ Comunidad Claretiana (1962). Bodas de oro de la Comunidad Claretiana de Bogotá: 1912-1962. Bogotá: Editorial el Voto Nacional. p. 192.
[142] ↑ a b c d e f g h Comunidad Claretiana (1962). Bodas de oro de la Comunidad Claretiana de Bogotá: 1912-1962. Bogotá: Editorial el Voto Nacional. p. 219.
[143] ↑ Lombardi, Mario (2008). «Monumento a los Mártires de la Patria». Bogotáun museo a cielo abierto. Bogotá: Instituto Distrital de Patrimonio Cultural. pp. 24-25.
[144] ↑ Comunidad Claretiana (1962). Bodas de oro de la Comunidad Claretiana de Bogotá: 1912-1962. Bogotá: Editorial el Voto Nacional. p. 218.
[145] ↑ a b c d e Reina Mendoza, Sandra (2016). Paz y el Sagrado Corazón: Iglesia del Voto Nacional. Bogotá: Instituto Distrital de Patrimonio Cultural. pp. 102-103.
[146] ↑ Reina Mendoza, Sandra (2016). Paz y el Sagrado Corazón: Iglesia del Voto Nacional. Bogotá: Instituto Distrital de Patrimonio Cultural. p. 100.
[147] ↑ a b c Reina Mendoza, Sandra (2016). Paz y el Sagrado Corazón: Iglesia del Voto Nacional. Bogotá: Instituto Distrital de Patrimonio Cultural. p. 103. «Ministerio de Cultura. Carta elaborada por Luis Solano, 15 septiembre de 1995».
[148] ↑ Mesa Gómez, Presbítero Carlos Eduardo (1990). Los Claretianos del Voto Nacional (1912-1989). Medellín: Editorial Zuluaga. p. 62. «Relato escrito por Gerardo Arrubla, en “La Sociedad", el 12 de diciembre de 1915.».
[151] ↑ a b Reina Mendoza, Sandra (2016). Paz y el Sagrado Corazón: Iglesia del Voto Nacional. Bogotá: Instituto Distrital de Patrimonio Cultural. p. 104.
[152] ↑ a b Martínez, José Giovanni (3 de agosto de 2007). «En la Basílica del Voto Nacional celebran misa sin feligreses por acción de la delincuencia». Periódico El Tiempo. Consultado el 17 de enero de 2025.: https://www.eltiempo.com/archivo/documento/CMS-3666237
[153] ↑ Reina Mendoza, Sandra (2016). Paz y el Sagrado Corazón: Iglesia del Voto Nacional. Bogotá: Instituto Distrital de Patrimonio Cultural. p. 105.
[154] ↑ a b Reina Mendoza, Sandra (2016). Paz y el Sagrado Corazón: Iglesia del Voto Nacional. Bogotá: Instituto Distrital de Patrimonio Cultural. p. 106.
[156] ↑ a b c Gómez, Lucevín (1 de abril de 2015). «Iglesia del Voto Nacional se 'salvó' de los santos óleos». Periódico El Tiempo. Consultado el 29 de agosto de 2025.: https://www.eltiempo.com/archivo/documento/CMS-15505155
[157] ↑ a b c d e f López Correal, Yolanda (Edición) (2019). El patrimonio cultural de Bogotá. Acciones para su sostenibilidad y apropiación social. Bogotá: Instituto Distrital de Patrimonio Cultural. p. 120. ISBN 978-958-52073-6-3.: https://issuu.com/patrimoniobogota/docs/informegestionbaja
[162] ↑ Archivo General de la Nación. Notaría 3ª, protocolo 1890, Testamentaria.
[163] ↑ Reina Mendoza, Sandra (2016). Paz y el Sagrado Corazón: Iglesia del Voto Nacional. Bogotá: Instituto Distrital de Patrimonio Cultural. p. 114.
[164] ↑ Reina Mendoza, Sandra (2016). Paz y el Sagrado Corazón: Iglesia del Voto Nacional. Bogotá: Instituto Distrital de Patrimonio Cultural. p. 116.
[165] ↑ Ortega, Alfredo (1924). Arquitectura en Bogotá. Bogotá: Editorial Minerva. p. 67.
[166] ↑ a b Reina Mendoza, Sandra (2016). Paz y el Sagrado Corazón: Iglesia del Voto Nacional. Bogotá: Instituto Distrital de Patrimonio Cultural. pp. 117-118.
[167] ↑ Mesa Gómez, Presbítero Carlos Eduardo (1990). Los Claretianos del Voto Nacional (1912-1989). Medellín: Editorial Zuluaga. p. 20.
[168] ↑ Mesa Gómez, Presbítero Carlos Eduardo (1984). El padre Pueyo Obispo de Pasto, 1917-1929. Medellín: Editorial Zuluaga. p. 34.
[169] ↑ Reina Mendoza, Sandra (2016). Paz y el Sagrado Corazón: Iglesia del Voto Nacional. Bogotá: Instituto Distrital de Patrimonio Cultural. p. 120.
[170] ↑ a b c d e Reina Mendoza, Sandra (2016). Paz y el Sagrado Corazón: Iglesia del Voto Nacional. Bogotá: Instituto Distrital de Patrimonio Cultural. p. 122.
[174] ↑ «Operación en el Bronx: Se han desmantelado 3 poderosas bandas del narcotráfico». Noticias Principales de Colombia Santa Fe 1070 a.m. 28 de mayo de 2016. Consultado el 29 de mayo de 2016.: http://www.radiosantafe.com/2016/05/28/363707/
[179] ↑ Centro de Extensión Académica – Facultad de Artes, Universidad Nacional de Colombia – Sede Bogotá. «PEMP de la Basílica menor del Sagrado Corazón de Jesús». Instituto Distrital de Patrimonio Cultural. p. 7. Consultado el 11 de octubre de 2023.: https://votonacional.com.co/pemp.pdf
[180] ↑ Centro de Extensión Académica – Facultad de Artes, Universidad Nacional de Colombia – Sede Bogotá. «PEMP de la Basílica menor del Sagrado Corazón de Jesús». Instituto Distrital de Patrimonio Cultural. p. 41. Consultado el 11 de octubre de 2023.: https://votonacional.com.co/pemp.pdf
[181] ↑ Centro de Extensión Académica – Facultad de Artes, Universidad Nacional de Colombia – Sede Bogotá. «PEMP de la Basílica menor del Sagrado Corazón de Jesús». Instituto Distrital de Patrimonio Cultural. p. 32. Consultado el 11 de octubre de 2023.: https://votonacional.com.co/pemp.pdf
[182] ↑ a b Centro de Extensión Académica – Facultad de Artes, Universidad Nacional de Colombia – Sede Bogotá. «PEMP de la Basílica menor del Sagrado Corazón de Jesús». Instituto Distrital de Patrimonio Cultural. p. 31. Consultado el 11 de octubre de 2023.: https://votonacional.com.co/pemp.pdf
[188] ↑ a b c «5 Descripción de la materialidad del inmueble, definición Y caracterización de los sistemas constructivos». Documento Técnico de Soporte, Diagnóstico Integral. Primera parte. Bogotá: Consorcio Restauración Voto Nacional - Contrato de Consultoría 295/13 del Instituto Distrital de Patrimonio Cultural. marzo de 2015. p. 25.
[189] ↑ a b c Reina Mendoza, Sandra (2016). Paz y el Sagrado Corazón: Iglesia del Voto Nacional. Bogotá: Instituto Distrital de Patrimonio Cultural. p. 22.
[190] ↑ a b «5.1 Cimentación». Documento Técnico de Soporte, Diagnóstico Integral. Primera parte. Bogotá: Consorcio Restauración Voto Nacional - Contrato de Consultoría 295/13 del Instituto Distrital de Patrimonio Cultural. marzo de 2015. pp. 25-26.
[191] ↑ a b c d e f g h i «5.2.2 muros, columnas y contrafuertes». Documento Técnico de Soporte, Diagnóstico Integral. Primera parte. Bogotá: Consorcio Restauración Voto Nacional - Contrato de Consultoría 295/13 del Instituto Distrital de Patrimonio Cultural. marzo de 2015. pp. 27-31.
[192] ↑ a b Ojeda Gómez, Max (20 de mayo de 2021). «Restauración de la Iglesia del Voto Nacional». ARQUIANDINOS Capítulo Profesional de ARQUITECTURA - Asociación de Egresados Uniandes. Consultado el 11 de marzo de 2024. «Charla del arquitecto Max Ojeda Gómez quien participó en la restauración del templo».: https://www.facebook.com/CapituloArquiandinos/videos/506262583889552
[193] ↑ a b c «5.3 Cubiertas y entrecubiertas». Documento Técnico de Soporte, Diagnóstico Integral. Primera parte. Bogotá: Consorcio Restauración Voto Nacional - Contrato de Consultoría 295/13 del Instituto Distrital de Patrimonio Cultural. marzo de 2015. pp. 32-33.
[194] ↑ a b c «5.5.2 Acabados de piso». Documento Técnico de Soporte, Diagnóstico Integral. Primera parte. Bogotá: Consorcio Restauración Voto Nacional - Contrato de Consultoría 295/13 del Instituto Distrital de Patrimonio Cultural. marzo de 2015. pp. 35-36.
[196] ↑ a b c Fuertes C., Antonio José (2015). «2.3 Descripción del BIC». Estudio para la consolidación estructural de la Basílica menor del Sagrado Corazón de Jesús Voto Nacional. Bogotá: Evaluación Estructural S.A.S. pp. 10-11.
[197] ↑ a b c d «Plano núm. L003. Planta Nivel 2 (A +2.50m) Planta primer piso Iglesia, Casa cural y Sacristía». Levantamiento Basílica del Sagrado Corazón de Jesús Iglesia del Voto Nacional. Bogotá: Consorcio Restauración Voto Nacional - Contrato de Consultoría 295/13 del Instituto Distrital de Patrimonio Cultural. 14 de abril de 2014.
[198] ↑ «Plano núm. L016. Corte Transversal A-A y Corte Transversal G - G». Levantamiento Basílica del Sagrado Corazón de Jesús Iglesia del Voto Nacional. Bogotá: Consorcio Restauración Voto Nacional - Contrato de Consultoría 295/13 del Instituto Distrital de Patrimonio Cultural. 14 de abril de 2014.
[199] ↑ a b c d «6.2 Cuadro de áreas de levantamiento arquitectónico basílica y áreas anexas». Documento Técnico de Soporte, Diagnóstico Integral. Primera parte. Bogotá: Consorcio Restauración Voto Nacional - Contrato de Consultoría 295/13 del Instituto Distrital de Patrimonio Cultural. marzo de 2015. pp. 60-62.
[200] ↑ a b c d e f Del Castillo, Lina Esmeralda (2016). Paz y el Sagrado Corazón: Iglesia del Voto Nacional. Bogotá: Instituto Distrital de Patrimonio Cultural. p. 204.
[201] ↑ Del Castillo, Lina Esmeralda (2016). Paz y el Sagrado Corazón: Iglesia del Voto Nacional. Bogotá: Instituto Distrital de Patrimonio Cultural. p. 207.
[202] ↑ Instituto Distrital de Patrimonio Cultural (marzo de 2015). «3.4 Evolución y estado actual de las condiciones espaciales y arquitectónicas del inmueble.». Documento técnico de soporte diagnóstico integral, Primera parte. Bogotá: Contrato de Consultoría 295/13. p. 17.
[203] ↑ Comunidad Claretiana (1962). Bodas de oro de la Comunidad Claretiana de Bogotá: 1912-1962. Bogotá: Editorial el Voto Nacional. p. 180.
[204] ↑ a b Del Castillo, Lina Esmeralda (2016). Paz y el Sagrado Corazón: Iglesia del Voto Nacional. Bogotá: Instituto Distrital de Patrimonio Cultural. p. 213.
[205] ↑ a b Cohen D., David (2014). «Ficha Bienes Muebles: Altar mayor del Sagrado Corazón de Jesús. Hoja 1, hoja 4 de 8». anexo 2 – Fichas de diagnóstico y propuesta de intervención. Bogotá: Consorcio Restauración Voto Nacional - Contrato de Consultoría 295/13 del Instituto Distrital de Patrimonio Cultural.
[206] ↑ a b c Del Castillo, Lina Esmeralda (2016). Paz y el Sagrado Corazón: Iglesia del Voto Nacional. Bogotá: Instituto Distrital de Patrimonio Cultural. pp. 213-214.
[207] ↑ El Voto Nacional. Revista quincenal publicada por los Misioneros Hijos del Corazón de María. Número 8. Bogotá, 25 de junio de 1919. p. 118.
[208] ↑ a b c d Del Castillo, Lina Esmeralda (2016). Paz y el Sagrado Corazón: Iglesia del Voto Nacional. Bogotá: Instituto Distrital de Patrimonio Cultural. p. 215.
[209] ↑ El Voto Nacional, Revista Mensual Ilustrada. No. 75. Bogotá, 1 de abril de 1922. p. 107.
[210] ↑ Mesa Gómez, Presbítero Carlos Eduardo (1990). Los Claretianos del Voto Nacional (1912-1989). Medellín: Editorial Zuluaga. p. 67.
[211] ↑ a b c Del Castillo, Lina Esmeralda (2016). Paz y el Sagrado Corazón: Iglesia del Voto Nacional. Bogotá: Instituto Distrital de Patrimonio Cultural. pp. 218-219.
[212] ↑ Mesa Gómez, Presbítero Carlos Eduardo (1990). Los Claretianos del Voto Nacional (1912-1989). Medellín: Editorial Zuluaga. p. 62.
[214] ↑ Del Castillo, Lina Esmeralda (2016). Paz y el Sagrado Corazón: Iglesia del Voto Nacional. Bogotá: Instituto Distrital de Patrimonio Cultural. p. 154.
[215] ↑ a b c d Del Castillo, Lina Esmeralda (2016). Paz y el Sagrado Corazón: Iglesia del Voto Nacional. Bogotá: Instituto Distrital de Patrimonio Cultural. p. 155.
[216] ↑ Del Castillo, Lina Esmeralda (2016). Paz y el Sagrado Corazón: Iglesia del Voto Nacional. Bogotá: Instituto Distrital de Patrimonio Cultural. p. 179.
[217] ↑ Del Castillo, Lina Esmeralda (2016). Paz y el Sagrado Corazón: Iglesia del Voto Nacional. Bogotá: Instituto Distrital de Patrimonio Cultural. pp. 161-162.
[218] ↑ a b Del Castillo, Lina Esmeralda (2016). Paz y el Sagrado Corazón: Iglesia del Voto Nacional. Bogotá: Instituto Distrital de Patrimonio Cultural. p. 161.
[219] ↑ Mesa Gómez, Presbítero Carlos Eduardo (1990). Los Claretianos del Voto Nacional (1912-1989). Medellín: Editorial Zuluaga. p. 23.
[220] ↑ Del Castillo, Lina Esmeralda (2016). Paz y el Sagrado Corazón: Iglesia del Voto Nacional. Bogotá: Instituto Distrital de Patrimonio Cultural. p. 160.
[221] ↑ a b Del Castillo, Lina Esmeralda (2016). Paz y el Sagrado Corazón: Iglesia del Voto Nacional. Bogotá: Instituto Distrital de Patrimonio Cultural. p. 159.
[222] ↑ a b Del Castillo, Lina Esmeralda (2016). Paz y el Sagrado Corazón: Iglesia del Voto Nacional. Bogotá: Instituto Distrital de Patrimonio Cultural. p. 158.
[223] ↑ a b Del Castillo, Lina Esmeralda (2016). Paz y el Sagrado Corazón: Iglesia del Voto Nacional. Bogotá: Instituto Distrital de Patrimonio Cultural. p. 156.
[224] ↑ a b Del Castillo, Lina Esmeralda (2016). Paz y el Sagrado Corazón: Iglesia del Voto Nacional. Bogotá: Instituto Distrital de Patrimonio Cultural. p. 180.
[225] ↑ a b c Del Castillo, Lina Esmeralda (2016). Paz y el Sagrado Corazón: Iglesia del Voto Nacional. Bogotá: Instituto Distrital de Patrimonio Cultural. p. 181.
[226] ↑ a b c d e f Del Castillo, Lina Esmeralda (2016). Paz y el Sagrado Corazón: Iglesia del Voto Nacional. Bogotá: Instituto Distrital de Patrimonio Cultural. p. 182.
[227] ↑ Cohen D., David (2014). «• Ficha Bienes Muebles: San Marcos. Hoja 1 de 7 • Ficha Bienes Muebles: San Mateo. Hoja 1 de 7 • Ficha Bienes Muebles: San Lucas. Hoja 1 de 7 • Ficha Bienes Muebles: San Juan. Hoja 1 de 7». anexo 2 – Fichas de diagnóstico y propuesta de intervención. Bogotá: Consorcio Restauración Voto Nacional - Contrato de Consultoría 295/13 del Instituto Distrital de Patrimonio Cultural.
[228] ↑ Cohen D., David (2014). «• Ficha Bienes Muebles: Capilla de Panamá. Hoja 1 de 9 • Ficha Bienes Muebles: Capilla de Jericó. Hoja 1 de 9 • Ficha Bienes Muebles: Capilla de Cali. Hoja 1 de 9 • Ficha Bienes Muebles: Capilla de Garzón. Hoja 1 de 9 • Ficha Bienes Muebles: Capilla de Manizales. Hoja 1 de 9 • Ficha Bienes Muebles: Capilla del Socorro. Hoja 1 de 9 • Ficha Bienes Muebles: Capilla de Tunja. Hoja 1 de 9 • Ficha Bienes Muebles: Capilla de Antioquia. Hoja 1 de 9 • Ficha Bienes Muebles: Capilla de Pasto. Hoja 1 de 9 • Ficha Bienes Muebles: Capilla de Santa Marta. Hoja 1 de 9 • Ficha Bienes Muebles: Capilla de Medellín. Hoja 1 de 9 • Ficha Bienes Muebles: Capilla de Popayán. Hoja 1 de 9 • Ficha Bienes Muebles: Capilla de la Policía Nacional. Hoja 1 de 9 • Ficha Bienes Muebles: Capilla de Cartagena. Hoja 1 de 9 • Ficha Bienes Muebles: Capilla de Ibagué. Hoja 1 de 9 • Ficha Bienes Muebles: Capilla de Pamplona. Hoja 1 de 9». anexo 2 – Fichas de diagnóstico y propuesta de intervención. Bogotá: Consorcio Restauración Voto Nacional - Contrato de Consultoría 295/13 del Instituto Distrital de Patrimonio Cultural.
[229] ↑ a b c d e Cohen D., David (febrero de 2015). «3.1. Fachada. (Sección: 3.1.1. Subconjunto: Esculturas)». Diagnóstico y propuesta de intervención de los bienes muebles de la Basílica menor del Sagrado Corazón de Jesús - Iglesia del Voto Nacional. Bogotá: Consorcio Restauración Voto Nacional - Contrato de Consultoría 295/13 del Instituto Distrital de Patrimonio Cultural. pp. 27-29.
[230] ↑ Cohen D., David (2014). «Ficha Bienes Muebles: Jesús Resucitado. Hoja 4 de 8». anexo 2 – Fichas de diagnóstico y propuesta de intervención. Bogotá: Consorcio Restauración Voto Nacional - Contrato de Consultoría 295/13 del Instituto Distrital de Patrimonio Cultural.
[231] ↑ Comunidad Claretiana (1962). Bodas de oro de la Comunidad Claretiana de Bogotá: 1912-1962. Bogotá: Editorial el Voto Nacional. p. 33.
[232] ↑ a b c d e f g h Cohen D., David (febrero de 2015). «3.1. Fachada. (Sección: 3.1.2. Subconjunto: Elementos decorativos)». Diagnóstico y propuesta de intervención de los bienes muebles de la Basílica menor del Sagrado Corazón de Jesús - Iglesia del Voto Nacional. Bogotá: Consorcio Restauración Voto Nacional - Contrato de Consultoría 295/13 del Instituto Distrital de Patrimonio Cultural. pp. 30-31.
[234] ↑ «Plano No. CM 001, Plancha 1 de 1». Fachada Caracterización y Materialidad Basílica del Sagrado Corazón de Jesús. Bogotá: Consorcio Restauración Voto Nacional - Contrato de Consultoría 295/13 del Instituto Distrital de Patrimonio Cultural. 2014.
[235] ↑ a b c d e f Cohen D., David (2014). «Ficha Bienes Muebles: Puerta de doble hoja. Hoja 1, hoja 3, hoja 4 de 6». anexo 2 – Fichas de diagnóstico y propuesta de intervención. Bogotá: Consorcio Restauración Voto Nacional - Contrato de Consultoría 295/13 del Instituto Distrital de Patrimonio Cultural.
[237] ↑ a b c d Cohen D., David (febrero de 2015). «5.1. Diagnóstico de la fachada». Diagnóstico y propuesta de intervención de los bienes muebles de la Basílica menor del Sagrado Corazón de Jesús - Iglesia del Voto Nacional. Bogotá: Consorcio Restauración Voto Nacional - Contrato de Consultoría 295/13 del Instituto Distrital de Patrimonio Cultural. pp. 49-50. «en este documento confunden a San Francisco Solano con San Pedro Claver, en los los libros de los claretianos indican que es San Pedro Claver.».
[238] ↑ Cohen D., David (2014). «Ficha Bienes Muebles: Jesús Resucitado. Hoja 1, hoja 3, hoja 6 y hoja 5 de 8». anexo 2 – Fichas de diagnóstico y propuesta de intervención. Bogotá: Consorcio Restauración Voto Nacional - Contrato de Consultoría 295/13 del Instituto Distrital de Patrimonio Cultural.
[239] ↑ a b c Del Castillo, Lina Esmeralda (2016). Paz y el Sagrado Corazón: Iglesia del Voto Nacional. Bogotá: Instituto Distrital de Patrimonio Cultural. p. 147.
[240] ↑ Mesa Gómez, Presbítero Carlos Eduardo (1990). Los Claretianos del Voto Nacional (1912-1989). Medellín: Editorial Zuluaga. p. 65.
[241] ↑ Revista El Voto Nacional, n. 9, julio 4 de 1919, p. 137.
[242] ↑ Del Castillo, Lina Esmeralda (2016). Paz y el Sagrado Corazón: Iglesia del Voto Nacional. Bogotá: Instituto Distrital de Patrimonio Cultural. p. 148.
[243] ↑ Del Castillo, Lina Esmeralda (2016). Paz y el Sagrado Corazón: Iglesia del Voto Nacional. Bogotá: Instituto Distrital de Patrimonio Cultural. p. 151.
[244] ↑ a b c Cohen D., David (2014). «Ficha Bienes Muebles: Angel Putis Anagrama Sagrado corazón de Jesús. Hoja 1, hoja 4, y hoja 5 de 8». anexo 2 – Fichas de diagnóstico y propuesta de intervención. Bogotá: Consorcio Restauración Voto Nacional - Contrato de Consultoría 295/13 del Instituto Distrital de Patrimonio Cultural.
[246] ↑ Del Castillo, Lina Esmeralda (2016). Paz y el Sagrado Corazón: Iglesia del Voto Nacional. Bogotá: Instituto Distrital de Patrimonio Cultural. p. 190.
[247] ↑ a b c d e f Del Castillo, Lina Esmeralda (2016). Paz y el Sagrado Corazón: Iglesia del Voto Nacional. Bogotá: Instituto Distrital de Patrimonio Cultural. p. 195.
[249] ↑ a b Cohen D., David (2014). «Ficha Bienes Muebles: Santa Cecilia. Hoja 3, hoja 4, hoja 5 de 6». anexo 2 – Fichas de diagnóstico y propuesta de intervención. Bogotá: Consorcio Restauración Voto Nacional - Contrato de Consultoría 295/13 del Instituto Distrital de Patrimonio Cultural.
[250] ↑ a b Cohen D., David (2014). «Ficha Bienes Muebles: San Antonio María Claret. Hoja 1, hoja 4 de 7». anexo 2 – Fichas de diagnóstico y propuesta de intervención. Bogotá: Consorcio Restauración Voto Nacional - Contrato de Consultoría 295/13 del Instituto Distrital de Patrimonio Cultural.
[251] ↑ a b Cohen D., David (2014). «Ficha Bienes Muebles: Sol resplandeciente salutatis. Hoja 4 de 9». anexo 2 – Fichas de diagnóstico y propuesta de intervención. Bogotá: Consorcio Restauración Voto Nacional - Contrato de Consultoría 295/13 del Instituto Distrital de Patrimonio Cultural.
[252] ↑ Del Castillo, Lina Esmeralda (2016). Paz y el Sagrado Corazón: Iglesia del Voto Nacional. Bogotá: Instituto Distrital de Patrimonio Cultural. p. 198.
[253] ↑ a b c Cohen D., David (2014). «Ficha Bienes Muebles: Sol resplandeciente salutatis. Hoja 1 de 9». anexo 2 – Fichas de diagnóstico y propuesta de intervención. Bogotá: Consorcio Restauración Voto Nacional - Contrato de Consultoría 295/13 del Instituto Distrital de Patrimonio Cultural.
[255] ↑ a b Instituto Distrital de Patrimonio Cultural (16 de junio de 2019). «Avanza restauración de la cúpula de la Basílica Menor del Sagrado Corazón de Jesús - Voto Nacional». Consultado el 10 de octubre de 2023. «Video sobre el avance de la restauración».: https://www.youtube.com/watch?v=AvV-Q7GEPlg
[256] ↑ a b c Comunidad Claretiana (1962). Bodas de oro de la Comunidad Claretiana de Bogotá: 1912-1962. Bogotá: Editorial el Voto Nacional. pp. 107-108.
[258] ↑ a b Elizondo Iriarte, Esteban (2002). La organería romántica en el País Vasco y Navarra (1856-1940). Bilbao: Universidad del País Vasco. p. 457. ISBN 8469984179.
[259] ↑ a b c Del Castillo, Lina Esmeralda (2016). Paz y el Sagrado Corazón: Iglesia del Voto Nacional. Bogotá: Instituto Distrital de Patrimonio Cultural. p. 227.
[260] ↑ a b c Cohen D., David (2014). «Ficha Bienes Muebles: Reloj. Hoja 1 de 6». anexo 2 – Fichas de diagnóstico y propuesta de intervención. Bogotá: Consorcio Restauración Voto Nacional - Contrato de Consultoría 295/13 del Instituto Distrital de Patrimonio Cultural.
[262] ↑ «3.4 evolución y estado actual de las condiciones espaciales y arquitectónicas del inmueble. (Sección: Modificaciones y alteraciones de carácter espacial)». Documento Técnico de Soporte, Diagnóstico Integral. Primera parte. Bogotá: Consorcio Restauración Voto Nacional - Contrato de Consultoría 295/13 del Instituto Distrital de Patrimonio Cultural. marzo de 2015. p. 19.
[263] ↑ Mesa Gómez, Presbítero Carlos Eduardo (1990). Los Claretianos del Voto Nacional (1912-1989). Medellín: Editorial Zuluaga. p. 65.
[264] ↑ a b c Del Castillo, Lina Esmeralda (2016). Paz y el Sagrado Corazón: Iglesia del Voto Nacional. Bogotá: Instituto Distrital de Patrimonio Cultural. p. 231-232.
[265] ↑ Revista El Voto Nacional, n. 1, septiembre de 1919.
[266] ↑ Delgadillo, Hugo (2008). Repertorio ornamental de la arquitectura de época Republicana en Bogotá. Bogotá: Instituto Distrital de Patrimonio Cultural. p. 42. ISBN 9789584426505.
[267] ↑ «7.1.2 Cuerpo de naves». Documento Técnico de Soporte, Diagnóstico Integral. Primera parte. Bogotá: Consorcio Restauración Voto Nacional - Contrato de Consultoría 295/13 del Instituto Distrital de Patrimonio Cultural. marzo de 2015. pp. 65-66.
[268] ↑ «Plano núm. L002. Planta Nivel 1 (A -1.00m) Planta de cripta, Cimientos y Taller de maderas». Levantamiento Basílica del Sagrado Corazón de Jesús Iglesia del Voto Nacional. Bogotá: Consorcio Restauración Voto Nacional - Contrato de Consultoría 295/13 del Instituto Distrital de Patrimonio Cultural. 14 de abril de 2014.
[269] ↑ a b «4.1 Propuesta arquitectónica para la Basílica Menor. (Sección Criptas)». Segunda parte. Documento Técnico de Soporte, Propuesta de intervención integral. Bogotá: Consorcio Restauración Voto Nacional - Contrato de Consultoría 295/13 del Instituto Distrital de Patrimonio Cultural. marzo de 2015. p. 135. «En este documento técnico se propone que en la restauración se retire una buena cantidad de orarios para que dicho lugar esté menos saturado y deben permanecer «solo los de algunos de los bienhechores de la iglesia, como Ricardo Acevedo, pintor de los cuadros que decoran el cielo raso, el Maestro D'Achiardi, ornamentador de la fachada y los de Doña Rosalía Calvo, donadora de los terrenos para la construcción de la iglesia.». Esto da a entender que los restos de dichos personajes se encuentran en la cripta de orarios. Cabe aclarar que esta propuesta no se llevó a cabo.».
[270] ↑ a b «Plano núm. L019. Corte Longitudinal F - F». Levantamiento Basílica del Sagrado Corazón de Jesús Iglesia del Voto Nacional. Bogotá: Consorcio Restauración Voto Nacional - Contrato de Consultoría 295/13 del Instituto Distrital de Patrimonio Cultural. 14 de abril de 2014.
[272] ↑ Canal Caracol. «Programación HD Colombia». Consultado el 11 de noviembre de 2023. «Dar clic en domingo para ver la programación de ese día, la misa ahora es a las 8:00 a.m.».: https://www.caracoltv.com/programacion
The basilica is in the neo-baroque style, it has a single longitudinal nave "Nave (architecture)") with 16 side chapels and a transept or transverse nave.[14] Above the transept "Cruise (architecture)") rises a double dome system, the outer one with a metal frame, it has a very long drum "Drum (architecture)") above which rises a glass dome with the colors of the Colombian flag; and internally there is a dome formed by a stained glass window that has the image of a sun with undulating rays.[14].
In 1964, Pope Paul VI granted the temple the liturgical title of Minor Basilica on February 14 of that same year.[3] In addition, the temple is included in the list of Assets of Cultural Interest of Bogotá by decree 606 of July 26, 2001,[15] and was declared an Asset of Cultural Interest of National Character -BIC- by resolution 1402 of July 16, 2012 of the Ministry of Culture of Colombia.[16].
In the last decades of the century, the Mártires sector suffered an economic and social decline, which led to the temple being forgotten, which caused the building to be in a great state of deterioration,[17][18][19] almost on the verge of collapse, for this reason the Mayor's Office of Bogotá, through the District Institute of Cultural Heritage -IDPC-, is carrying out the restoration, which was divided into three phases, the first, already completed, covered the entire body of the main façade (façade, buttress façade, choir and socochoir); the second, also completed, covered the transept, the presbytery and the dome; and the third and final phase, which will cover the longitudinal nave and the side chapels, was planned to begin in 2020, but is currently on hold because the contingency caused by the Covid 19 pandemic altered the plans.[20].
History
Context
After the Independence processes at the beginning of the century, Colombia began to suffer a series of civil wars over the course of that century. Between 1812 and 1886, the country suffered eight civil wars of national scope,[21] that is not counting the several minor war conflicts of a regional nature or the countless revolts. However, it would not be until 1848-1849 when the two blocs permanently opposed to each other throughout the rest of the century were formed: liberals and conservatives.[22].
Each one had the objective of obtaining the power of the central State to retain it and use it to exclude their rival, a confrontation that periodically worsened until they mobilized the masses to take up arms, increasing hatred between blues (conservatives) and reds (liberals).[23] The ideals that divided them could be summarized in their slogans, in their attitude towards the Catholic Church, the management of the economy and territorial administration. The conservatives said "God, country and family", identifying the country with the defense of the traditions of their culture and the Church, which they saw as a bastion of them. On the other hand, liberals fully identified with the ideals of the French Revolution, for which the Church was an obstacle to building a modern State, with religious tolerance and freedom of conscience, which could be summarized in "liberté, égalité, fraternité".[22].
However, in a divided country, trying to resolve its partisan conflicts, the Church constituted a unifying element, which led it to become a decisive electoral instrument, an influence that was feared in the liberal party. The new constitution of 1886 and the signing of the Concordat in 1887 apparently settled the differences between State and Church, based on the need for religious peace, the admission that the majority of Colombians professed Catholicism, and the conviction that the best education was that which was based on Christian civilization.[24]
However, a new war conflict was generated, since between October 1899 and November 1902 Colombia was bleeding in what was known as the War of a Thousand Days, which pitted the party that was in power, the Liberal, against the nationalists of the Conservative party.[25].
Parallel to these events, devotion to the Sacred Heart of Jesus began to spread throughout Colombia, especially thanks to the "Apostleship of Prayer" and the magazine "El Messengero del Corazón de Jesús" (monthly publication), both established in 1867 and which were very decisive in making this Catholic devotion known.[26].
In the magazine you can see in detail the growth of the cult, the connection to it of prominent figures from different religious orders and civil society, political issues and the advance of the Apostolate of Prayer worldwide. Sacred Heart of Jesus.[27] Likewise, Bernardo Herrera Restrepo, at that time rector of the Major Seminary of Bogotá, was director of the Apostolate of Prayer and who would later be bishop of Medellín.[26].
Later, the devotion reached such a level that at the end of 1891 a large number of municipalities in Colombia were politically consecrated to the Sacred Heart of Jesus, from Riohacha to Ipiales and from Panama to Arauca "Arauca (Arauca)"), a process that covered the entire Colombian geography.[26] Likewise, the municipality of Bogotá, through Agreement no. 10 of 1892 of the Municipal Council consecrated the city to the Heart of Jesus, and the act was carried out on October 12 of that year in the Cathedral of Bogotá.[26][27] Of course, all these political consecrations irritated the liberals who quickly began to make challenges in some municipalities.[26].
Outside the country, devotion grew exponentially, which is why, in 1899, Pope Leo
For all this, it is not surprising that the now Archbishop of Bogotá Bernardo Herrera Restrepo, due to the Thousand Days War, proposed in 1902 to the National Government to make a vow to the Sacred Heart of Jesus for peace in Colombia and ordered that the unfinished chapel become the Church of the National Vow to the Sacred Heart of Jesus.[29].
The proposal was supported by the national government, showing how in one building political, religious and civil powers converge in a way that is as palpable and influential in the life of republican and modern society, just as the Temple of the National Vote was. Politicians and ecclesiastics performed ceremonies there with great connotation for the country, around the idea that Colombia was a nation that practiced the Catholic faith, that it was under the protection of the Sacred Heart, and that, especially in times of war, it was essential to unite the determination of the parishioners to build this church and make a vote for peace.[24].
The visibility of the temple as a place of Colombia's consecration to the Sacred Heart of Jesus made it the undisputed scene of a Te Deum recited for several decades as the culmination of a very solemn annual ceremony, where the president of the republic thanked Jesus Christ for his protection of the nation, which clearly gave the temple great national relevance.[4].
The construction of the basilica was carried out in several phases that spanned from 1902 to 1938. It had two inauguration dates: the first was the consecration of 1916, when the façade and the longitudinal nave with its side chapels were structurally completed; the second in 1938, when the transept and the dome were blessed.[29] Architecturally, the temple is one of the significant examples of the architecture of the Republican period, which demonstrates the new taste for classical academic styles, which emerged as a result of the influence of the design of the National Capitol and the European fashion that was imposed, leaving the predominant popular forms that, classified as "colonial", symbolized regression and colonialism.[29].
1881-1911. Mrs. Rosa's project
In 1881 the construction of the chapel dedicated to the Sacred Heart of Jesus began on the west side of the Plaza de los Mártires, in the block "Manzana (urbanismo)") known as "Quinta de la Huerta de Jaime", which currently includes the area between Carrera 15 to Carrera 17, and between streets 10 and 11. The construction of the temple was an initiative of Mrs. Rosa Calvo Cabrera, who, being the owner of said block, donated the land for its construction and the sum of 1,000 pesos for the project.[11] For the year (1881) in which the construction of the chapel began, the population of Bogotá was 84,723 inhabitants.[31].
Because it is in his parish jurisdiction, Fr. Rudesindo Castillo, parish priest of the church of La Capuchina, took charge of the works,[11][n. 2] which were financed with alms from believers. This first construction was carried out under the direction of the architect Francisco Olaya (disciple of Thomas Reed), who died in 1888.[11] He was succeeded in directing the works by the architect Julián Lombana, although the exact date on which he took charge is not known.[11].
On May 6, 1898, the first chapel was opened.[32] In a letter dated September 16, 1900, Lombana's participation in the work was recorded and that a Board already existed:
In 1892 Doña Rosa died, her large property was fragmented into seven pieces of land that were inherited by her brothers and sisters, leaving the chapel lot free. Therefore, the heirs began the succession process and complied with the will of their relative by handing over ownership of the chapel lot to the archdiocese in 1901. The event was attended by the Archbishop of Bogotá, Bernardo Herrera Restrepo,[n. 3] as a representative of the archdiocese of Bogotá, to receive or accept:.
From that moment on, the archdiocese of Bogotá took over the construction of the temple. Then, Archbishop Herrera, upon seeing the devastating moment the country was going through as a result of the Thousand Days War, in a pastoral letter of April 6, 1902, proposed making a national vote for peace:[12].
However, this idea was not original to Archbishop Herrera, since the Basilica of the Sacred Heart "Basilica of the Sacred Heart (Paris)") in Paris was born from a private vow made in 1871, imploring an end to the evils of the Church and the calamities of France; In 1872 the Archbishop of Paris and the French Episcopate approved the vote and in July 1873 the National Assembly of France, by a majority of 244 votes, declared "... the construction of a temple at the top of Montmartre..." of public utility .... This event of the Church of the National Vote in France was recorded in the Colombian press in detail.[12].
Archbishop Herrera's initiative was supported by conservative president José Manuel Marroquín, through decree 820 of May 18, 1902, according to which the government would cooperate in the construction of the church, as a vote for peace in the country, contributing to the festivities and collecting contributions from individuals, public officials or anyone who wanted peace. Furthermore, it was proposed that on some day in June of that year, a Eucharist would be held in a temple to be designated and then a procession would be held to the temple under construction and a speech would be given there and then collect donations.[12].
1911-1916. The Claretians arrive
The construction of the church takes a different turn when Archbishop Herrera offers the temple to the Missionary Children of the Immaculate Heart of Mary community, known as the Claretians, who arrived in Colombia in 1908. Archbishop Herrera, who had met Mons. Antonio María Claret in Rome during the First Vatican Council, began to show great appreciation for the Claretian Congregation for the great work they were doing in the country.[41] Thus, in July 1911, Mons. Herrera offers the Temple of the National Vote to Fr. Juan Gil, at that time Claretian prefect in Colombia.[41] In addition, he warned that the temple was unfinished.
The pbro. Gil in his correspondence with Fr. Martín Alsina, Superior General, informed him about the Archbishop's offer:
In his letters, he reasons about the convenience of accepting the offer. The Community would finish the project and would be the Procuratorate of the Missions of Chocó and would become a missionary center. He emphasizes that he should consider sending "a father who is a good preacher and at the same time understands ailments." 7] and knowledge of architecture».[41] The superior then chose Fr. Spanish Antonio María Pueyo de Val, who fit the requested profile.[n. 8].
In October 1912, a delegation of five priests left for Colombia, headed by Father. Pueyo accompanied by Fr. Pedro Díaz, who would later be an essential collaborator in the work of the Voto church.
The pbro. Pueyo, who arrived with the position of superior, the highest ranking in Colombia, transmitted it to his Superior in Europe, Fr. Alsina, his first impressions upon arriving in Bogotá in December 1912, thus explaining the state of the temple they were going to receive:
Review that is complemented by the letter from Fr. Pedro Díaz, his right hand, written several months later:
The pbro. Martín Jové, apostolic worker in 1943, tells how the Claretians found the state of the work of the temple:
The pbro. Díaz also adds that recently arrived, at the end of 1912, "as the state of the temple works did not allow us to carry out the cult of the Vow, we limited ourselves at first to saying a mass very early so as not to hinder the work, and on Sundays there were two."[45].
The pbro. José Payás, in 1941, told El Voto Nacional Magazine his memories about the progress of the temple for the year 1914:
The pbro. Salvador Miró gave an account of the real estate that the Claretians received in 1912:
The pbro. Pueyo de Val had experience in religious architecture, and his diligent spirit and the importance of the work indicate that he intervened in the plans that were available at that time; The author of these plans had been the architect Julián Lombana, whose presence disappeared in this project after the direction of Fr. Pueyo. The memoirs of the Claretian fathers recount changes in the façade, in the height of the vaults, in the width of the lights, and in general highlight the work of the Claretian in contracting the ornamentation, he is the one who commissioned the artistic components of the temple.[48].
1916-1938. Expansion and beautification
The consecration of the temple was actually splendid, however the same priest. Pueyo recognizes that the church was not finished. In December 1916, three months after the Consecration, he communicated to Rome: «Fifteen altars were consecrated at the same time; The consecration was very solemn. Order V.R. May the Lord give us health and money to finish this temple and [] begin the great one of the Heart of Mary in Rome!».[65].
In that same year (1916) Fr. Pueyo de Val purchased a property with access on 10th Street in the name of the Claretian Community. In the innermost part of that land, years later, the current sacristy that houses the temple will be built. Furthermore, with this purchase, the Community's acquisition of land in the block begins. The Missionaries' House began to operate on said property, where the parents' cells were located and it was where the missionaries arrived when they arrived in Bogotá.[40].
On July 20, 1917, the new Sabana Station building was inaugurated (located on the current Avenida Centenario "Avenida Centenario (Bogotá)") -calle 13- with calle 18), which had greater capacity, becoming the central station of all the railway lines to the capital, converting the area between the temple and the station into an area of great commercial activity, in which important companies of the time established their headquarters or main warehouses or warehouses.[66].
On August 29, 1917, an earthquake occurred in the city that surprised the Claretians who were staying in the new house:
On November 26, 1917, Fr. Antonio María Pueyo de Val is named bishop of Pasto.[68] His episcopal consecration was on January 6, 1918, and was carried out in the same temple of the National Vote, which was conditioned to accommodate the high prelates of the Church, the President of the Republic, José Vicente Concha, who was one of the godfathers,[68][n. 14] and the most predominant part of Bogotá society.
That same day, in the afternoon, the new bishop conferred the sacrament of confirmation on about 200 children in the temple of the National Vow,[68] most of them were children of friends and acquaintances of the same prelate, who wanted to treasure the memory of seeing their children anointed by the newly consecrated hands of the one who had generated so much sympathy, mainly in the area around the temple.[69] The priest Ezequiel Villarroya Marcos is the one who replaces the pbro. Pueyo and takes charge of the temple from now on.
On March 24, 1918, an agreement was signed in Bogotá between Bernardo Herrera Restrepo, Archbishop of Bogotá, and Ezequiel Villarroya Marcos, Quasi-Provincial Superior of the Missionaries of the Heart of Mary in Colombia, in which they determined the conditions under which said community would take charge of the church:
In 1918, on the south side of the Plaza de Los Mártires, the building of the School of Medicine "Facultad de Medicina (UNAL Bogotá)") of the National University was partially inaugurated, although it was not completed until the 1930s. This project gave more importance and dynamism to the area around the temple.[71].
1938-2012. From brilliance to decay
Since 1930, when the liberal party came to power, the president stopped being present in the National Vote to renew the consecration of the Republic under the protection of the Sacred Heart. On the other hand, in 1945 Pope Pius XII referred to the temple as magnificent, and in a radio broadcast he evoked the relevance and meaning of the temple to Colombians:
Through Decree No. 16 of March 12, 1942, Archbishop Perdomo converted the temple of Voto into a parish "Parish (religion)") of the Sacred Heart of Jesus, and ratified entrusting it to the Claretian missionaries, naming Fr. Alfredo Martínez (parish priest between 1942 and 1948).[90]In October of that same year (1942) Mrs. Ana Lucía Palacios de Ruiz donated the baptismal font to the newly created parish.[91] The new parish life generated a drastic decrease in missions outside the city, for example in the year the parish was created (1942) 17 missions, 526 baptisms and 118 marriages;[90] and in 1945 there were only four missions, but baptisms, marriages and communions in the temple increased, in that year 1,206 baptisms, 259 marriages and 185,000 communions were performed.[92].
In 1947 the advance of Caracas Avenue reached the Plaza de Los Mártires, dividing it in two and the following year it continued its advance, taking away part of the School of Medicine building. The work on Caracas Avenue abruptly broke the unity between the historic center of Bogotá and the National Vote sector. In addition, the vegetation in the square was eliminated and later converted into a bus stop.[93].
The pbro. Ignacio Trujillo leads the initiative to create the main altar that Maestro Acevedo Bernal had designed at the request of the priest. Pueyo 35 years ago, which is why he traveled through various Departments of the country collecting donations.[94] Some time later, taking advantage of the delegation that traveled through Colombia to Spain in 1950 to the canonization ceremonies of Antonio María Claret, one of the envoys, Fr. Juan Punset, parish priest of the temple, uses the occasion to take the designs to the renowned "Casa Granda",[n. 20] which undertook to make them.[95][7] The commission for the execution of the main altar also included "legends to cover the front shaft of the four columns that support the dome", and the communion rail (railing) with the two ambos with their respective bronze eagles.[95].
After painful years of bipartisan violence, exacerbated in those years by the riots of April 9, 1948 that triggered the beginning of the era known in the country as "La Violencia", in 1952, the then president Roberto Urdaneta Arbeláez and the nuncio Antonio Samoré led a campaign for peace called the Pro-Peace Crusade.[96] The president had signed the 1st Law of the January 8 of the same year, therefore the day of the Heart of Jesus was declared a national civic holiday, named "Thanksgiving"; On January 8, the official consecration of the country to the Sacred Heart of Jesus would be renewed each year. On Tuesday, June 10, a large three-hour procession was held, in which the image of the Fallen Lord of Monserrate was lowered from the Monserrate hill to San Francisco and from there it was taken to the Church of the National Vow.[97][96][n. 21] In the atrium of the temple the Nuncio and the president made speeches.
2012-present. The resurgence
To carry out the restoration of the Temple, efforts began to be made, several donations were collected from German and Italian organizations, which made it possible to carry out the title study, the phytosanitary study, the first aid works on the roof that threatened to collapse and then the electrical network was changed, which represented a risk due to its age.[117] In the context of the agreement between the Ministry of Culture and the Episcopal Conference of Colombia, signed in 2010 and ratified in December In 2012, resources were allocated for the maintenance of the temple's roof.[117] In addition, the Ministry of Culture finally declared the basilica Asset of Cultural Interest of National Character by resolution 1402 of July 16, 2012.[16].
In 2011, the restoration process of the Basilica began with the "Formulation of the Special Plan for Management and Protection of the Historic Center" by the National University of Colombia, which was approved in 2013 by the "District Institute of Cultural Heritage of Bogotá" through resolution 204 of that year. Afterwards, consulting was carried out to prepare the comprehensive intervention project for the temple, which was approved by the Ministry of Culture through resolution 3612 of 2015.[118].
Between 2014 and 2015, first aid work was carried out in order to reduce the risks discovered in the course of the development of the comprehensive intervention project, since the temple showed serious problems of water leaks in the crypt area, which caused said space to be flooded and with a strong foul odor; In addition, the sculptures on the main façade were falling apart, endangering passers-by.[118][119].
The first aid consisted of creating septic tanks and conveying dirty water and runoff (which was not properly provided) to the sewer networks in the city center; The dirty water was properly dried and the interior was disinfected. The cleaning and maintenance of the façade was also carried out, the stones with cracks and looseness that could be a danger of falling were removed, the sculptures on the front were consolidated; One of them on the north side, that of San Pedro Claver, was removed, since it was very fractured and at risk of falling at any moment, which is why it was necessary to make a lighter replica, which was then installed in the place of the original. Another sculpture, also fractured and located on the south side of the façade, was repaired on site.[119].
In addition, a protective mesh was installed under the ceiling of the longitudinal nave to prevent any detachment from affecting the integrity of the parishioners. On the façade they also placed mesh and steel spikes to control the access of pigeons, which were causing serious problems for the building.[119].
According to the consultancy's diagnosis, it was identified that the greatest risk was the structural weakening of the building. For the adequate structural reinforcement, restoration and conservation of the building and its outstanding collection of movable property, the intervention was established in three stages according to the available resources.[120].
Authorship of the temple
The memories of the Claretians attribute to Olaya the authorship of the initial designs of the chapel promoted by Doña Rosa around 1881. Furthermore, at that time, Olaya and Doña Rosa were neighbors.[125] But those same memories indicate that what Olaya managed to build underwent several modifications that in the end his intervention completely disappeared.[126].
The first record of Julián Lombana's intervention in the temple of the Sacred Heart of Jesus dates back to 1900, when Lombana requested in a letter to the Central Board to increase the size of the church.[11] When Fr. Pueyo, explaining in a letter to his Superior in Europe the state of the temple that they were going to receive in 1912, says in one of his sections: "It is a shame that they have changed the plan several times, having altered in pejus (for the worse)",[43] which suggests that in those first years in which Lombana intervened, the initial project was modified several times. Additionally, Fr. José Payás, in 1941, recounted in El Voto Nacional Magazine his memories of the progress of the temple for the year 1914: "Although the shed had disappeared since mid-1914, the last remnant of the previous hermitage...",[46] another indication that what little remained of that unfinished chapel disappeared.
Due to the absence of planimetric documents from the first period in which Lombana intervened that confirm his authorship, this attribution can be questioned.[127] However, Alfredo Ortega Díaz, in his book "Arquitectura en Bogotá" published in 1924, considers the Temple of the Vote as one of the works of Julián Lombana.[128].
Things change again in the project with the arrival of the pbro. Pueyo de Val in 1912, which with his knowledge in architecture, plus his great focus and initiative that he had as leader of the Claretians in the Church of the Vow, and his direction in the works, meant that Lombana's intervention in the construction of the temple was no longer so clear.[129] There are several references that different pbros capture in their memoirs. Claretians, concerning the modifications that Fr. Pueyo made the designs of the nave and the façade.[129].
In the memoirs of pbros. Claretians mention several times the dedication and initiative that defined Fr. Pueyo. Even despite suffering an accident on the job (a plank fell on his head), in the rush to complete the temple for its consecration in 1916, "Father Pueyo could be seen day and night, covered in dust, fatigued, standing here and there ordering the most urgent works."[130].
The pbro. Carlos Mesa assures that Fr. Pueyo had renovated.
As mentioned before, there are several references that point out the modifications made by the pbro. I support the original plan, with the authorization of Archbishop Herrera. In the memory of Fr. Martín Jové, writing in 1943 from Caracas, says:
The same source asserts that Fr. Pueyo refused to carry out "any of the two very heavy projects that existed" for the façade and transmitted his ideas to the painter Ricardo Acevedo Bernal, who captured them on paper. The design that was finally made was his.[49] Unfortunately, no sketch or plan has been found that elucidates the extent of Lombana's authorship and that of Fr. Pueyo.[132].
As far as can be established, Julián Lombana worked on the area of the property originally established in the donation of 1892, to which were later added the two small portions of land on either side of the front of the property. That is, with the essentials to build the main façade as it is currently known, and which was inaugurated in 1913.[133] As soon as Pueyo de Val arrived in Bogotá, at the end of 1912, he informed his superior that the last third of the temple still needed to be tiled and that "the façade is in the middle of the cornice of the first body."[43].
However, Lombana and Fr. Pueyo did not have the western lands that currently make up the transept, or at least not all of them. As noted, the temple was consecrated in 1916, using the western part of the property donated by Doña Rosa Calvo as a presbytery.[133] As additional evidence is the plan found in the Bogotá Archive, which, although it is not dated, shows what was planned for the expansion of the temple (the transept, the dome and complementary spaces), signed by the Dutch architect Antonio Stoute[n. 1] and that in the end it was not carried out as stated in the aforementioned document. This plan, which is in color, indicates the sketch of the extension and the existing spaces around it, in which a space is seen in the southern half of the current presbytery, titled "current sacristy." Likewise, due to the way the details are indicated on the plan, the neighboring properties to the north of the church belong to individuals and are indicated as a "tall building" in the areas where the transept would later be added.[133].
The plan that shows the idea that was planned to be done, signed by Stoute, and the documents from the application procedures for the construction license for the dome in 1936, allow it to be added to the authors of the temple of the National Vow. With his intervention in the temple of the Vow, it was completed as it is currently known, with its transept, the dome and the sacristy.[133].
Taking all this into account, it is concluded that both Julián Lombana and Fr. Antonio Pueyo de Val are co-authors of the temple consecrated in 1916 and Antonio Stoute is the author of the extension inaugurated in 1938, that is, the transept, the dome and the crypt.[133].
Urban and social context
The basilica is located on the western side of the Plaza de Los Mártires, in the Voto Nacional neighborhood of the locality "Localidad (Colombia)") of Los Mártires in the city of Bogotá. This square is loaded with historical and cultural symbolism.[134] It houses in its center the Monument to the Martyrs "Monument to the Martyrs (Bogotá)"), a 17 m high obelisk placed in memory of the Martyrs of Independence who offered their lives for the country and, in addition, in the past it occupied a privileged place in the recreation of Bogota residents who They enjoyed the harmony and beauty of its gardens.[134] Due to its relevance, the name was extended to the current town of Los Mártires, an important area of the Historic Center of the city, characterized by great heritage and cultural wealth.
Since the 1930s, work began to open Caracas Avenue through the city of Bogotá from north to south.[135] Said avenue, as it passed through the Plaza de Los Mártires sector, caused great damage, since for its progress it was necessary to divide the square into two sections; in addition, part of the building of the School of Medicine "Facultad de Medicina (UNAL Bogotá)") and a hundred homes were demolished.[n. 27] The work on Caracas Avenue abruptly broke the urban integration between the rest of the historic center of Bogotá and the National Vote sector; In addition, the vegetation in the square was eliminated and later converted into a bus stop, with parking layouts painted on the pavement.[93].
Additionally, during the riots of April 9, 1948, the Los Mártires sector was affected by violence, looting and destruction, further wearing down the sector; Later, with the transfer of the market to the nearby Plaza España in 1956, it generated the arrival of crime in the sector, which led to the flight of traditional residents.[136] Over time, the old houses became tenements and hotels where travelers sought fleeting encounters (becoming a zone of tolerance), as well as merchandise warehouses or shops.[136].
In 1967, the expansion of Caracas Avenue was carried out, going from two to four vehicular lanes and removing pedestrian passages and gardens, which generated an increase in vehicular flow.[135] Additionally, with the expansion of Carrera Décima, a few blocks to the east of said avenue, the isolation with the rest of the historic center was further exacerbated.[136] All of these problems favored the economic and social degradation that since The second half of the century is recorded in the area, and it only got worse.
At the end of that century, two dangerous places were established near the Basilica, a few blocks away was the Cartucho and a few meters away was the Bronx "El Bronx (Bogotá)"), which housed drug traffickers, street dwellers, gangs and prostitution. Curiously, these crime centers were located less than a kilometer away from the Casa de Nariño, the National Capitol and the Palace of Justice, which in that same order, are the highest seats of the executive, legislative and judicial powers of the Colombian state. In addition, in the vicinity there is also the Liévano Palace, headquarters of the Mayor's Office of Bogotá and the Archbishop's Palace where the archdiocese of Bogotá operates.
In 2000, the Cartucho was intervened by the authorities (in its place the Tercer Milenio Park was built), which caused part of that crime to move to the Bronx, which was intervened on May 28, 2016, by more than 2,500 men from the National Police and the Army[137] and some social assistance agencies.[138] After the operation, the beginning of the urban renewal process of the sector was announced, including demolitions and other initiatives.[139].
As part of the renovation plan for the sector, the Plaza de los Mártires and its obelisk, along with the Temple of the Vote, began to be intervened for its restoration; By September 2016, the plaza and the Los Mártires obelisk were recovered, and between 2016 and 2017 the first stage of the restoration of the Basilica was carried out.[136] Then between 2018 and 2020, the second stage of the restoration of said temple was carried out.
Currently, for the renewal and recovery of the Voto Nacional and La Estanzuela neighborhoods, the Mayor's Office of Bogotá, through the Bogotá Urban Renewal and Development Company (RenoBo), is carrying out the first three stages of the Partial Plan Voto Nacional – La Estanzuela, with a 100% public investment, which includes the construction of a large institutional project that will include the Bronx Creative District, the Multicampus Creative Talent Center and the new administrative headquarters of the Local Mayor's Office of Los Mártires, these last two are being built on the block of the old Bronx, which was one of the most dangerous places in Bogotá.[140][141].
The current land uses in the Voto Nacional neighborhood are mainly commerce, followed by housing, and collective facilities.[142] For example, of the uses of the block "Manzana (urbanismo)") where the temple is located, 43% corresponds to commerce, 30% to facilities, 10% to housing and 8% to urban voids.[143].
Commerce is divided between formal and informal. Among the formal trade, hardware stores, agribusiness, textiles and household items stand out. Among informal trade, the sale of tools stands out mainly, and on a smaller scale clothing and food.[144].
The majority of the residents who inhabit the neighborhood are floating population who live in tenements, mainly street vendors, who live there due to proximity to work and low rental costs, on average they reside in the sector for 4 years.[145].
The presence of the Otavalo indigenous community (Ecuador) also stands out, which has strong ties with the Parish of the National Vote.[145] This indigenous community, which has a wide presence in the sector, fervently participates in the Eucharistic celebrations. In addition, the use of their indigenous language is promoted during the celebration of their prayer meetings.[114].
Within the framework of the square, on its western side, there is from left to right: Philosophy building (main headquarters of the Claretians in Colombia), Basilica of the National Vow, Cural House and some old republican houses that were home to wealthy families that lived in the sector, today they are used as tenements and for commerce.
On the south side of the square is the building that was the headquarters of the Recruitment Battalion, in neoclassical style, designed by the French architect Gastón Lelarge and erected between 1916 and 1930. Its original function was to be the headquarters of the Faculty of Medicine "Facultad de Medicina (UNAL Bogotá)") of the National University, and it is declared Asset of Cultural Interest of National Character.[146] Currently this building neoclassical is being intervened to be the headquarters of "Bronx Creative District", a project that seeks to promote culture, creativity, entrepreneurship and memory in the Colombian capital.
On the eastern side is Caracas Avenue, and is followed by a fragment of the Plaza de los Mártires that was generated by the division caused by the passage of said road. This avenue is a TransMilenio bus corridor (BRT type mass transportation system) and in the northeast corner of the square is located
the Avenida Jiménez station "Avenida Jiménez (station)") of said system.[147].
A station for the future Bogotá metro will also be built, the first line of which will be elevated, so the station will also be elevated and will be built above the Avenida Jiménez station of the TransMilenio, on Caracas Avenue between 11th Street and 13th Street. of Los Mártires, for which around half of the properties in the aforementioned block have already been acquired and demolished, and we are waiting for the project works to begin in that sector.[150].
Building Features
Contenido
La basílica fue construida en estilo neobarroco, uno de los estilos de la arquitectura historicista, que tenía como fin revivir la arquitectura de tiempos pasados. El edificio cuenta con una única nave "Nave (arquitectura)") longitudinal con 16 capillas laterales y un transepto o nave transversal. El encuentro entre esta última y la nave longitudinal genera el crucero "Crucero (arquitectura)") sobre el cual se prolonga hacia el occidente un ábside poco profundo condicionado a la forma del lote en su origen, con forma poligonal; todo lo cual conforma junto con la nave longitudinal y las capillas laterales la planta en cruz latina.[151].
Encima del crucero se levanta la cúpula que es un sistema de cúpula doble, la exterior que cuenta con un tambor "Tambor (arquitectura)") muy prolongado sobre el cual se levanta una cúpula de vidrio con los colores de la bandera de Colombia, cuya linterna "Linterna (arquitectura)") remata en una custodia "Custodia (liturgia)"); e internamente se encuentra una cúpula formada por un vitral que tiene la imagen de un sol con rayos ondulantes y rectos.[151].
Sus dimensiones totales son 68,41 m de longitud por 20,00 m de ancho entre la nave longitudinal y las capillas laterales, los cuales se amplían en la fachada a 27,44 m y en el transepto a 30,00 m, en cuanto a su altura total en fachada hasta la escultura del Jesús es de 38,60 m, en la cumbrera de la nave longitudinal es de 18,63 m y en la cúpula exterior hasta la custodia es de 53,80 m de altura.[151].
La fachada principal está conformada por tres cuerpos y cinco calles, los cuales se van reduciendo en la medida en que gana altura.[152] Solo las tres calles centrales coinciden con el ancho de la nave longitudinal y de las capillas laterales, y por el contrario las otras dos están conformadas por dos volúmenes que se adosan a ellas, prolongándose en los laterales. Los tres cuerpos están separados por cornisas y las cinco calles están separadas por medias pilastras y columnas.
Materials and structure
Structurally, the building works as load-bearing or load-bearing walls that transmit all the weight to the foundations and these in turn to the ground. The foundation of the basilica is generally constituted in a traditional system of cyclopean stone foundations with lime and sand mortar glued, however, depending on its location in the complex, some characteristics change.[153].
In the façade area, the system is characterized by having an exclusive cyclopean stone foundation, a continuous foundation with a depth of 4 m from the level of the atrium and steps as it approaches its base. On the other hand, inside the temple, the depth of the foundation can reach up to 2.70 m and it is also a mixed foundation of solid bricks and stones. In the area of the transept, the most important variation is that in addition to the continuous foundation, there are concrete footings, "Footing (foundation)"), which provide support to the pillars that in turn support the domes.[153].
The wall "Wall (architecture)") of the main façade has an average thickness of 2 meters in its first body, it is made up of a mixed masonry system in solid carved stone and solid brick executions, which is covered on the outside by an 18 cm carved ashlar that acts as a large veneer on the outside, this element containing the stone carving forming the base that has the architectural forms shown. see on the façade.[154].
The second body is made up of a well-made factory "Factory (construction)") made of solid brick with a stone-like finish, 1.15 meters thick, arranged in various shapes, through which a load-bearing system is achieved that in turn serves as a base for the third body, which is made up of a load-bearing brick wall with a stone-like finish. From the middle body there are a series of internal vaults that support a central pillar on which the statue of Jesus rests.[154].
Behind the entire façade wall there is a wooden structure, which makes up the counterfaçade that contains several mezzanines, in which the bells and the entire clock system are located. This wooden structure corresponds to the “Pan de Bois” structural system or wooden framework, and on the outside it has a stone-like finish. The third body ends in a wooden capulín, with a brass cover, which was built around the central pillar that supports the statue of Jesus.[154].
In the solid lateral walls of the central axis of the façade, two circular ducts are developed, the southern one houses a spiral staircase in carved stone of good workmanship, which communicates with the choir level. The other duct on the north side houses the bell ropes that come from the bell tower level.[154].
The choir and choir are denoted by a system of load-bearing side walls on the first floor, 1 meter thick, in mixed masonry, following the system of the side walls, in solid carved stone and solid brick as executioners at different heights, these interlock with the walls of the side volumes of the façade.
On the second floor, the choir, in addition to the lateral closing walls in solid brick masonry, is concreted with a system of semicircular arches that start at the mezzanine level.[154].
The side walls that face the chapels and the exterior are conceived in a mixed masonry system in solid carved stone and solid brick as executioners at different heights, presenting discharge arches in different sections. These walls are altered by a series of niches that protrude to the outside, the product of an intervention after their origin, some of which were built in the center of the discharge arches. In the upper parts of said side walls it is combined with solid brick masonry. The niches are made of solid brick in "Rig (construction)") with a thin partition.[154].
Attached to these side walls are the transverse walls that close the side chapels and define their space, on which a system of barrel vaults is formed, which are made of ceramic planks. But in addition, these walls serve as buttresses for the diaphragmatic arches that are above the longitudinal nave, built of solid brick, with an average of 50 cm thick. The columns of the longitudinal nave, in its lower body and basement, were built in solid brick and carved solid stone (stone discs and central axis) which forms the shaft of the column.[154].
The walls of the transept are also load-bearing, they are made of solid bricks, they are 45 cm thick, which have a very important slenderness as they are 20 meters high without additional structure. The load-bearing system of the presbytery is conceived with four concrete pillars reinforced with railway beams and smooth steel straps, this system that used a solid brick formwork, this being a coating to which the cast cement elements are anchored that give the appearance of a surface to them. The pillars support the dome, which is made up of a system of beams and columns with reinforced concrete corbels, on which the stained glass drum is built in solid brick masonry.[154].
The exterior dome is defined by a system of radiating metal structure supported by a very long drum, which is also a metal structure that in turn is supported by a concrete ring. The drum and the base have complementary enclosures in hollow block coated with stone-like mortar.[n. 28][154] The dome is covered by pieces of laminated glass textured with the colors of the Colombian flag, these pieces are supported by a radiated metal grid.[155].
The dome ends in a lantern "Lantern (architecture)"), which has a small elongated dome that is made up of aluminum-silicon alloy sheets, screwed and welded to an internal iron structure. Above this elongated dome is the large monstrance that is made of bronze for its base and copper sheets for the sun, using modules welded and riveted on an iron structure.[155].
The roof "Cover (construction)") of the longitudinal nave and transept is gabled and of the side chapels is single-gabled and is made of baked clay tiles. The roof structure is made up of king post type trusses and straps made of round wood, on which it originally had a reed mat, which had a layer of mortar and on top of it the clay tile. Currently, given the intervention in 2012, the support system of the tile has been modified by fiber cement, on which the clay tile rests.[156].
The ceiling system in the longitudinal nave is supported by the main braces, forming a self-supporting ceiling using a wooden framework that is pointed by rods like small pendulums.[156] In the lateral arms of the transept, the ceiling is achieved with cement shells on metal meshes with a smooth rod framework in main arches, these elements are hung from the main structure of the roof (king post truss). The false vaults are covered on the inside with cement mortar and painted plaster.[156].
The floor of the presbytery is made of white marble; However, on the general floor and in the ossuary crypt of the temple, the pavement is composed of pigmented cement tiles (known as hydraulic mosaic) measuring 20x20 cm.[157].
Abroad
On the outside of the temple, the volumetry of the building is clearly identified with the spatial layout and composition of the interior, its shape allows us to clearly distinguish the different bodies that compose it. Furthermore, only the main façade faces directly onto the public space, the other sides of the temple adjoin other properties.
The main façade faces directly the western side of the Plaza de Los Mártires; It is completely symmetrical, it is made up of three bodies separated by entablatures and five streets separated by columns "Column (architecture)") and pilasters, which are on smooth plinths, have fluted shafts and Corinthian capitals. As the façade gains height, the five streets become smaller, forming that staggering that can be seen on the front.
The first body, which consists of five streets, is mainly perforated at its base with the openings that give entry through three doors and through the windows of the side bodies. The Corinthian colonnade is made up of two types: the separate ones that are almost tangent to the wall located behind, which is the true support of the entablature, and the pilasters that are attached to the wall.[158].
The separate columns are found in pairs, on different planes and on the sides of the main entrance. The first pair of columns supports the split curved "Frontón (architecture)" pediment while the second pair is located on a plane posterior to the first columns.[158] These columns frame the central portal, the largest, highlighting its importance. While the pilasters frame the side portals and the windows of the first body.
The second body is made up of three streets, in the central one is the split curved pediment (very common in Baroque architecture), in whose break zone is the choral window and above it is the medallion of Constantine Augustus and above it the national coat of arms of Colombia, said central street is framed by four Corinthian columns, two on each side, smaller in size than those of the first body; In the side streets there are two blind semicircular arches framed by pilasters.[158] These columns and pilasters rest on smooth plinths, which are part of the plinth at the ends of which the shield of Archbishop Bernardo Herrera Restrepo and the statue of Saint Toribio are located to the south; and to the north the emblem of the Claretians and the statue of Saint Peter Claver.[158].
Finally, the façade is finished with the rectangular-based bell tower, which is made up of a single street framed by simple pilasters. At the ends, on the second body, are the statues of Saint Luis Beltrán (to the south) and Saint Rosa de Lima (to the north). In the last body is the shield of Pope Benedict XV, above it there is an opening made up of a semicircular arch with doors (from which the image of Jesus Christ emerges like a cuckoo); Then the face of the clock is located, which is located just between the facade of the bell tower and its roof, on which is the statue of the Sacred Heart of Jesus.[158].
Inside
When entering the temple through one of its three large doors, the first space that is found is the sotacoro, an area located at the foot of the temple under the high choir, which serves as a vestibule, a transition space to the other areas of the temple. The width of the sotacoro coincides with the three central streets of the façade. Above the socochoir is the upper choir, the space where the tubular organ is located. After the sotacoro is the longitudinal nave "Nave (architecture)"), which goes to the presbytery, above it is a series of diaphragmatic arches that rest on the transverse walls that define the space of the sixteen side chapels, eight on each side, which are distributed longitudinally.[152] Between the ceiling located between the diaphragmatic arches are the eight large paintings by the master Ricardo Acevedo Bernal.
As already mentioned, each side chapel is clearly demarcated by the transverse walls, at the beginning of each wall there is a column, which serves as a frame for each chapel, said column has a Corinthian capital and a smooth shaft, the latter has in its first third a ring-like molding on which a Station of the Cross is located. windows inside the niche. Around each niche there is an altarpiece made of different materials. The chapels communicate with each other through perforated openings in the walls that divide said chapels, giving the impression of side naves, but they really are not.[159].
The final chapels (which correspond to Cartagena and the Police) are larger than the others, this is because originally the area between these chapels corresponded to the first presbytery "Presbytery (architecture)") that the temple had when it was inaugurated in 1916.
Finally we find the transept or transversal nave, which is the extension inaugurated in 1938 after acquiring some neighboring land. The meeting between the transept and the longitudinal nave generates the transept "Cruise (architecture)"), to the west of this is a shallow apse, with a polygonal shape; The crossing of these naves forms the Latin cross plan of the temple. The presbytery covers the area of the transept and the shallow apse.[152][159].
In the south arm of the transept, on its western wall, is the main entrance to the sacristy, and to the east are the stairs to go down to the ossuary crypt; and in the north arm there is, to the west, the altarpiece in which the image of Antonio María Claret is venerated.[160][161].
The arms of the transept are unequal as they are conditioned to the shape of the lots that were acquired for the expansion, since unfortunately the necessary ones for the project that was initially planned could not be obtained.[75] Even so, this inequality is almost not noticeable in the interior, since the architect Antonio Stoute played with the internal perspective so that the viewer would not easily notice said inequality.[n. 29].
The general floor plan of the Basilica has 1,238 m² (not including the sacristy, ossuary crypt and priestly house).[162] The capitals, the Stations of the Cross, the entablature, the moldings and other pieces of ornamentation inside the temple were made by ornatist and sculptor Colombo Ramelli, from the Ramelli workshop.[4].
artistic elements
Paintings
The master Ricardo Acevedo Bernal designed and executed between 1917 and 1920, the 10 paintings made in the oil on canvas technique, whose work had a total value of 4000 pesos paid by the priest. Pueyo de Val, before his transfer as bishop of Pasto.[8].
According to the memories of the Claretians every first Friday of the month, Acevedo came to take communion at the Vow and during the day he stayed in the choir painting the paintings.[8] For the 10 paintings he charged the sum of four thousand pesos, which the Claretians themselves recognize as intrinsic, due to the great work and artistic quality of the works, it was more of a good gesture, a gift.[8].
In 1989, at the jubilee commemoration (75 years) of the Claretian community in Colombia, Fr. Rafael María Cuéllar took advantage of the occasion and "initiated efforts to restore the beautiful paintings of the master Acevedo Bernal",[175] these efforts were unsuccessful because the paintings were not restored and are currently suffering from an advanced state of deterioration.[176][177].
The 10 paintings are made up of the 8 large canvases that are decorating the ceiling of the longitudinal nave and the 2 paintings that are located in the chapels of Pamplona and Ibagué, respectively.[178].
The 8 paintings on the ceiling are: “The Adoration of the Three Wise Men,” “The Holy Family,” “The Wedding at Cana,” “Let the Children Come to Me” (Fr. Otero and Monsignor Rubio and Sánchez appear in this painting), “The Transfiguration,” “Triumphal Entry into Jerusalem,” “The Last Supper,” and the “Appearance of the Sacred Heart of Jesus to Saint Margaret” (Mons. Pueyo appears in this box).
The 2 paintings in the side chapels are: "Jesus' prayer in the garden - The agony in Gethsemane",
"The Coming of the Holy Spirit."
These works generally stand out for the religious style of the recreated scenes, which continue the guidelines of colonial art, in accordance with the canons of Catholic art treatise writers, such as Juan Interián de Ayala, who established the ways of painting scenes and standardizing religious images related to both the life of Jesus and hagiographic paintings.[178] This allows us to analyze the way in which even in the century the artists employed by the church, such as Acevedo, continued to be guided by These norms of representation established by the Council of Trent in Europe, repeating its symbology, colors and attributes, and even the way of naming the iconographic themes for the works.[178].
Artistically, it is necessary to highlight the quality of the artistic work achieved in these large-format paintings, with human-scale figures that accentuate the realism of the scene and an abundant color palette that, through the use of blue and brown tones, achieves dramatic shadows. It should be noted that the varnish was used locally, highlighting the difference between planes of the work.[178].
From the main door towards the presbytery, there is first the pictorial work of "The Adoration of the Three Wise Men" which has a richness in its composition. The work represents the scene where the three Wise Men, having found Jesus following a star, lie before him worshiping him and offering him gold, incense and myrrh. Here Acevedo carried out the work under the same guidelines as art writers such as Juan Interián de Ayala.[179] The adoration scene in Bethlehem is one of the oldest and most recreated in the artistic world.
The next pictorial work is The “Holy Family”. This religious scene is widely recreated in religious art, here Master Acevedo represented the Holy Family maintaining the canons of the religious scene and explicitly teaching attributes of the passion of Christ, such as the cross where he was crucified, the crown of thorns with which he was crowned in a tone of mockery while he was whipped, and the spear that was stuck in his side at the crucifixion.[180] In this painting an unidentified character can be seen, due to his clothing he is possibly It is a priest from the Claretine community.
The next pictorial work is "The Wedding at Cana" which has a large number of characters and a richness in its composition. This scene describes the first miracle performed by Jesus, which took place at a wedding in Cana of Galilee that was also attended by his mother and his disciples. Master Acevedo continued what was stipulated iconographically, preserving the canons of representation of the religious scene in the essence of the image, but he allowed himself to vary the composition by placing Jesus in the center, with the bride and groom on his right, the groom offering three jars and a servant on the left, the other three.[181].
The next pictorial work is "Let the children come to me" which has a large number of characters and a richness in its composition. Master Acevedo normally continued what was indicated in the treatises, but he incorporated Fr. Otero and Mons. Rubio and Sánchez,[77] who stood out in the consolidation of the Claretian community in Colombia and in the construction of the Temple of the National Vow.[181] Furthermore, "on the painter's initiative, he used boys and girls from Bogotá families as models."[182].
The next pictorial work is "The Transfiguration of Jesus", which has great richness in its composition, and in which Acevedo continued what was indicated in the treaties, including exactly the indicated characters, the glare and the white clothing of Jesus.[183] The work represents the scene of Jesus and three of his apostles, Peter, James and John, meeting on a mountain to pray. On the mountain, Jesus begins to shine with bright rays of light, then the prophets Moses and Elijah appear next to him.
The next pictorial work is The "Triumphal Entry into Jerusalem" which has a large number of characters and a richness in its composition. The work represents the scene of Jesus' triumphal entry into Jerusalem that takes place in the days before the Last Supper, marking the beginning of his passion.[184] That is why the work is the predecessor of the one that follows it. This scene is recreated in accordance with what is stipulated by the Scriptures and the canons of art writers, such as Juan Interián de Ayala.[184].
The next pictorial work is "The Last Supper", one of the works with the greatest number of characters and richness in its composition, whose design has a preliminary work of three sketches, in which the location of the characters, the background, the proportion and foreshortening of the bodies were varied.[185] The work represents the scene of the Last Supper of the last days of the life of Jesus of Nazareth as narrated in the New Testament. The religious character of the scene corresponds to a classic iconographic theme recreated in Latin America since the colonial period.[185].
The last work on the ceiling is the pictorial representation of Saint Margaret Mary Alacoque and the revelation of the Sacred Heart of Jesus, which is the only scene in the group of 10 oil paintings that does not allude to an episode in the life of Jesus, but to a hagiographic event that occurred to the saint belonging to the Order of the Visitation.[186] On June 16, 1675, Jesus manifested himself to Sister Margaret Mary. with his heart open, and pointing with his hand to his heart and according to his testimony, the aforementioned Heart was surrounded by flames, crowned with thorns, with an open wound from which blood flowed and a cross emerged from the inside.[186].
For the Temple, this work is of great value, as it stands out in the symbolic values of the painting, since it remembers the moment in which the devotion to the Sacred Heart of Jesus began and spread thanks to Sister Margarita María Alacoque. This painting has a different shape from the rest of the paintings on the ceiling, as it was made when the first presbytery of the temple was located in this space. Furthermore, in this painting, Maestro Acevedo included the figure of Mons. Antonio María Pueyo de Val with raincoat.
In a vertical position, presiding over the chapels of Pamplona and Ibagué, are the paintings "The Prayer of Jesus in the Garden - The Agony of Gethsemane" and "The Coming of the Holy Spirit - Pentecost", works also made by the master Acevedo. In the first, the artist continued with what was indicated iconographically by the conciliar treatises, but also used additional elements that make it easier for the observer to link the theme with the passion of Christ, since the angel with the green cloak, apart from carrying the cross, has the crown of thorns in his right hand, which relates to an iconographic theme called The Agony of Gethsemane.[187].
As for the painting The Coming of the Holy Spirit, this scene corresponds to an iconographic theme called Pentecost, which Master Acevedo represents under the guidelines of art treatises.[187] The work represents the scene where they are all gathered in the same place and tongues of fire appeared to them and landed on each of them and the Holy Spirit above them.
To create these works, Maestro Acevedo carried out a preliminary study with pencil sketches, some even colored with watercolor, which were published together with the news of the installation of the paintings in the church in 1920 in Cromos Magazine.[188] These sketches help analyze the careful work of proportions and metrics, the organization of the composition and its planes in accordance with elements such as depth and perspective.[188].
Master Acevedo titled the sketches of these works like this: "For the mural painting in the National Vote, Peace begins the century", works that when installed on the ceiling in a horizontal position give the appearance of mural painting. These sketches are preserved in the Graphic and Documentary Archive of the National Museum of Colombia.[188].
In the basilica there are two groups of mural paintings: the first is located in the pendentives and the second integrates the architectural spaces of the building.[189].
In the first group, located in the pendentives, under the tabor of the dome, just above the presbytery, there are four paintings of notable artistic and aesthetic quality, since the compositions of each of the images have a number of elements and attributes that make up the iconographic scene of the four biblical evangelists (Matthew, Mark, Luke and John).[189] Unfortunately, no information has been found in the serial publications of the temple or of the Claretian Community, not even in the epistolary documents of the Claretian fathers, which is why the authorship of these four works is unknown although it is presumed that they were created in 1938 when the dome and transept of the Church were inaugurated.[189][190].
The second group is made up of sections divided into 28 spaces that correspond to the modules between arches and columns in the ceiling and vaults of each chapel and the south and north arms of the transept, also including the mural painting that precedes the vault of the stained glass dome. a design of geometric figures and phytomorphic motifs, combined with a color palette, which is replicated along the walls, ceiling and vaults with details that adjust to the shapes of each of the areas. It also accentuates the religious symbolism of the temple.[189] The author of the decorative mural painting is the artist Colombo Ramelli, from Ramelli's workshop.[191].
In general, more than 60% of the mural painting has been intervened on different occasions, a fact that was corroborated with the mural study carried out in 2012 through the elaboration of stratigraphic coves.[189] [n. 31].
Sculptures
The façade of the temple is adorned by a sculptural group that is divided into three groups that correspond to: 1) statues, 2) shields, and 3) decorative elements attached to the façade.
The statues are a group made up of 5 elements, which are important works of the façade because they are unique and original works.[192] As the dominant element is a cast iron sculpture with a gold finish of Jesus standing in a victorious position, with his right hand he raises and in his left hand he holds a wooden cross on whose horizontal crossbar is the Latin phrase "IN HOC SIGNO VINCES" (with this sign you will win) and on his chest he has a flaming heart wrapped with a crown of thorns.[193] The statue is located at the top of the façade and was blessed and installed on December 8, 1913 in a pompous ceremony.[59] There is also a set of four statues made of poured cement with an iron frame inside, which correspond to different American saints (Saint Rose of Lima, Saint Toribio, Saint Luis Beltrán and Saint Pedro Claver), designed by Ricardo Acevedo Bernal. and made by the Argentine sculptor Juan C. Atehortúa, of which those of San Toribio, San Luis Bertrán and San Pedro Claver, were delivered and installed in 1914 and that of Santa Rosa de Lima was installed in 1915. the Ramelli.[192].
These saints were related to the viceroyalty of Peru and the viceroyalty of New Granada, and iconographically they show relevance as part of the decoration of the façade, to the extent that they reinforce the idea of their own (American) religious language that complements the figure of the victorious Jesus as the central theme of the entire National Vote and that is positioned above (literally and metaphorically) all the saints on the façade.[192] It is noteworthy that the location of the American saints Towards the two sides of the façade, on the two upper levels, they serve as a frame of reference for the central decorative element: the coat of arms of Colombia. In that sense, with Christ on high, the four saints of America protect and guard the Republic of Colombia.[192].
Likewise, on the façade there is a group of shields sculpted in stone or cement which correspond to those of the Republic of Colombia, of Pope Benedict XV, of Archbishop Bernardo Herrera Restrepo and of the Claretians, in addition to the medallion of Constantine Augustus and a small shield with the letters IHS, the monogram of Jesus. 1915. The author of these carvings is unknown, although the coat of arms of Colombia and the medallion of Constantine Augustus were designed by Ricardo Acevedo Bernal, made of cement and sand mortar with a stone-like finish and executed by the D'Achiardi workshop, which was directed by Pedro Julio D'Achiardi, an Italian sculptor and ornamenter who lived in Colombia since the end of the century and who participated around 1926 in the remodeling of the Cathedral of Ibagué.[195] [196].
The coat of arms of Colombia has at the top a cross from which rays come out and in its center is a heart that corresponds to the iconography of the Sacred Heart of Jesus. The shield together with the cross is 1.96 m high. At the bottom of said shield appears the manufacturer's inscription "TALLERES D'ACHIARDI".[195].
Stained Glass
The stained glass windows in the side chapels of the basilica were designed by the artist Ricardo Acevedo Bernal under the ideas of the priest Antonio María Pueyo de Val who was in charge of the construction of the temple between 1911 and 1916. The stained glass windows were installed between 1915 and 1916 and cost around 10,000 pesos and were manufactured in Madrid, Spain.[8].
The stained glass windows are made of painted glass, they were made by the Maumejean House,[8] a family business that was founded in 1860 by Jules Pierre Maumejean, who at the age of 23 established his first workshop in Pau "Pau (France)") (France) on Montpensier Street. The founder's children expanded the company to Madrid and Paris.[208][n. 33] Joseph Jules Maumejean created the Maumejean workshop on Paseo de la Castellana n. in Madrid in 1898. 64, place where the 16 stained glass windows of the National Vote were made, as stated in the signature of each stained glass window. The Maumejean workshops are a prestigious Artistic House of Stained Glass that has had numerous commissions, not only from France and Spain, where they were established, but also from the rest of Europe, Africa, Asia and America.[208] Some of their best-known works adorn the Bayonne Cathedral, the Biarritz Town Hall, the Cathedral of Seville, the Cathedral of Burgos, the Cathedral of Mary Immaculate (Vitoria) "Cathedral of Mary Immaculate (Vitoria)"), the Diocesan Museum of Sacred Art of Álava and the Basilica of the Assumption of Our Lady (Lequeitio) "Basilica de la Asunción de Nuestra Señora (Lequeitio)"), and became the official stained glass makers of the Royal House of Alfonso (Chiquinquirá)") are also from that house.
Each stained glass window has an outstanding aesthetic value, both for the management of a wide range of colors and for the fine work to establish shadows, lights and the saturation of tones; Even the assembly of the glass plays with the composition of the designs of each scene.[209].
The group of stained glass windows in the side chapels illustrate a repertoire of saints, philosophers and theologians who defended Christian dogmas that iconographically show 17 centuries of the history of the Catholic Church. In documents, 16 stained glass windows appear referenced, but today 14 are preserved,[210] since the stained glass windows of the chapels of Cartagena and the National Police disappeared, possibly due to the modification of the old presbytery,[211] since the current altarpieces of said chapels were made by the Talleres de Arte Granda, and in one of them you can see the remains of the frame of one of the windows. Each stained glass window contains one or two saints, each corresponding to a different century, starting chronologically with the chapel of Panama (century) and ending in that of Popayán (century) as follows:[210].
The stained glass windows that are on the left, as you look at the altar. They are the following.
Other notable elements
Organ
In the first decades of the construction of the temple there was an organ that was "obtained occasionally for 1,000 pesos, but it was of no use."[219] Some time later, efforts were made to obtain a new instrument to give splendor to religious ceremonies. Finally, in 1932 the new organ arrived, brought from Spain and manufactured in Bilbao by Juan Dourte's "Nuestra Señora de Begoña" organ house.[n. 18] The instrument was made of polychrome wood, metal stringing and ivory. It was blessed on August 7, 1932 and cost 15,000 pesos.[219].
The organ is made up of 25 registers "Register (music)") (sounds) divided into two manual keyboards and a keyboard that is played with the feet (pedal player), which serves for the low bass. It has 8 hooks combined with the three keyboards. All the keyboards are arranged on a console, which is separate and placed in front of the organ with a view of the central nave. Its transmission is mechanical with an electric motor.[219].
Its origin and authorship make the organ of the voting temple a piece of great quality, since Juan Dourte was a prominent Spanish organ builder and his factory was a renowned organ house that had won a Grand Prize in 1929 at the International Musical Exhibition of Barcelona.[220][221] The factory operated from 1924 in Begoña (Bilbao), manufacturing instruments not only for Spain, but also for several American countries and the Philippines.[221].
crystal lamps
There are four glass lamps, which were made by Talleres de Arte Granda, which arrived in 1954 and were part of the presbytery's order.[100] They are not really the same, since two have a different design from the other two.
Clock
In the tower of the main façade of the basilica is the clock, it was blessed and inaugurated on August 21, 1938 by Archbishop Ismael Perdomo Borrero, along with the expansion of the temple (transept, crypt and dome).[84] On the occasion of the inauguration of the expansion, and the celebration of the fourth centenary of the founding of the Colombian capital, the municipality of Bogotá presents the temple with the clock;[84] This was ratified in Agreement 35 of the City Council, with which "authorizations are given to the executive to make the transfers required by the purchase of a clock for the temple of the National Vote."[84].
After the installation, it was possible to synchronize the clock with the minor bells of the temple and with a statue of the Sacred Heart of Jesus, which, like a cuckoo, comes out at a certain time, initially it came out to indicate 7 in the morning, 12 noon and 6 in the afternoon.[84] However, the original sculpture that carried out this work was replaced by one in resin and plaster, with a gold finish and resistant to the elements, probably due to the deterioration of the original.[222] This sculpture is a golden statue of Jesus standing, who points with his left hand to his flaming heart and his right hand is raised in an attitude of blessing.
The instrument is a mechanical tower clock that works by gravity, it was manufactured by the famous German company J. F. Weule in its factory in the town of Bockenem, Lower Saxony, a company that existed from 1836 to 1966.[n. 19] The instrument is characterized by having three spheres or faces made of copper sheets, located on the north, south and east sides of the tower, in which the hours are represented by Roman numerals, and a chime made up of three bells synchronized with the mechanism.[222][223].
The clock consists of two frames or mechanism cages, the main and largest one has three sections that correspond to the quarter mechanism, which is responsible for ringing the bells every 15 minutes and has two bells for the bim bam; the hour mechanism, which rings the largest bell the number of times corresponding to the hour; and the time mechanism, located in the center of the cage, which is responsible for moving the hands "Hand (mechanical)") that is, the measurement of time and in turn is the computing mechanism. The second cage has the mechanism that operates the door and the tray that takes the statue of Jesus outside and can be programmed to come out the desired number of times. The cages are made of cast iron, the gears are made of bronze and the axles are made of iron. The bob (weight) of the pendulum is made of cast iron and the rod that supports it is made of wood. The entire assembly was placed on a metal "table", with dimensions corresponding to the movement and protection of the pendulum.[223].
To access the clock it is via a spiral staircase that goes from the choir to the bell tower, behind two small wooden doors the operating mechanism is located. On one of these doors is attached a document dated February 12, 1989 that details the care of the instrument and mentions the four clock mechanisms. Additionally, it points out that the cuckoo mechanism is made with ropes and the way in which the movement must be carried out so that the statue comes out properly.[n. 34] Currently, this rope system is no longer preserved, and was replaced by a tray that works mechanically by means of wheels.[222].
In the first stage of restoration of the temple, which focused on the body of the façade, the clock was also intervened. But before this process, the instrument was, in general terms and without considering its particular mechanical functioning, in good condition. From an exclusively material point of view, it showed slight wear on its parts, something natural due to its years of operation, and it also presented small points of corrosion on some of the metal parts, which are explained as normal alterations of these metals (mainly bronze and iron) with interaction with the environment.[223].
Finally, the watch was operated on in November 2017 by the prominent watchmaker Juan Carlos Llano Sendoya, who carried out meticulous restoration work. In this process, when stripping the spheres it was found that they suffered alterations, specifically it was discovered that the number 4 was originally represented by "IIII",[n. 35] which is common in this type of large format watches, and which for some unknown reason was changed to "IV"; It was also discovered that originally the faces had the inscriptions «A. Duran" at the top and "Bogotá" at the bottom, which were covered with paint. It is unknown what they are referring to, if it could be an allusion to the importer/marketer of the watch. After the restoration process, the spheres recovered their original appearance. The statue of Jesus was scheduled to go out every day at 9 in the morning, 12 noon and 3 in the afternoon.[224].
Bells
The bell tower of the basilica currently has five metal "Bell (instrument)") bells and each one is marked with a date and factory seal. The first bell of which there is a record was donated in 1913 by "a lady called Salustiana de Aldana, who had no other protection after God than a stall in the market place, with her savings she managed to pay for the first bell that cost her the sum of 333 pesos."[59].
However, currently said bell is not preserved; It was most likely replaced by the set of three bells, which arrived in 1931 from Germany. This set consists of two small ones (approximately 40 cm high) and one medium one (approximately 60 cm high). The three bells are made of bronze, they were made by "Mefecerunt Franzfelillingsóhne Auolda Germania", and are currently part of the chime of the bell tower clock; However, they are the pieces that first arrived at the church of the entire time mechanism, given that after seven years the clock would arrive. The sound system of the bells consists of external hammers that strike them to produce the chimes, which are activated by means of sprockets and chains of the clock mechanism.[80].
After three decades of the arrival of the German bells, two larger bells arrived from Spain, made of bronze, one called "Heart of Mary" and the other "Heart of Jesus", which were manufactured in June 1961 by the prominent workshop of the Portilla Brothers in Santander "Santander (Spain)"), Spain.[80][n. 36] Their sound system is wobbly, which is why each one has its own clapper that makes them sound when they are wobbled. This system is activated from the sacristy by means of electrical equipment and are used to announce religious acts, therefore they are also called liturgical bells.[80].
Baptismal font
When Archbishop Ismael Perdomo elevated the Church of the Vow into the parish of the Sacred Heart of Jesus through Decree No. 16 of March 12, 1942,[90] the temple automatically saw the need to acquire a baptismal font to impart the sacrament of baptism, which is why, in October of that same year (1942) Mrs. Ana Lucía Palacios de Ruiz gave the newly created parish the baptismal font.[91].
Originally the font was located in an enclosure located at the foot of the north entrance of the main façade, said enclosure served as the baptistery, some time later the font was moved to the north arm of the transept, near the presbytery, where it is currently located.[225] This relocation was due to the Second Vatican Council which established that the baptismal fonts must be in the presbytery or adjacent to it.
The basin is made entirely of marble of various colors, including the lid. The cup (concave container into which water is poured) has an octagonal shape, which is supported by a central pillar and by four columns "Column (architecture)") that have Corinthian style capitals and smooth shafts.[n. 37] The pillar and columns rest on an octagonal base and this in turn rests directly on the ground. The dark brown marble predominates in the basin, it is present in the cup, the pillar and the base. Although the cup and lid have parts of white marble, in the case of the cup, each face of the octagon has white marble with carved images that are interspersed between images alluding to the four evangelists and images alluding to Jesus and the Eucharist. The columns have a red marble shaft and the capital and base are made of white marble.
Pavement
The floor of the temple's presbytery is composed of white marble and was installed by Casa Granda in 1952 along with the entire new presbytery.[94][157] On the other hand, the floor of the rest of the temple is made up of tiles known as artisanal hydraulic tiles or hydraulic mosaics.[157].
From the beginning the temple had a brick floor as a pavement, this is what the priest highlighted. Martín Jové, in a letter from 1913:
That pavement continued for several more years, with that floor being consecrated in 1916 and it was not until 1919 when "a mosaic floor was placed on the floor of the temple."[226] The new pavement was achieved thanks to the various donations that were achieved through the publication of advertisements in the Magazine El Voto Nacional, in which the sums donated weekly by each family were published, and in exchange benefits were offered such as monthly healing eucharists, posthumous donations for several years after the death of the donor, and even niches in the crypt of the temple for people who made the highest donations.[227] These announcements indicated how progress was going, and the sections that were missing for completion:.
According to the memoirs of the Claretians, the "Temple of the Vow was one of the first buildings paved with tiles."[10] The mosaic tile, also known as hydraulic mosaic, is a decorative pigmented cement tile that became popular between the 20th century and 20th century, due to its variety of motifs, designs and colors, and its low cost compared to other types of tiles, having great acceptance. Some businesses imported these tiles from Spain, however factories such as the Hydraulic Mosaics and Artificial Granite company, owned by Jesús María Tobón, which was the one that made the pavement for El Voto, provided their products at half the cost of those brought from Spain,[229] and thanks to advertising advertisements, published in national printed publications such as El Grafico or the El Voto Nacional magazine, they allowed it to be one of the largest factories. known.[227].
Most of the paving in the temple is with green tiles with white stripes and some red tiles that form Greek crosses scattered among the green ones. On the other hand, in the middle of the floor of the longitudinal nave there is a strip that goes from the main entrance to where the presbytery begins and is made up of tiles with repetitive phytomorphic and geometric motifs and have red, white, green, and brown colors, they are the most striking and artistic.[227].
In general terms, these tiles have missing parts and a high degree of surface wear that results in a dull surface. Furthermore, the pavement, in general, is not level as it shows subsidence in several areas, due to the composition of the support strata and the high humidity of the soil.[230].
Plates
Scattered inside the Basilica are several plaques, mostly made of marble, commemorating various events, and only one is found outside.
Dependencies
Ossuary crypt
The Crypt of Ossuaries is located in a basement just below the transept and the sacristy, and in a semi-basement located in the south patio, between the temple and the Claretians' building; It has a total area of 623.23 m², of which 434.11 correspond to the basement and 177.35 m² to the semi-basement; It consists of several galleries that contain the ossuaries, access to the enclosure is through a staircase located in the south arm of the transept.[231][162] The basement crypt was built between 1931 and 1938, when the transept and the dome were built, which is why it is the work of the architect Antonio Stoute.
Due to the close link with the Claretian fathers and with the temple, the mortal remains of the teacher Ricardo Acevedo Bernal and his wife lie in the crypt of oraries, which were brought on January 10, 1963 from Rome, Italy, where the artist had moved and where he would later die.[176][232] In the crypt of ossuaries, there are also the remains of Mrs. Rosa Calvo Cabrera, donor of much of the land for the temple and the Italian sculptor Pedro Julio D'Achiardi, ornamenter of the church's façade.[232].
Sacristy
The sacristy of the basilica is divided into two areas, which are located in the block located in the southwest of the temple, which was part of the old headquarters of the Claretians. This block has several floors, which are mostly used by the Claretian community and are not part of the parish use. The main sacristy has direct access to the temple through a large door that communicates with the south arm of the transept and through a smaller door that communicates with a hallway, which leads to the back of the presbytery.[160][233].
In the main sacristy, which has an area of approx. of 74.09 m², the objects that are necessary for religious celebrations are kept, such as unconsecrated hosts, chalices, chasubles, stoles, etc., and access is restricted to the general public. In the center of said enclosure is the "sacristy table" measuring 5 m long x 2 m wide and has several compartments to store liturgical elements.[160][162].
The secondary sacristy or warehouse has an area of approx. of 119.87 m² and is located just after the main sacristy, but on a higher level, as a kind of mezzanine; This area mainly stores items that are not for everyday use and that are used in certain events of the year, such as Easter, December, patron saint's day, etc.[160][233][162].
Miscellaneous
Schedules
The current schedule of masses is detailed in the following table. The schedules are subject to changes or variations depending on the patron saint holidays, Easter, Christmas, or depending on the saints' calendar.
The parish office's office hours are Monday to Friday 9:00 a.m. m. to 11:30 a.m. m. and from 2:00 p.m. m. to 4:30 p.m. m.
• - Address of the parish office: Cra. 15 #10-71, Bogotá, Colombia.
• - Telephone: (+57) 601 5625914.
Live broadcast
Every Sunday at 8:00 a.m. m., the Colombian television channel "Caracol" broadcasts the Holy Mass live, which is held from the Basilica of the National Vow and is presided over by Father. Darío Echeverri González, parish priest of the temple.[234][235].
Notes and references
References
• - Archdiocese of Bogotá.
• - Annex: Basilicas and cathedrals of Colombia.
• - List of Catholic basilicas.
• - National Monuments of Colombia.
• - Wikimedia Commons hosts a multimedia category on Minor Basilica of the Sacred Heart of Jesus.
• - Official page of the Basilica of the Sacred Heart of Jesus - The National Vote.
• - Official page of the Archdiocese of Bogotá.
• - Official page of the Claretian Missionaries in Colombia.
• - on YouTube.
References
[1] ↑ a b c Antonio Stoute, fue un arquitecto neerlandés que ejerció su profesión en Colombia desde antes de 1912 y posiblemente hasta 1939, fue célebre por su conocimiento en arquitectura religiosa. Fue contratado en varias oportunidades por comunidades religiosas en Bogotá y en otras ciudades para edificar principalmente templos. Para los claretianos realizó también los planos para la edificación del Colegio El Cerro de Zipaquirá, hacia 1930. Entre sus obras más destacadas están la Catedral de Nuestra Señora de los Remedios, en Riohacha, para la cual fue llamado por la Orden Capuchina, en la que reformó la fachada, dándole más artístico y marcado estilo, evitando que se desplomara, además de componerle las paredes, se colocaron los cuatro altares de mármol y sobre el Altar mayor se levantó una cúpula.
[2] ↑ Después de la destrucción del templo de San Victorino por un terremoto en 1827, la parroquia se trasladó a la Iglesia de La Capuchina. Ibáñez, Pedro María (1952). Crónicas de Bogotá, tomo II, capítulo XXX, p. 65.: https://babel.banrepcultural.org/digital/collection/p17054coll10/id/2396/
[3] ↑ El arzobispo Bernardo Herrera Restrepo se enfocó en la concreción del templo del Voto Nacional, para lo cual ya contaba con experiencia. Había sido el sucesor del arzobispo Vicente Arbeláez, quien le había protegido desde muy joven y le confió varios cargos muy destacados, como la dirección del Seminario Mayor de Bogotá durante 14 años. Fue obispo de Medellín entre 1885 y 1891, en dicha ciudad retomó la construcción de la nueva catedral, la cual se encontraba suspendida por fallos en los diseños. Herrera solicitó el concepto al arquitecto Mariano Santamaría sobre esos diseños, el cual los descalificó y señaló graves errores en los planos. Luego acudió a Francia, en donde contrató al arquitecto Charles Carré para los nuevos diseños y la dirección de las obras. Curiosamente, el arquitecto Carré antes de venir a Colombia se desempeñaba como inspector de los trabajos de la Iglesia del Sagrado Corazón de Montmartre (París), conocida como la Iglesia del Voto Nacional en Francia.
[4] ↑ a b Belisario Castro había heredado el lote número 3, a través de la sucesión de bienes de su esposa Pía Rincón de Castro, quien a su vez, lo adquiere por medio de una compra realizada a las herederas de Rosa Calvo: Clara Calvo de Márquez, Ana Calvo de Vélez y Soledad Calvo. • Reina Mendoza, Sandra (2016). Paz y el Sagrado Corazón: Iglesia del Voto Nacional. Bogotá: Instituto Distrital de Patrimonio Cultural. p. 61.
[5] ↑
[6] ↑ Aunque ya existía una junta previa, así lo indica la consulta que el arquitecto Lombana hace a una Junta en 1900. • Mesa Gómez, Presbítero Carlos Eduardo (1984). El padre Pueyo Obispo de Pasto, 1917-1929. Medellín: Editorial Zuluaga. p. 25.
[7] ↑ Achaque: uno de sus significados es: Tema del que se trata o sobre el que se piensa. Sinónimos: asunto, materia.
[8] ↑ El pbro. Juan Gil había coincidido con el pbro. Antonio Pueyo de Val en el capítulo provincial de Castilla de 1901. • Mesa Gómez, Presbítero Carlos Eduardo (1984). El padre Pueyo Obispo de Pasto, 1917-1929. Medellín: Editorial Zuluaga. p. 22.
[9] ↑ Casa aledaña a la Iglesia de La Capuchina, perteneciente de la Curia. Calle 14 número 216. • Reina Mendoza, Sandra (2016). Paz y el Sagrado Corazón: Iglesia del Voto Nacional. Bogotá: Instituto Distrital de Patrimonio Cultural. p. 73.
[10] ↑ El pbro. Pedro Díaz menciona, en septiembre de 1913, que «pocos meses antes apenas alcanzaban a divisarse las columnas del primer cuerpo [de la fachada]». • Comunidad Claretiana (1962). Bodas de oro de la Comunidad Claretiana de Bogotá: 1912-1962. Bogotá: Editorial el Voto Nacional. p. 73.
[11] ↑ El pbro. Pueyo, después de su llegada, fue elegido miembro de la Junta organizadora del primer congreso eucarístico nacional. • Mesa Gómez, Presbítero Carlos Eduardo (1984). El padre Pueyo Obispo de Pasto, 1917-1929. Medellín: Editorial Zuluaga. p. 28.
[12] ↑ En realidad la fachada no está hecha toda en piedra. El primer cuerpo de la fachada está conformado por una técnica mixta en piedra labrada y verdugadas en ladrillo macizo, que al exterior está cubierto por piedra que hace las veces de un gran enchape al exterior. El segundo y tercer cuerpo están constituidos en ladrillo macizo con acabado símil piedra. Ver sección: Materiales y estructura.
[13] ↑ El Palio fue donado por don Calixto Andrade. • Comunidad Claretiana (1962). Bodas de oro de la Comunidad Claretiana de Bogotá: 1912-1962. Bogotá: Editorial el Voto Nacional. p. 57.
[14] ↑ El presidente de la República le obsequió un cáliz al recién ordenado obispo y dio un banquete en su honor. Al día siguiente, al marcharse a Pasto, el obispo Pueyo no se llevó los obsequios recibidos por su consagración: cálices, cruces, ornamentos, tarjetas ni flores, quedaron en su celda (habitación). Mesa Gómez, Presbítero Carlos Eduardo (1984). El padre Pueyo Obispo de Pasto, 1917-1929. Medellín: Editorial Zuluaga. p. 68.
[15] ↑ a b Anuncio publicitario en un medio español en 1919. La Casa Candela fue una destacada empresa española de ornamentos textiles sagrados y de imaginería religiosa. José Candela Albert fue un destacado empresario español, su taller establecido en Valencia, España, comenzó en el área de los ornamentos textiles sagrados para iglesia, el cual logró un alto grado de reconocimiento, gracias en gran medida a las cualidades diplomáticas de su fundador, quien recibió en 1913 el Regium Exequatur, quedando así acreditado y habilitado para desempeñarse como Viceconsul de Colombia en Valencia. El diplomático y empresario utilizó al máximo sus contactos internacionales y sus magníficas relaciones con la jerarquía católica para alcanzar pedidos que prestigiaron su negocio concediéndole cierta importancia internacional en particular entre el clero hispanoamericano y norteamericano recibiendo así pedidos desde Canadá hasta Sudamérica.
[16] ↑ a b Portada de un catálogo de la Casa Ruis.El escultor José Rius nace en Barcelona, España, en un hogar humilde, a temprana edad muestra interés por la escultura. A la edad de 15 años entra como ayudante en el taller de quien más adelante sería su suegro, el escultor Claudio Garrich de quien aprendería el oficio. En 1886, funda junto con su suegro, la Casa Rius y sus instalaciones se localizaban en la calle Claris, núm. 69 de Barcelona. El taller se dedicaba inicialmente a la escultura religiosa y pesebrista. Gracias a los contratos firmados y a su esfuerzo hizo construir en 1914 la nueva sede del taller en la calle de Rosselló, núm. 195 de Barcelona, el taller se ubicó en los bajos del edificio y la vivienda familiar la tenía en el segundo piso del mismo edificio.
[17] ↑ a b c Anuncio publicitario en un medio español en 1928.El Arte Cristiano es una empresa española de imaginería religiosa y figuras de belenes con más de 130 años de antigüedad. Alrededor de 1850, había una actividad textil muy importante en Olot, España (algodoneros, tejedores, etc.), por lo tanto, ya existía una base artesanal desarrollada. Para apoyar esta industria, se creó una escuela pública de dibujo para enseñar a los jóvenes las artes gráficas. En la Provincia de Gerona nació la primera industria de imaginería religiosa (con base textil). En 1880 se establece la empresa de escultura religiosa que se llamó «Vayreda, Berga y Cía», que dos años más tarde pasó a llamarse «El Arte Cristiano». Varios artistas, entre los cuales se hallan escultores de renombre internacional han transitado por los talleres de dicha empresa, elaborando esculturas que han contribuido con el prestigio de la marca y que también han sido exportadas a varias naciones de los cinco continentes. En El Arte Cristiano, fueron innovadores al introducir un nuevo material y una nueva técnica de moldeaje, en concreto la pasta cartón madera, que permite aligerar el proceso de moldeado y, por lo tanto, la velocidad en la creación de imágenes. La empresa aún continúa produciendo y comercializando sus numerosos modelos originales, aunque desde el principio también trabaja con tallas de madera y actualmente utiliza nuevos materiales como fibra de vidrio, resina de poliéster con carbonato de calcio, entre otros.
[18] ↑ a b Anuncio publicitario de 1926 en un medio español.Juan Dourte (1895-ca.1970) funda en 1924 la fábrica de «Órganos Nuestra Señora de Begoña». En 1926 se inaugura el nuevo edificio sede de la empresa en Begoña (Bilbao) cerca de la iglesia El Carmelo (en el actual barrio Santuchu), pues muy cerca de ahí, Dourte contaba con un importante almacén de secado de maderas que favorecía mucho a su empresa. Juan Dourte estudia organería con el maestro organero alemán Juan Melcher, quien procedía de la casa alemana E.F. Walcker & Cie, y quien luego trabaja en España inicialmente con Aquilino Amezua y posteriormente con Eleizgaray y Cía. En 1929 la casa Dourte gana un Gran Premio en la Exposición Internacional de Barcelona. La casa Dourte se convierte en una gran empresa que llega a construir y a trabajar en centenares de instrumentos a lo largo de más de cincuenta años de existencia.
[19] ↑ a b Instrucciones de mantenimiento para un reloj de torre J. F. Weule de 1906. Se puede ver la imagen de las instalaciones de la fábrica, que actualmente están demolidas. J. F. Weule fue una afamada fábrica alemana de relojes de torre y fundición de campanas en la localidad de Bockenem en Baja Sajonia (Alemania), que existió desde 1836 hasta 1966. Los productos de la empresa se caracterizaron por su alta calidad, durabilidad y precisión relativamente buena. La empresa también fabricó relojes de estación y de calle.
[20] ↑ a b c Talleres de Arte Granda es una empresa española especializada en arte sacro, fue fundada en 1891 con el nombre de Talleres de Arte por el presbítero y artista Félix Granda a la edad de 23 años y recién ordenado sacerdote, para lo cual recibió permiso para desempeñar su labor artística lo que permitió dirigir el taller hasta su muerte en 1954. Después de su fallecimiento la empresa pasa a llamarse Talleres de Arte Granda. El taller es especialista en arte sacro, se dedica a la elaboración artesanal de objetos para el culto y al acondicionamiento y restauración de iglesias en los cinco continentes. Realizan todo tipo de piezas artísticas destinadas al culto: retablos, esculturas, obras de orfebrería y ornamentos textiles; obras únicas, elaboradas a mano por un equipo multidisciplinario formado por arquitectos, dibujantes, historiadores de arte, escultores, plateros, policromadores, restauradores, carpinteros, cinceladores y bordadoras, entre otros. En el año 2000 en la ciudad de Chicago se estableció la filial Granda Liturgical Arts, que atiende el mercado norteamericano.
[21] ↑ El templo de Monserrate estuvo por un tiempo a cargo de los Claretianos. • Reina Mendoza, Sandra (2016). Paz y el Sagrado Corazón: Iglesia del Voto Nacional. Bogotá: Instituto Distrital de Patrimonio Cultural. p. 100.
[22] ↑ Contenía un local para la operatividad de la imprenta, que anteriormente operaba en una pequeña habitación en la casa de la comunidad de la calle 10. • Reina Mendoza, Sandra (2016). Paz y el Sagrado Corazón: Iglesia del Voto Nacional. Bogotá: Instituto Distrital de Patrimonio Cultural. p. 102.
[23] ↑ El barrio Class comenzó desde una invasión en terrenos de la comunidad claretiana; por lo cual la comunidad prefirió no desalojarlos y en su lugar los acomodó para fundar el barrio, cuyo nombre quiere decir Claretianos Seculares. • Reina Mendoza, Sandra (2016). Paz y el Sagrado Corazón: Iglesia del Voto Nacional. Bogotá: Instituto Distrital de Patrimonio Cultural. p. 102.
[24] ↑ En el 2017, el promedio de un dólar a pesos colombianos fue de 2 951.32.
[25] ↑ En el 2019, el promedio de un dólar a pesos colombianos fue de 3 281.09.
[26] ↑ En el 2020, el promedio de un dólar a pesos colombianos fue de 3 684.95.
[27] ↑ A inicios del siglo XX, comenzó la construcción del edificio de la Escuela de Medicina de la Universidad Nacional, el cual fue parcialmente inaugurado en 1918, aunque no se completó hasta la década de 1930.
[28] ↑ Pañetar: Ámbito Colombia. Enlucir, cubrir con pañete las paredes, techos, etc., de una edificación. Pañete: Capa o enlucido de yeso, estuco, cemento u otro material, que se da a las paredes, techos, etc. y que permite darles un acabado.
[29] ↑ En la planimetría oficial del templo se puede ver cómo los brazos del transepto no están alineados entre sí, son desiguales; en cambio, en el plano del proyecto original que se tenía planeado inicialmente se pueden ver los brazos perfectamente alineados e iguales, pero lamentablemente no se pudieron adquirir todos los predios vecinos que se requerían, por lo cual el arquitecto Stoute tuvo que adaptar el proyecto a los fragmentos obtenidos.
[30] ↑ Rosetón, en este caso se refiere a: Artes decorativas. Adorno que presenta motivos florales dispuestos en círculo.
[31] ↑ Una Cala Estratigráfica es el análisis de los antecedentes de los materiales que han sido parte de un edificio durante años, se podría decir que son las capas de pintura, barniz o material constructivo que posee un muro, una barandal, balcones u otros componentes del edificio. Es por ello que a través de ese análisis se puede conocer la historia de los cambios que fue sufriendo el inmueble a restaurar.
[32] ↑ La imaginería es una especialidad del arte de la escultura, a la representación plástica de temas religiosos, por lo común realista y con finalidad devocional, litúrgica, procesional o catequética. La técnica más habitual es la talla en madera policromada, pero también existen otras técnicas y materiales para elaborar imágenes. Algunas de estas técnicas fueron especialmente concebidas para uso procesional, que tienen como característica diferenciadora que sus creadores buscaban, teniendo como uno de sus principales objetivos el aligerar el peso de su carga. Las imágenes devocionales con fines procesionales constituyen un tipo de imágenes en las que se fusionan arte y artesanía y se engloban dentro de la denominación genérica de «imaginería ligera».
[33] ↑ Anuncio publicitario de la Casa Maumejean en 1919, en donde citan los trabajos importantes recientemente ejecutados y entre ellos está el templo del Voto Nacional y la basílica de Chiquinquirá en Colombia.La Casa Maumejean es una empresa de vidrieras artísticas con más de 150 años de antigüedad. En 1860, Jules Pierre Maumejean, procedente de una familia de pintores de loza, y con 23 años de edad establece en Pau (Francia) su primer taller en la calle Montpensier. Jules se casó con Marie Honorine Lalanne y tuvieron cinco hijos: Joseph Jules Maumejean, Jean Siméon Henri Maumejean, Léon Ernest Maumejean, Marie Thérèse Maumejean y Charles Emile Maumejean. Todos los varones siguieron la trayectoria artística del padre y se volvieron rápidamente en destacados pintores sobre vidrio. Sin embargo, Joseph, Henri y Charles trabajaron en colaboración, mientras que Léon se mantuvo independiente en París, ciudad en la que murió en 1921.En 1890, Jules Pierre Maumejean instala un taller en Anglet, trasladandolo a Biarritz en 1893, ciudad en la que falleció en 1909. La proximidad de Biarritz con San Sebastián (España), que por aquel entonces era el lugar de veraneo de la aristocracia y la Familia Real, llevarían a Jules a entrar en contacto con la alta sociedad madrileña, lo que le permitió obtener numerosos encargos y le llevaron a convertirse en proveedor de la Casa Real de España.A finales del siglo XIX, en España tuvo lugar un resurgimiento del uso del vidrio gracias, no solo a las restauraciones de las vidrieras existentes en las catedrales góticas y otros monumentos, sino igualmente a las nuevas corrientes arquitectónicas que utilizaron el vidrio tanto como elemento arquitectónico y decorativo en la llamada «arquitectura del hierro». Había nacido el Art Nouveau o modernismo, que junto con el posterior Art Decó, ofrecieron nuevas posibilidades artísticas a la utilización del vidrio. Por lo cual, en 1898 Joseph Jules Maumejean estableció un taller en Madrid en la calle Abascal, n.º 39, trasladándose pocos años más tarde al Paseo de la Castellana, n.º 64. Luego llegarían los talleres de Barcelona, y San Sebastián, este último especializado en mosaicos, una técnica en la que destacó sobre todo el establecimiento parisino dirigido por Charles. A partir de este momento todos los talleres quedarán agrupados en la S. A. Maumejean Hermanos, con sede en Madrid, lo que sin duda contribuyó de forma decisiva al éxito de la empresa y al gran número de obras salidas de sus talleres existentes en España y especialmente en Madrid.En París, los Hermanos Maumejean crean un nuevo taller, inscrito en el año 1921 como taller de "Mosaicos-esmaltes de Venecia", constituyéndose dos años más tarde como Sociedad Anónima con el nombre de «S.A. Maumejean», con sede en el mismo edificio donde estaba el taller. Poco después, abren en Hendaya otro nuevo taller, que tendrá con el tiempo un gran éxito comercial. Henri, que dirigía el taller de Madrid, fallece en 1932, quedando a cargo del mismo su hermano Joseph, que fallece en 1952, cinco años más tarde Charles, en París, fallece en 1957 y su hijo Georges en 1970.Así fue culminando la saga de la larga dinastía Maumejean, vitralistas que trabajaron incansablemente durante tres generaciones seguidas. Los hermanos Maumejean siempre intentaron producir sus encargos utilizando técnicas tradicionales como el emplomado, pero sin olvidar nuevos avances, como el Cloisonné. La casa Maumejean ha realizado bellos vitrales destinados tanto a edificios públicos, religiosos y particulares, principalmente de Francia y España, aunque muchas de sus obras han sido encargos procedentes de otros países de Europa, América, Asia y África.El taller del paseo de la Castellana se trasladó a la calle Zabaleta hasta hace pocos años, cuando se trasladó a Alcalá de Henares, tras hacerse cargo de la firma el artesano Francisco Hernando Pascual.
[34] ↑ Instrucciones para el mantenimiento del reloj del Voto Nacional Bogotá: «si esto se cumple habrá reloj para muchos años». Dado en el Voto Nacional el día 12 de Febrero de 1989. Rogelio Morcillo y su hermano José Humberto. Documento adherido a una de las puertas de acceso al reloj del campanario en la torre.
[35] ↑ Sestercio del emperador romano Antonino Pío: el reverso lleva la indicación «COS IIII» en lugar de IV (COS significa cónsul).8 reales de 1794 usando IIII en lugar de IV como número de reinado de Carlos IV de España.El 4 relojero. Es común ver en las caras de muchos relojes el uso de IIII para el numeral 4, en lugar del correcto IV, debido a lo cual existen varias teorías, históricas, estéticas y prácticas. El sistema de numeración romano, derivado del que empleaban los etruscos, inicialmente se basaba en el método aditivo (I más I eran II, V más I eran VI, y II más II eran IIII). Al pasar el tiempo decidieron empezar a usar el método sustractivo en el cual el número anterior resta su cantidad al siguiente. De esta forma, en lugar de escribir 4 como la suma de 2 más 2 (IIII) pasó a escribirse como la resta de 5 menos 1 (IV). Aun así, en la antigua Roma continuaron escribiendo IIII. Y de hecho preferían usarlo de esta forma por superstición. En latín, el IV corresponde a las dos primeras letras del dios romano Júpiter (IVPPITER), el dios más importante de la mitología romana (su equivalente griego es Zeus), y los romanos consideraban que utilizar IV para denominar un número era inapropiado e impío. De este modo, el uso de IIII no era (ni es) incorrecto.
[36] ↑ El Taller de los Hermanos Portilla, es una empresa familiar española experta en la fabricación y la reparación de campanas desde hace varias generaciones. Gracias a la experiencia en la fundición de campanas, el taller también realiza en bronce esculturas y placas con relieves.
[37] ↑ En el catolicismo, las pilas bautismales se utilizan típicamente para bautismos por aspersión, suelen constar de tres partes: copa o vaso, fuste y basa, pie o pedestal. La copa en el que se vierte el agua es más o menos voluminosa, suele ser de boca redonda u octogonal, este ultimo es en referencia a los siete días de la creación y la «nueva creación», o a la circuncisión de Jesús , que, según la costumbre judía, tuvo lugar al octavo día después de su nacimiento.
[38] ↑ a b Parroquia del Sagrado Corazón de Jesús. «Parroquia – Antecedentes». Consultado el 10 de octubre de 2023.: https://votonacional.com.co/parroquia/
[41] ↑ a b c d e Reina Mendoza, Sandra (2016). Paz y el Sagrado Corazón: Iglesia del Voto Nacional. Bogotá: Instituto Distrital de Patrimonio Cultural. p. 25.
[43] ↑ a b Cohen D., David (2014). «Ficha Bienes Muebles: Capitel Corintio. Hoja 1 de 8». anexo 2 – Fichas de diagnóstico y propuesta de intervención. Bogotá: Consorcio Restauración Voto Nacional - Contrato de Consultoría 295/13 del Instituto Distrital de Patrimonio Cultural.
[44] ↑ a b c d Mesa Gómez, Presbítero Carlos Eduardo (1990). Los Claretianos del Voto Nacional (1912-1989). Medellín: Editorial Zuluaga. p. 66.
[45] ↑ a b c d e f g h i Comunidad Claretiana (1962). Bodas de oro de la Comunidad Claretiana de Bogotá: 1912-1962. Bogotá: Editorial el Voto Nacional. p. 146. «Relato escrito por el pbro. José Payás en 1941.».
[46] ↑ a b c d e f g Del Castillo, Lina Esmeralda (2016). Paz y el Sagrado Corazón: Iglesia del Voto Nacional. Bogotá: Instituto Distrital de Patrimonio Cultural. p. 152-153.
[47] ↑ a b c d e f g h i j k l m n ñ o Comunidad Claretiana (1962). Bodas de oro de la Comunidad Claretiana de Bogotá: 1912-1962. Bogotá: Editorial el Voto Nacional. pp. 73-74.
[48] ↑ a b c d e f g Mesa Gómez, Presbítero Carlos Eduardo (1984). El padre Pueyo Obispo de Pasto, 1917-1929. Medellín: Editorial Zuluaga. p. 25.
[49] ↑ a b c d e f g Henríquez de Hernández, Cecilia (1989). «El Sagrado Corazón en la historia de Colombia». Revista de la Universidad Nacional (1944 - 1992) (núm. 22): pp. 83-85. Consultado el 10 de octubre de 2023.: https://repositorio.unal.edu.co/handle/unal/47722
[50] ↑ a b Reina Mendoza, Sandra (2016). Paz y el Sagrado Corazón: Iglesia del Voto Nacional. Bogotá: Instituto Distrital de Patrimonio Cultural. p. 72.
[51] ↑ a b Salazar Bayona, Sheril Natalia (2019). La ciudad en el tiempo. El patrimonio construido de Bogotá. Bogotá: Instituto Distrital de Patrimonio Cultural. p. 111. ISBN 978-958-52575-1-1.
[52] ↑ Alcaldía Mayor de Bogotá (26 de julio de 2001), Decreto 606: Por medio del cual se adopta el inventario de algunos Bienes de Interés Cultural (no. 2438 del 26 de julio de 2001), Bogotá, D. C.: Registros Distritales, consultado el 10 de octubre de 2023 .: https://www.alcaldiabogota.gov.co/sisjur/normas/Norma1.jsp?i=5366&dt=S
[53] ↑ a b c Ministerio de Cultura (29 de julio de 2012), Resolución 1402 del 16 de julio de 2012 por la cual se declaran Bien de Interés Cultural de ámbito Nacional la Basílica del Sagrado Corazón de Jesús, también conocida como iglesia del Voto Nacional (No.48.506), Bogotá, D. C.: Diario Oficial de Colombia, pp. 4 a 5, ISSN 0122-2112 .: https://es.wikipedia.org//portal.issn.org/resource/issn/0122-2112
[59] ↑ a b Piccoli, Guido (2004). El sistema del pájaro: Colombia, laboratorio de barbarie. Tafalla: Editorial Txalaparta. p. 42. ISBN 848136360X.
[60] ↑ Piccoli, Guido (2004). El sistema del pájaro: Colombia, laboratorio de barbarie. Tafalla: Editorial Txalaparta. p. 43. ISBN 848136360X.
[61] ↑ a b Reina Mendoza, Sandra (2016). Paz y el Sagrado Corazón: Iglesia del Voto Nacional. Bogotá: Instituto Distrital de Patrimonio Cultural. p. 29.
[63] ↑ a b c d e f Henríquez de Hernández, Cecilia (1989). «El Sagrado Corazón en la historia de Colombia». Revista de la Universidad Nacional (1944 - 1992) (núm. 22): pp. 81-82. Consultado el 10 de octubre de 2023.: https://repositorio.unal.edu.co/handle/unal/47722
[64] ↑ a b Reina Mendoza, Sandra (2016). Paz y el Sagrado Corazón: Iglesia del Voto Nacional. Bogotá: Instituto Distrital de Patrimonio Cultural. p. 31.
[66] ↑ a b c Reina Mendoza, Sandra (2016). Paz y el Sagrado Corazón: Iglesia del Voto Nacional. Bogotá: Instituto Distrital de Patrimonio Cultural. p. 21.
[67] ↑ Reina Mendoza, Sandra (2016). Paz y el Sagrado Corazón: Iglesia del Voto Nacional. Bogotá: Instituto Distrital de Patrimonio Cultural. p. 35.
[72] ↑ Montoya, Arturo (1952). Jesucristo y Colombia. Con ocasión de los 50 años de paz (21 de noviembre, 1902) y de la consagración oficial de la República al Sagrado Corazón de Jesús (22 de junio, 1902). Bogotá: Imprenta Nacional. p. 37 y ss. «La comisión responsable de esta celebración estaba compuesta por Antonio Gutiérrez Rubio y Lisimaco Paláu.».
[73] ↑ Montoya, Arturo (1952). Jesucristo y Colombia. Con ocasión de los 50 años de paz (21 de noviembre, 1902) y de la consagración oficial de la República al Sagrado Corazón de Jesús (22 de junio, 1902). Bogotá: Imprenta Nacional. p. 42 y ss.
[74] ↑ Montoya, Arturo (1952). Jesucristo y Colombia. Con ocasión de los 50 años de paz (21 de noviembre, 1902) y de la consagración oficial de la República al Sagrado Corazón de Jesús (22 de junio, 1902). Bogotá: Imprenta Nacional. p. 38.
[75] ↑ Montoya, Arturo (1952). Jesucristo y Colombia. Con ocasión de los 50 años de paz (21 de noviembre, 1902) y de la consagración oficial de la República al Sagrado Corazón de Jesús (22 de junio, 1902). Bogotá: Imprenta Nacional. p. 39.
[76] ↑ Archivo General de la Nación. Notaría 3ª, escritura 446, 1903.
[77] ↑ a b Reina Mendoza, Sandra (2016). Paz y el Sagrado Corazón: Iglesia del Voto Nacional. Bogotá: Instituto Distrital de Patrimonio Cultural. p. 63.
[78] ↑ a b c Mesa Gómez, Presbítero Carlos Eduardo (1984). El padre Pueyo Obispo de Pasto, 1917-1929. Medellín: Editorial Zuluaga. p. 21.
[79] ↑ Mesa Gómez, Presbítero Carlos Eduardo (1990). Los Claretianos del Voto Nacional (1912-1989). Medellín: Editorial Zuluaga. p. 6.
[80] ↑ a b c Mesa Gómez, Presbítero Carlos Eduardo (1984). El padre Pueyo Obispo de Pasto, 1917-1929. Medellín: Editorial Zuluaga. p. 23. «La fuente principal usada por el pbro. Carlos Mesa es la biografía escrita por el secretario particular del obispo Pueyo en Pasto, el pbro. español Teodoro Domínguez del Río, publicada apenas un año después de la muerte del Obispo de Pasto: Reseña biográfica del Ilmo. Y Rvmo. P. Antonio María Pueyo de Val C.M.F, Obispo de Pasto. Tipografía Voto Nacional, 110 páginas. Bogotá, 1930.».
[81] ↑ a b c Mesa Gómez, Presbítero Carlos Eduardo (1984). El padre Pueyo Obispo de Pasto, 1917-1929. Medellín: Editorial Zuluaga. p. 26.
[82] ↑ Comunidad Claretiana (1962). Bodas de oro de la Comunidad Claretiana de Bogotá: 1912-1962. Bogotá: Editorial el Voto Nacional. p. 18.
[83] ↑ a b c d e f g Comunidad Claretiana (1962). Bodas de oro de la Comunidad Claretiana de Bogotá: 1912-1962. Bogotá: Editorial el Voto Nacional. p. 145. «Testimonio de pbro. José Payás tomado a su vez de la Revista El Voto Nacional, 1941.».
[84] ↑ Comunidad Claretiana (1962). Bodas de oro de la Comunidad Claretiana de Bogotá: 1912-1962. Bogotá: Editorial el Voto Nacional. p. 190. «El pbro. Salvador Miró escribe esto en los años cincuenta.».
[85] ↑ Mesa Gómez, Presbítero Carlos Eduardo (1990). Los Claretianos del Voto Nacional (1912-1989). Medellín: Editorial Zuluaga. p. 22. «Relato escrito por Gerardo Arrubla, en “La Sociedad", el 12 de diciembre de 1915.».
[86] ↑ a b c d e Comunidad Claretiana (1962). Bodas de oro de la Comunidad Claretiana de Bogotá: 1912-1962. Bogotá: Editorial el Voto Nacional. p. 31.
[87] ↑ a b Mesa Gómez, Presbítero Carlos Eduardo (1984). El padre Pueyo Obispo de Pasto, 1917-1929. Medellín: Editorial Zuluaga. p. 27.
[88] ↑ La Iglesia. Órgano oficial de la Arquidiócesis de Bogotá, 1914, p. 410. Circular 20 de julio de 1914.
[89] ↑ Periódico El Tiempo (Bogotá): p. 3. 19 de marzo de 1933. «en el artículo de prensa escribieron mal el apellido, es Antonio Pueyo.».
[90] ↑ Periódico El Tiempo (Bogotá): p. 3. 20 de mayo de 1913.
[91] ↑ Periódico El Tiempo (Bogotá): p. 3. 5 de junio de 1933.
[92] ↑ Periódico El Tiempo (Bogotá): p. 3. 19 de agosto de 1913.
[93] ↑ Presidente Carlos E. Restrepo, Unión Republicana. Diario Oficial de Colombia, 14966, 12 de agosto de 1913.
[94] ↑ Congreso de Colombia. «LEY 1 DE 1913 (agosto 06)». Sistema Único de Información Normativa del Estado colombiano. Consultado el 10 de octubre de 2023. «Tomado del Diario oficial; Año XLIX; No. 14966; 12 de agosto; 1913; Pág. 1.».: https://www.suin-juriscol.gov.co/viewDocument.asp?ruta=Leyes/1555464
[95] ↑ Congreso de Colombia. «LEY 2 DE 1913 (agosto 06)». Sistema Único de Información Normativa del Estado colombiano. Consultado el 10 de octubre de 2023. «Tomado del Diario oficial; Año XLIX; No. 14966; 12 de agosto; 1913; Pág. 1.».: https://www.suin-juriscol.gov.co/viewDocument.asp?ruta=Leyes/1556504
[96] ↑ a b c Comunidad Claretiana (1962). Bodas de oro de la Comunidad Claretiana de Bogotá: 1912-1962. Bogotá: Editorial el Voto Nacional. p. 45.
[97] ↑ Mesa Gómez, Presbítero Carlos Eduardo (1990). Los Claretianos del Voto Nacional (1912-1989). Medellín: Editorial Zuluaga. p. 17 y ss. «Relato escrito por Gerardo Arrubla, en “La Sociedad", el 12 de diciembre de 1915.».
[98] ↑ Mesa Gómez, Presbítero Carlos Eduardo (1984). El padre Pueyo Obispo de Pasto, 1917-1929. Medellín: Editorial Zuluaga. p. 92.
[99] ↑ Delgadillo, Hugo (2008). Repertorio ornamental de la arquitectura de época Republicana en Bogotá. Bogotá: Instituto Distrital de Patrimonio Cultural. p. 75. ISBN 9789584426505.
[100] ↑ a b c d e f Comunidad Claretiana (1962). Bodas de oro de la Comunidad Claretiana de Bogotá: 1912-1962. Bogotá: Editorial el Voto Nacional. p. 56-57.
[101] ↑ Mesa Gómez, Presbítero Carlos Eduardo (1984). El padre Pueyo Obispo de Pasto, 1917-1929. Medellín: Editorial Zuluaga. pp. 33-34.
[102] ↑ Mesa Gómez, Presbítero Carlos Eduardo (1990). Los Claretianos del Voto Nacional (1912-1989). Medellín: Editorial Zuluaga. p. 26.
[104] ↑ Comunidad Claretiana (1962). Bodas de oro de la Comunidad Claretiana de Bogotá: 1912-1962. Bogotá: Editorial el Voto Nacional. p. 60. «Relato del pbro. Ezequiel Villarroya.».
[105] ↑ a b c Comunidad Claretiana (1962). Bodas de oro de la Comunidad Claretiana de Bogotá: 1912-1962. Bogotá: Editorial el Voto Nacional. pp. 62-63.
[106] ↑ Mesa Gómez, Presbítero Carlos Eduardo (1984). El padre Pueyo Obispo de Pasto, 1917-1929. Medellín: Editorial Zuluaga. p. 66.
[107] ↑ Comunidad Claretiana (1962). Bodas de oro de la Comunidad Claretiana de Bogotá: 1912-1962. Bogotá: Editorial el Voto Nacional. pp. 67-68.
[110] ↑ Reina Mendoza, Sandra (2016). Paz y el Sagrado Corazón: Iglesia del Voto Nacional. Bogotá: Instituto Distrital de Patrimonio Cultural. p. 87.
[111] ↑ a b c d Comunidad Claretiana (1962). Bodas de oro de la Comunidad Claretiana de Bogotá: 1912-1962. Bogotá: Editorial el Voto Nacional. p. 106.
[112] ↑ a b c d Reina Mendoza, Sandra (2016). Paz y el Sagrado Corazón: Iglesia del Voto Nacional. Bogotá: Instituto Distrital de Patrimonio Cultural. p. 89.
[113] ↑ Congreso de Colombia. «LEY 33 DE 1927 (octubre 20)». Sistema Único de Información Normativa del Estado colombiano. Consultado el 10 de octubre de 2023. «Tomado del Diario oficial; Año LXIII; No. 20627; 24 de octubre de 1927; Pág. 1. El Presidente de Colombia era Miguel Abadía Méndez».: https://www.suin-juriscol.gov.co/viewDocument.asp?id=1589257
[114] ↑ a b c Mesa Gómez, Presbítero Carlos Eduardo (1990). Los Claretianos del Voto Nacional (1912-1989). Medellín: Editorial Zuluaga. p. 65.
[116] ↑ a b Comunidad Claretiana (1962). Bodas de oro de la Comunidad Claretiana de Bogotá: 1912-1962. Bogotá: Editorial el Voto Nacional. p. 101.
[117] ↑ a b c d e Del Castillo, Lina Esmeralda (2016). Paz y el Sagrado Corazón: Iglesia del Voto Nacional. Bogotá: Instituto Distrital de Patrimonio Cultural. p. 224.
[118] ↑ Reina Mendoza, Sandra (2016). Paz y el Sagrado Corazón: Iglesia del Voto Nacional. Bogotá: Instituto Distrital de Patrimonio Cultural. p. 95.
[119] ↑ Revista El Voto Nacional, 1923.
[120] ↑ La Iglesia. Órgano oficial de la Arquidiócesis de Bogotá., vol. XXXII, n. 1, enero 1938, p. 9.
[121] ↑ a b c d e f Comunidad Claretiana (1962). Bodas de oro de la Comunidad Claretiana de Bogotá: 1912-1962. Bogotá: Editorial el Voto Nacional. p. 138.
[122] ↑ Reina Mendoza, Sandra (2016). Paz y el Sagrado Corazón: Iglesia del Voto Nacional. Bogotá: Instituto Distrital de Patrimonio Cultural. p. 92.
[123] ↑ Revista El Voto Nacional, n. 450. mayo 16 de 1938, p. 192.
[124] ↑ Reina Mendoza, Sandra (2016). Paz y el Sagrado Corazón: Iglesia del Voto Nacional. Bogotá: Instituto Distrital de Patrimonio Cultural. p. 97.
[125] ↑ Mesa Gómez, Presbítero Carlos Eduardo (1990). Los Claretianos del Voto Nacional (1912-1989). Medellín: Editorial Zuluaga. p. 37.
[126] ↑ Montoya, Arturo (1952). Jesucristo y Colombia. Con ocasión de los 50 años de paz (21 de noviembre, 1902) y de la consagración oficial de la República al Sagrado Corazón de Jesús (22 de junio, 1902). Bogotá: Imprenta Nacional. p. 19 y ss. «Fue la primera vez que el Papa habló por radio para Colombia, el 30 de septiembre de 1945, con ocasión del Congreso de Cristo Rey celebrado en Bogotá.».
[127] ↑ a b c Comunidad Claretiana (1962). Bodas de oro de la Comunidad Claretiana de Bogotá: 1912-1962. Bogotá: Editorial el Voto Nacional. pp. 149-150.
[128] ↑ a b En la base de la pila bautismal se encuentra una placa metálica que dice: OBSEQUIO DE DOÑA ANA LUCIA PALACIOS DE RUIZ A ESTA PARROQUIA — OCTUBRE DE 1942 —.
[129] ↑ Comunidad Claretiana (1962). Bodas de oro de la Comunidad Claretiana de Bogotá: 1912-1962. Bogotá: Editorial el Voto Nacional. p. 155.
[130] ↑ a b Reina Mendoza, Sandra (2016). Paz y el Sagrado Corazón: Iglesia del Voto Nacional. Bogotá: Instituto Distrital de Patrimonio Cultural. p. 52.
[131] ↑ a b c d e f g h Comunidad Claretiana (1962). Bodas de oro de la Comunidad Claretiana de Bogotá: 1912-1962. Bogotá: Editorial el Voto Nacional. pp. 182-183.
[132] ↑ a b c Comunidad Claretiana (1962). Bodas de oro de la Comunidad Claretiana de Bogotá: 1912-1962. Bogotá: Editorial el Voto Nacional. pp. 167-168.
[133] ↑ a b Comunidad Claretiana (1962). Bodas de oro de la Comunidad Claretiana de Bogotá: 1912-1962. Bogotá: Editorial el Voto Nacional. p. 175.
[135] ↑ Congreso de Colombia. «LEY 1 DE 1952 (enero 08)». Sistema Único de Información Normativa del Estado colombiano. Consultado el 10 de octubre de 2023. «Tomado del Diario oficial; Año LXXXVIII; No. 27804; 16 de enero de 1952; Pág. 1.».: https://www.suin-juriscol.gov.co/viewDocument.asp?id=1555879
[136] ↑ Montoya, Arturo (1952). Jesucristo y Colombia. Con ocasión de los 50 años de paz (21 de noviembre, 1902) y de la consagración oficial de la República al Sagrado Corazón de Jesús (22 de junio, 1902). Bogotá: Imprenta Nacional. pp. 27 y 55. «Celebración transmitida por radio.».
[138] ↑ a b c d Comunidad Claretiana (1962). Bodas de oro de la Comunidad Claretiana de Bogotá: 1912-1962. Bogotá: Editorial el Voto Nacional. p. 194.
[139] ↑ a b Comunidad Claretiana (1962). Bodas de oro de la Comunidad Claretiana de Bogotá: 1912-1962. Bogotá: Editorial el Voto Nacional. p. 193.
[140] ↑ Mesa Gómez, Presbítero Carlos Eduardo (1990). Los Claretianos del Voto Nacional (1912-1989). Medellín: Editorial Zuluaga. p. 43.
[141] ↑ Comunidad Claretiana (1962). Bodas de oro de la Comunidad Claretiana de Bogotá: 1912-1962. Bogotá: Editorial el Voto Nacional. p. 192.
[142] ↑ a b c d e f g h Comunidad Claretiana (1962). Bodas de oro de la Comunidad Claretiana de Bogotá: 1912-1962. Bogotá: Editorial el Voto Nacional. p. 219.
[143] ↑ Lombardi, Mario (2008). «Monumento a los Mártires de la Patria». Bogotáun museo a cielo abierto. Bogotá: Instituto Distrital de Patrimonio Cultural. pp. 24-25.
[144] ↑ Comunidad Claretiana (1962). Bodas de oro de la Comunidad Claretiana de Bogotá: 1912-1962. Bogotá: Editorial el Voto Nacional. p. 218.
[145] ↑ a b c d e Reina Mendoza, Sandra (2016). Paz y el Sagrado Corazón: Iglesia del Voto Nacional. Bogotá: Instituto Distrital de Patrimonio Cultural. pp. 102-103.
[146] ↑ Reina Mendoza, Sandra (2016). Paz y el Sagrado Corazón: Iglesia del Voto Nacional. Bogotá: Instituto Distrital de Patrimonio Cultural. p. 100.
[147] ↑ a b c Reina Mendoza, Sandra (2016). Paz y el Sagrado Corazón: Iglesia del Voto Nacional. Bogotá: Instituto Distrital de Patrimonio Cultural. p. 103. «Ministerio de Cultura. Carta elaborada por Luis Solano, 15 septiembre de 1995».
[148] ↑ Mesa Gómez, Presbítero Carlos Eduardo (1990). Los Claretianos del Voto Nacional (1912-1989). Medellín: Editorial Zuluaga. p. 62. «Relato escrito por Gerardo Arrubla, en “La Sociedad", el 12 de diciembre de 1915.».
[151] ↑ a b Reina Mendoza, Sandra (2016). Paz y el Sagrado Corazón: Iglesia del Voto Nacional. Bogotá: Instituto Distrital de Patrimonio Cultural. p. 104.
[152] ↑ a b Martínez, José Giovanni (3 de agosto de 2007). «En la Basílica del Voto Nacional celebran misa sin feligreses por acción de la delincuencia». Periódico El Tiempo. Consultado el 17 de enero de 2025.: https://www.eltiempo.com/archivo/documento/CMS-3666237
[153] ↑ Reina Mendoza, Sandra (2016). Paz y el Sagrado Corazón: Iglesia del Voto Nacional. Bogotá: Instituto Distrital de Patrimonio Cultural. p. 105.
[154] ↑ a b Reina Mendoza, Sandra (2016). Paz y el Sagrado Corazón: Iglesia del Voto Nacional. Bogotá: Instituto Distrital de Patrimonio Cultural. p. 106.
[156] ↑ a b c Gómez, Lucevín (1 de abril de 2015). «Iglesia del Voto Nacional se 'salvó' de los santos óleos». Periódico El Tiempo. Consultado el 29 de agosto de 2025.: https://www.eltiempo.com/archivo/documento/CMS-15505155
[157] ↑ a b c d e f López Correal, Yolanda (Edición) (2019). El patrimonio cultural de Bogotá. Acciones para su sostenibilidad y apropiación social. Bogotá: Instituto Distrital de Patrimonio Cultural. p. 120. ISBN 978-958-52073-6-3.: https://issuu.com/patrimoniobogota/docs/informegestionbaja
[162] ↑ Archivo General de la Nación. Notaría 3ª, protocolo 1890, Testamentaria.
[163] ↑ Reina Mendoza, Sandra (2016). Paz y el Sagrado Corazón: Iglesia del Voto Nacional. Bogotá: Instituto Distrital de Patrimonio Cultural. p. 114.
[164] ↑ Reina Mendoza, Sandra (2016). Paz y el Sagrado Corazón: Iglesia del Voto Nacional. Bogotá: Instituto Distrital de Patrimonio Cultural. p. 116.
[165] ↑ Ortega, Alfredo (1924). Arquitectura en Bogotá. Bogotá: Editorial Minerva. p. 67.
[166] ↑ a b Reina Mendoza, Sandra (2016). Paz y el Sagrado Corazón: Iglesia del Voto Nacional. Bogotá: Instituto Distrital de Patrimonio Cultural. pp. 117-118.
[167] ↑ Mesa Gómez, Presbítero Carlos Eduardo (1990). Los Claretianos del Voto Nacional (1912-1989). Medellín: Editorial Zuluaga. p. 20.
[168] ↑ Mesa Gómez, Presbítero Carlos Eduardo (1984). El padre Pueyo Obispo de Pasto, 1917-1929. Medellín: Editorial Zuluaga. p. 34.
[169] ↑ Reina Mendoza, Sandra (2016). Paz y el Sagrado Corazón: Iglesia del Voto Nacional. Bogotá: Instituto Distrital de Patrimonio Cultural. p. 120.
[170] ↑ a b c d e Reina Mendoza, Sandra (2016). Paz y el Sagrado Corazón: Iglesia del Voto Nacional. Bogotá: Instituto Distrital de Patrimonio Cultural. p. 122.
[174] ↑ «Operación en el Bronx: Se han desmantelado 3 poderosas bandas del narcotráfico». Noticias Principales de Colombia Santa Fe 1070 a.m. 28 de mayo de 2016. Consultado el 29 de mayo de 2016.: http://www.radiosantafe.com/2016/05/28/363707/
[179] ↑ Centro de Extensión Académica – Facultad de Artes, Universidad Nacional de Colombia – Sede Bogotá. «PEMP de la Basílica menor del Sagrado Corazón de Jesús». Instituto Distrital de Patrimonio Cultural. p. 7. Consultado el 11 de octubre de 2023.: https://votonacional.com.co/pemp.pdf
[180] ↑ Centro de Extensión Académica – Facultad de Artes, Universidad Nacional de Colombia – Sede Bogotá. «PEMP de la Basílica menor del Sagrado Corazón de Jesús». Instituto Distrital de Patrimonio Cultural. p. 41. Consultado el 11 de octubre de 2023.: https://votonacional.com.co/pemp.pdf
[181] ↑ Centro de Extensión Académica – Facultad de Artes, Universidad Nacional de Colombia – Sede Bogotá. «PEMP de la Basílica menor del Sagrado Corazón de Jesús». Instituto Distrital de Patrimonio Cultural. p. 32. Consultado el 11 de octubre de 2023.: https://votonacional.com.co/pemp.pdf
[182] ↑ a b Centro de Extensión Académica – Facultad de Artes, Universidad Nacional de Colombia – Sede Bogotá. «PEMP de la Basílica menor del Sagrado Corazón de Jesús». Instituto Distrital de Patrimonio Cultural. p. 31. Consultado el 11 de octubre de 2023.: https://votonacional.com.co/pemp.pdf
[188] ↑ a b c «5 Descripción de la materialidad del inmueble, definición Y caracterización de los sistemas constructivos». Documento Técnico de Soporte, Diagnóstico Integral. Primera parte. Bogotá: Consorcio Restauración Voto Nacional - Contrato de Consultoría 295/13 del Instituto Distrital de Patrimonio Cultural. marzo de 2015. p. 25.
[189] ↑ a b c Reina Mendoza, Sandra (2016). Paz y el Sagrado Corazón: Iglesia del Voto Nacional. Bogotá: Instituto Distrital de Patrimonio Cultural. p. 22.
[190] ↑ a b «5.1 Cimentación». Documento Técnico de Soporte, Diagnóstico Integral. Primera parte. Bogotá: Consorcio Restauración Voto Nacional - Contrato de Consultoría 295/13 del Instituto Distrital de Patrimonio Cultural. marzo de 2015. pp. 25-26.
[191] ↑ a b c d e f g h i «5.2.2 muros, columnas y contrafuertes». Documento Técnico de Soporte, Diagnóstico Integral. Primera parte. Bogotá: Consorcio Restauración Voto Nacional - Contrato de Consultoría 295/13 del Instituto Distrital de Patrimonio Cultural. marzo de 2015. pp. 27-31.
[192] ↑ a b Ojeda Gómez, Max (20 de mayo de 2021). «Restauración de la Iglesia del Voto Nacional». ARQUIANDINOS Capítulo Profesional de ARQUITECTURA - Asociación de Egresados Uniandes. Consultado el 11 de marzo de 2024. «Charla del arquitecto Max Ojeda Gómez quien participó en la restauración del templo».: https://www.facebook.com/CapituloArquiandinos/videos/506262583889552
[193] ↑ a b c «5.3 Cubiertas y entrecubiertas». Documento Técnico de Soporte, Diagnóstico Integral. Primera parte. Bogotá: Consorcio Restauración Voto Nacional - Contrato de Consultoría 295/13 del Instituto Distrital de Patrimonio Cultural. marzo de 2015. pp. 32-33.
[194] ↑ a b c «5.5.2 Acabados de piso». Documento Técnico de Soporte, Diagnóstico Integral. Primera parte. Bogotá: Consorcio Restauración Voto Nacional - Contrato de Consultoría 295/13 del Instituto Distrital de Patrimonio Cultural. marzo de 2015. pp. 35-36.
[196] ↑ a b c Fuertes C., Antonio José (2015). «2.3 Descripción del BIC». Estudio para la consolidación estructural de la Basílica menor del Sagrado Corazón de Jesús Voto Nacional. Bogotá: Evaluación Estructural S.A.S. pp. 10-11.
[197] ↑ a b c d «Plano núm. L003. Planta Nivel 2 (A +2.50m) Planta primer piso Iglesia, Casa cural y Sacristía». Levantamiento Basílica del Sagrado Corazón de Jesús Iglesia del Voto Nacional. Bogotá: Consorcio Restauración Voto Nacional - Contrato de Consultoría 295/13 del Instituto Distrital de Patrimonio Cultural. 14 de abril de 2014.
[198] ↑ «Plano núm. L016. Corte Transversal A-A y Corte Transversal G - G». Levantamiento Basílica del Sagrado Corazón de Jesús Iglesia del Voto Nacional. Bogotá: Consorcio Restauración Voto Nacional - Contrato de Consultoría 295/13 del Instituto Distrital de Patrimonio Cultural. 14 de abril de 2014.
[199] ↑ a b c d «6.2 Cuadro de áreas de levantamiento arquitectónico basílica y áreas anexas». Documento Técnico de Soporte, Diagnóstico Integral. Primera parte. Bogotá: Consorcio Restauración Voto Nacional - Contrato de Consultoría 295/13 del Instituto Distrital de Patrimonio Cultural. marzo de 2015. pp. 60-62.
[200] ↑ a b c d e f Del Castillo, Lina Esmeralda (2016). Paz y el Sagrado Corazón: Iglesia del Voto Nacional. Bogotá: Instituto Distrital de Patrimonio Cultural. p. 204.
[201] ↑ Del Castillo, Lina Esmeralda (2016). Paz y el Sagrado Corazón: Iglesia del Voto Nacional. Bogotá: Instituto Distrital de Patrimonio Cultural. p. 207.
[202] ↑ Instituto Distrital de Patrimonio Cultural (marzo de 2015). «3.4 Evolución y estado actual de las condiciones espaciales y arquitectónicas del inmueble.». Documento técnico de soporte diagnóstico integral, Primera parte. Bogotá: Contrato de Consultoría 295/13. p. 17.
[203] ↑ Comunidad Claretiana (1962). Bodas de oro de la Comunidad Claretiana de Bogotá: 1912-1962. Bogotá: Editorial el Voto Nacional. p. 180.
[204] ↑ a b Del Castillo, Lina Esmeralda (2016). Paz y el Sagrado Corazón: Iglesia del Voto Nacional. Bogotá: Instituto Distrital de Patrimonio Cultural. p. 213.
[205] ↑ a b Cohen D., David (2014). «Ficha Bienes Muebles: Altar mayor del Sagrado Corazón de Jesús. Hoja 1, hoja 4 de 8». anexo 2 – Fichas de diagnóstico y propuesta de intervención. Bogotá: Consorcio Restauración Voto Nacional - Contrato de Consultoría 295/13 del Instituto Distrital de Patrimonio Cultural.
[206] ↑ a b c Del Castillo, Lina Esmeralda (2016). Paz y el Sagrado Corazón: Iglesia del Voto Nacional. Bogotá: Instituto Distrital de Patrimonio Cultural. pp. 213-214.
[207] ↑ El Voto Nacional. Revista quincenal publicada por los Misioneros Hijos del Corazón de María. Número 8. Bogotá, 25 de junio de 1919. p. 118.
[208] ↑ a b c d Del Castillo, Lina Esmeralda (2016). Paz y el Sagrado Corazón: Iglesia del Voto Nacional. Bogotá: Instituto Distrital de Patrimonio Cultural. p. 215.
[209] ↑ El Voto Nacional, Revista Mensual Ilustrada. No. 75. Bogotá, 1 de abril de 1922. p. 107.
[210] ↑ Mesa Gómez, Presbítero Carlos Eduardo (1990). Los Claretianos del Voto Nacional (1912-1989). Medellín: Editorial Zuluaga. p. 67.
[211] ↑ a b c Del Castillo, Lina Esmeralda (2016). Paz y el Sagrado Corazón: Iglesia del Voto Nacional. Bogotá: Instituto Distrital de Patrimonio Cultural. pp. 218-219.
[212] ↑ Mesa Gómez, Presbítero Carlos Eduardo (1990). Los Claretianos del Voto Nacional (1912-1989). Medellín: Editorial Zuluaga. p. 62.
[214] ↑ Del Castillo, Lina Esmeralda (2016). Paz y el Sagrado Corazón: Iglesia del Voto Nacional. Bogotá: Instituto Distrital de Patrimonio Cultural. p. 154.
[215] ↑ a b c d Del Castillo, Lina Esmeralda (2016). Paz y el Sagrado Corazón: Iglesia del Voto Nacional. Bogotá: Instituto Distrital de Patrimonio Cultural. p. 155.
[216] ↑ Del Castillo, Lina Esmeralda (2016). Paz y el Sagrado Corazón: Iglesia del Voto Nacional. Bogotá: Instituto Distrital de Patrimonio Cultural. p. 179.
[217] ↑ Del Castillo, Lina Esmeralda (2016). Paz y el Sagrado Corazón: Iglesia del Voto Nacional. Bogotá: Instituto Distrital de Patrimonio Cultural. pp. 161-162.
[218] ↑ a b Del Castillo, Lina Esmeralda (2016). Paz y el Sagrado Corazón: Iglesia del Voto Nacional. Bogotá: Instituto Distrital de Patrimonio Cultural. p. 161.
[219] ↑ Mesa Gómez, Presbítero Carlos Eduardo (1990). Los Claretianos del Voto Nacional (1912-1989). Medellín: Editorial Zuluaga. p. 23.
[220] ↑ Del Castillo, Lina Esmeralda (2016). Paz y el Sagrado Corazón: Iglesia del Voto Nacional. Bogotá: Instituto Distrital de Patrimonio Cultural. p. 160.
[221] ↑ a b Del Castillo, Lina Esmeralda (2016). Paz y el Sagrado Corazón: Iglesia del Voto Nacional. Bogotá: Instituto Distrital de Patrimonio Cultural. p. 159.
[222] ↑ a b Del Castillo, Lina Esmeralda (2016). Paz y el Sagrado Corazón: Iglesia del Voto Nacional. Bogotá: Instituto Distrital de Patrimonio Cultural. p. 158.
[223] ↑ a b Del Castillo, Lina Esmeralda (2016). Paz y el Sagrado Corazón: Iglesia del Voto Nacional. Bogotá: Instituto Distrital de Patrimonio Cultural. p. 156.
[224] ↑ a b Del Castillo, Lina Esmeralda (2016). Paz y el Sagrado Corazón: Iglesia del Voto Nacional. Bogotá: Instituto Distrital de Patrimonio Cultural. p. 180.
[225] ↑ a b c Del Castillo, Lina Esmeralda (2016). Paz y el Sagrado Corazón: Iglesia del Voto Nacional. Bogotá: Instituto Distrital de Patrimonio Cultural. p. 181.
[226] ↑ a b c d e f Del Castillo, Lina Esmeralda (2016). Paz y el Sagrado Corazón: Iglesia del Voto Nacional. Bogotá: Instituto Distrital de Patrimonio Cultural. p. 182.
[227] ↑ Cohen D., David (2014). «• Ficha Bienes Muebles: San Marcos. Hoja 1 de 7 • Ficha Bienes Muebles: San Mateo. Hoja 1 de 7 • Ficha Bienes Muebles: San Lucas. Hoja 1 de 7 • Ficha Bienes Muebles: San Juan. Hoja 1 de 7». anexo 2 – Fichas de diagnóstico y propuesta de intervención. Bogotá: Consorcio Restauración Voto Nacional - Contrato de Consultoría 295/13 del Instituto Distrital de Patrimonio Cultural.
[228] ↑ Cohen D., David (2014). «• Ficha Bienes Muebles: Capilla de Panamá. Hoja 1 de 9 • Ficha Bienes Muebles: Capilla de Jericó. Hoja 1 de 9 • Ficha Bienes Muebles: Capilla de Cali. Hoja 1 de 9 • Ficha Bienes Muebles: Capilla de Garzón. Hoja 1 de 9 • Ficha Bienes Muebles: Capilla de Manizales. Hoja 1 de 9 • Ficha Bienes Muebles: Capilla del Socorro. Hoja 1 de 9 • Ficha Bienes Muebles: Capilla de Tunja. Hoja 1 de 9 • Ficha Bienes Muebles: Capilla de Antioquia. Hoja 1 de 9 • Ficha Bienes Muebles: Capilla de Pasto. Hoja 1 de 9 • Ficha Bienes Muebles: Capilla de Santa Marta. Hoja 1 de 9 • Ficha Bienes Muebles: Capilla de Medellín. Hoja 1 de 9 • Ficha Bienes Muebles: Capilla de Popayán. Hoja 1 de 9 • Ficha Bienes Muebles: Capilla de la Policía Nacional. Hoja 1 de 9 • Ficha Bienes Muebles: Capilla de Cartagena. Hoja 1 de 9 • Ficha Bienes Muebles: Capilla de Ibagué. Hoja 1 de 9 • Ficha Bienes Muebles: Capilla de Pamplona. Hoja 1 de 9». anexo 2 – Fichas de diagnóstico y propuesta de intervención. Bogotá: Consorcio Restauración Voto Nacional - Contrato de Consultoría 295/13 del Instituto Distrital de Patrimonio Cultural.
[229] ↑ a b c d e Cohen D., David (febrero de 2015). «3.1. Fachada. (Sección: 3.1.1. Subconjunto: Esculturas)». Diagnóstico y propuesta de intervención de los bienes muebles de la Basílica menor del Sagrado Corazón de Jesús - Iglesia del Voto Nacional. Bogotá: Consorcio Restauración Voto Nacional - Contrato de Consultoría 295/13 del Instituto Distrital de Patrimonio Cultural. pp. 27-29.
[230] ↑ Cohen D., David (2014). «Ficha Bienes Muebles: Jesús Resucitado. Hoja 4 de 8». anexo 2 – Fichas de diagnóstico y propuesta de intervención. Bogotá: Consorcio Restauración Voto Nacional - Contrato de Consultoría 295/13 del Instituto Distrital de Patrimonio Cultural.
[231] ↑ Comunidad Claretiana (1962). Bodas de oro de la Comunidad Claretiana de Bogotá: 1912-1962. Bogotá: Editorial el Voto Nacional. p. 33.
[232] ↑ a b c d e f g h Cohen D., David (febrero de 2015). «3.1. Fachada. (Sección: 3.1.2. Subconjunto: Elementos decorativos)». Diagnóstico y propuesta de intervención de los bienes muebles de la Basílica menor del Sagrado Corazón de Jesús - Iglesia del Voto Nacional. Bogotá: Consorcio Restauración Voto Nacional - Contrato de Consultoría 295/13 del Instituto Distrital de Patrimonio Cultural. pp. 30-31.
[234] ↑ «Plano No. CM 001, Plancha 1 de 1». Fachada Caracterización y Materialidad Basílica del Sagrado Corazón de Jesús. Bogotá: Consorcio Restauración Voto Nacional - Contrato de Consultoría 295/13 del Instituto Distrital de Patrimonio Cultural. 2014.
[235] ↑ a b c d e f Cohen D., David (2014). «Ficha Bienes Muebles: Puerta de doble hoja. Hoja 1, hoja 3, hoja 4 de 6». anexo 2 – Fichas de diagnóstico y propuesta de intervención. Bogotá: Consorcio Restauración Voto Nacional - Contrato de Consultoría 295/13 del Instituto Distrital de Patrimonio Cultural.
[237] ↑ a b c d Cohen D., David (febrero de 2015). «5.1. Diagnóstico de la fachada». Diagnóstico y propuesta de intervención de los bienes muebles de la Basílica menor del Sagrado Corazón de Jesús - Iglesia del Voto Nacional. Bogotá: Consorcio Restauración Voto Nacional - Contrato de Consultoría 295/13 del Instituto Distrital de Patrimonio Cultural. pp. 49-50. «en este documento confunden a San Francisco Solano con San Pedro Claver, en los los libros de los claretianos indican que es San Pedro Claver.».
[238] ↑ Cohen D., David (2014). «Ficha Bienes Muebles: Jesús Resucitado. Hoja 1, hoja 3, hoja 6 y hoja 5 de 8». anexo 2 – Fichas de diagnóstico y propuesta de intervención. Bogotá: Consorcio Restauración Voto Nacional - Contrato de Consultoría 295/13 del Instituto Distrital de Patrimonio Cultural.
[239] ↑ a b c Del Castillo, Lina Esmeralda (2016). Paz y el Sagrado Corazón: Iglesia del Voto Nacional. Bogotá: Instituto Distrital de Patrimonio Cultural. p. 147.
[240] ↑ Mesa Gómez, Presbítero Carlos Eduardo (1990). Los Claretianos del Voto Nacional (1912-1989). Medellín: Editorial Zuluaga. p. 65.
[241] ↑ Revista El Voto Nacional, n. 9, julio 4 de 1919, p. 137.
[242] ↑ Del Castillo, Lina Esmeralda (2016). Paz y el Sagrado Corazón: Iglesia del Voto Nacional. Bogotá: Instituto Distrital de Patrimonio Cultural. p. 148.
[243] ↑ Del Castillo, Lina Esmeralda (2016). Paz y el Sagrado Corazón: Iglesia del Voto Nacional. Bogotá: Instituto Distrital de Patrimonio Cultural. p. 151.
[244] ↑ a b c Cohen D., David (2014). «Ficha Bienes Muebles: Angel Putis Anagrama Sagrado corazón de Jesús. Hoja 1, hoja 4, y hoja 5 de 8». anexo 2 – Fichas de diagnóstico y propuesta de intervención. Bogotá: Consorcio Restauración Voto Nacional - Contrato de Consultoría 295/13 del Instituto Distrital de Patrimonio Cultural.
[246] ↑ Del Castillo, Lina Esmeralda (2016). Paz y el Sagrado Corazón: Iglesia del Voto Nacional. Bogotá: Instituto Distrital de Patrimonio Cultural. p. 190.
[247] ↑ a b c d e f Del Castillo, Lina Esmeralda (2016). Paz y el Sagrado Corazón: Iglesia del Voto Nacional. Bogotá: Instituto Distrital de Patrimonio Cultural. p. 195.
[249] ↑ a b Cohen D., David (2014). «Ficha Bienes Muebles: Santa Cecilia. Hoja 3, hoja 4, hoja 5 de 6». anexo 2 – Fichas de diagnóstico y propuesta de intervención. Bogotá: Consorcio Restauración Voto Nacional - Contrato de Consultoría 295/13 del Instituto Distrital de Patrimonio Cultural.
[250] ↑ a b Cohen D., David (2014). «Ficha Bienes Muebles: San Antonio María Claret. Hoja 1, hoja 4 de 7». anexo 2 – Fichas de diagnóstico y propuesta de intervención. Bogotá: Consorcio Restauración Voto Nacional - Contrato de Consultoría 295/13 del Instituto Distrital de Patrimonio Cultural.
[251] ↑ a b Cohen D., David (2014). «Ficha Bienes Muebles: Sol resplandeciente salutatis. Hoja 4 de 9». anexo 2 – Fichas de diagnóstico y propuesta de intervención. Bogotá: Consorcio Restauración Voto Nacional - Contrato de Consultoría 295/13 del Instituto Distrital de Patrimonio Cultural.
[252] ↑ Del Castillo, Lina Esmeralda (2016). Paz y el Sagrado Corazón: Iglesia del Voto Nacional. Bogotá: Instituto Distrital de Patrimonio Cultural. p. 198.
[253] ↑ a b c Cohen D., David (2014). «Ficha Bienes Muebles: Sol resplandeciente salutatis. Hoja 1 de 9». anexo 2 – Fichas de diagnóstico y propuesta de intervención. Bogotá: Consorcio Restauración Voto Nacional - Contrato de Consultoría 295/13 del Instituto Distrital de Patrimonio Cultural.
[255] ↑ a b Instituto Distrital de Patrimonio Cultural (16 de junio de 2019). «Avanza restauración de la cúpula de la Basílica Menor del Sagrado Corazón de Jesús - Voto Nacional». Consultado el 10 de octubre de 2023. «Video sobre el avance de la restauración».: https://www.youtube.com/watch?v=AvV-Q7GEPlg
[256] ↑ a b c Comunidad Claretiana (1962). Bodas de oro de la Comunidad Claretiana de Bogotá: 1912-1962. Bogotá: Editorial el Voto Nacional. pp. 107-108.
[258] ↑ a b Elizondo Iriarte, Esteban (2002). La organería romántica en el País Vasco y Navarra (1856-1940). Bilbao: Universidad del País Vasco. p. 457. ISBN 8469984179.
[259] ↑ a b c Del Castillo, Lina Esmeralda (2016). Paz y el Sagrado Corazón: Iglesia del Voto Nacional. Bogotá: Instituto Distrital de Patrimonio Cultural. p. 227.
[260] ↑ a b c Cohen D., David (2014). «Ficha Bienes Muebles: Reloj. Hoja 1 de 6». anexo 2 – Fichas de diagnóstico y propuesta de intervención. Bogotá: Consorcio Restauración Voto Nacional - Contrato de Consultoría 295/13 del Instituto Distrital de Patrimonio Cultural.
[262] ↑ «3.4 evolución y estado actual de las condiciones espaciales y arquitectónicas del inmueble. (Sección: Modificaciones y alteraciones de carácter espacial)». Documento Técnico de Soporte, Diagnóstico Integral. Primera parte. Bogotá: Consorcio Restauración Voto Nacional - Contrato de Consultoría 295/13 del Instituto Distrital de Patrimonio Cultural. marzo de 2015. p. 19.
[263] ↑ Mesa Gómez, Presbítero Carlos Eduardo (1990). Los Claretianos del Voto Nacional (1912-1989). Medellín: Editorial Zuluaga. p. 65.
[264] ↑ a b c Del Castillo, Lina Esmeralda (2016). Paz y el Sagrado Corazón: Iglesia del Voto Nacional. Bogotá: Instituto Distrital de Patrimonio Cultural. p. 231-232.
[265] ↑ Revista El Voto Nacional, n. 1, septiembre de 1919.
[266] ↑ Delgadillo, Hugo (2008). Repertorio ornamental de la arquitectura de época Republicana en Bogotá. Bogotá: Instituto Distrital de Patrimonio Cultural. p. 42. ISBN 9789584426505.
[267] ↑ «7.1.2 Cuerpo de naves». Documento Técnico de Soporte, Diagnóstico Integral. Primera parte. Bogotá: Consorcio Restauración Voto Nacional - Contrato de Consultoría 295/13 del Instituto Distrital de Patrimonio Cultural. marzo de 2015. pp. 65-66.
[268] ↑ «Plano núm. L002. Planta Nivel 1 (A -1.00m) Planta de cripta, Cimientos y Taller de maderas». Levantamiento Basílica del Sagrado Corazón de Jesús Iglesia del Voto Nacional. Bogotá: Consorcio Restauración Voto Nacional - Contrato de Consultoría 295/13 del Instituto Distrital de Patrimonio Cultural. 14 de abril de 2014.
[269] ↑ a b «4.1 Propuesta arquitectónica para la Basílica Menor. (Sección Criptas)». Segunda parte. Documento Técnico de Soporte, Propuesta de intervención integral. Bogotá: Consorcio Restauración Voto Nacional - Contrato de Consultoría 295/13 del Instituto Distrital de Patrimonio Cultural. marzo de 2015. p. 135. «En este documento técnico se propone que en la restauración se retire una buena cantidad de orarios para que dicho lugar esté menos saturado y deben permanecer «solo los de algunos de los bienhechores de la iglesia, como Ricardo Acevedo, pintor de los cuadros que decoran el cielo raso, el Maestro D'Achiardi, ornamentador de la fachada y los de Doña Rosalía Calvo, donadora de los terrenos para la construcción de la iglesia.». Esto da a entender que los restos de dichos personajes se encuentran en la cripta de orarios. Cabe aclarar que esta propuesta no se llevó a cabo.».
[270] ↑ a b «Plano núm. L019. Corte Longitudinal F - F». Levantamiento Basílica del Sagrado Corazón de Jesús Iglesia del Voto Nacional. Bogotá: Consorcio Restauración Voto Nacional - Contrato de Consultoría 295/13 del Instituto Distrital de Patrimonio Cultural. 14 de abril de 2014.
[272] ↑ Canal Caracol. «Programación HD Colombia». Consultado el 11 de noviembre de 2023. «Dar clic en domingo para ver la programación de ese día, la misa ahora es a las 8:00 a.m.».: https://www.caracoltv.com/programacion
On June 22 of the same year (1902), the decision was made concrete through a celebration that began with a Eucharist in the Cathedral in the morning and in the afternoon continued with a procession to the temple under construction, which went down 10th Street and was made up of educational institutions, religious communities, the archbishop, the metropolitan chapter, the municipal (Bogotá), departmental (Cundinamarca), and national governments, together with the National Police and the Army, among others.[12][35][n. 5].
In the Plaza de Los Mártires the poet José María Rivas Groot, appointed by the civil authority, made a speech:
Then the donations were received, for which the sums that those present wanted to donate to help in the work of the temple were registered, through ballots; During registration, the Christian Brothers schools sang in honor of the Sacred Heart of Jesus.[37].
Afterwards they returned along 11th Street to the Cathedral, once there Archbishop Herrera "went up to the pulpit from where he read aloud the formula of consecration of the Republic to the sacred heart of Jesus, a formula that the Hon. Mr. Vice President with the others who were present at such a sublime act", thus leaving Colombia consecrated to the Sacred Heart of Jesus.[12] This date (June 22, 1902) is taken into account as the laying of the first stone of the temple of the National Vow. The war ended five months later.[13].
Furthermore, in that year (1902) Archbishop Herrera, under his immediate presidency, established a Board of ecclesiastics and laymen for the execution of the National Vote.[n. 6] He named it the Central Board of the National Vote and was made up of the following priests and figures of the time: The priests Eulogio Tamayo (canon), Salustiano Gómez Riaño (canon), Luis A. Gamero (S.J.), Lucas A. Toledo (S.J.); and the laymen Rudesindo Castillo, Francisco Mendoza Pérez, José Joaquín Casas, Gabriel Rosas, Aurelio Uribe B. and Rufino Gutiérrez.[38].
In 1903, the archdiocese of Bogotá, as part of the "National Vote" project, decided to buy a portion of land from Belisario Castro.[n. 4] Portion of land that the archdiocese of Bogotá, through Archbishop Bernardo Herrera, purchased for:.
Due to the shape that the façade currently has, it is assumed that the archdiocese must have purchased a section of land of similar dimensions to the south-eastern side of the front, for the same purpose and they probably bought it from Mr. Aristides Rivera who since 1897 was the owner of lot number 2 of the succession of Doña Rosa Calvo.[40] The construction of the temple continued slowly, so much so that the work was almost forgotten, since at the beginning of the following decade it was nothing more than a precarious construction.
In the memory of Fr. Martín Jové, writing in 1943 from Caracas, says: "Father Pueyo, in spite of Mr. Lombana, director of the temple works, opened the solid walls that previously formed a kind of chapels and gave the temple the three-nave aspect that it now has."[49].
For example, around 1912 the façade of the temple was "in the middle of the cornice of the first body", but the current façade was not the one originally designed by the architect Lombana, since Fr. Pueyo refused to execute it, instead, he spoke with the artist Ricardo Acevedo Bernal and he "drawn it according to the Father's wish and it was made as it exists today."[49] By 1913 the façade was finished, but details were still missing in the ornamentation.
To further promote the works of the church, Fr. Pueyo gave a conference on sacred architecture in Bogotá in April 1913, "with the most prominent gentlemen of Bogotá attending, representatives of the government, banking, commerce, lawyers, landowners, etc." [50] Thanks to this conference he later facilitated the formation of the "Board for the completion of the works" of the Temple of the Vow. Also as a result of the conference, monetary aid was provided to the attendees, which lasted for eight months, raising about four hundred pesos each month.[50].
In March 1913, Archbishop Herrera recomposed the Board in charge of the work, for which he appointed the survivors of the first Board and other new members; among them José María González Valencia, who acted as President; and Gerardo Arrubla, Rafael Carvajal and Manuel José Marroquín. The pbro. Pueyo was also a member of the Board. The purpose of said Board was stated as follows: "With the Temple about to be completed and seeing it already very crowded with the faithful, our Most Reverend Prelate wishes that this Board be in charge of organizing worship and prayers for peace, the main goal and object of the National Vote." To achieve this, two means are proposed: first, the establishment of a Confraternity in the church, which worships the Sacred Heart; and second, an annual celebration, called the National Vote Festival, as a novena, for 9 years, in which it would rotate through the different dioceses of the country.[51] The date was assigned for the Sunday following July 20. It was Bogotá's turn in 1914 and 1923.
Between 1912 and 1913, various activities were carried out to raise funds to speed up the works. Although unfinished, a daily religious ceremony took place in the church. For example, in Holy Week 1913, Holy Thursday was held there: "on Thursday at 12, the sermon of the Seven Words will be given by the Reverend Father Antonio Puenjo (sic)."[52] There is also a reference to the Mass of Fr. Campoamor in May 1913:.
In June of the same year, the Central Board for the completion of the temple of the National Vow invites merchants to contribute to the completion of the temple, through a letter addressed to the director of the newspaper El Tiempo "El Tiempo (Colombia)").
Another way of raising funds for the work was also advertised in said newspaper, in August 1913: «Tonight at the Teatro del Bosque, there will be a splendid cinematograph performance, to benefit the Temple of the Heart of Jesus. There is great enthusiasm for attending this function.
In that same year, on September 12 (1913), a ceremony was planned to be held, including a procession, to bless and install the statue of Jesus Christ at the top of the temple façade, which would mark the formal completion of the stone façade in its three bodies,[n. 12] but the statue was delayed on its trip along the Magdalena River, even so the river companies assured that it would arrive on time. Unfortunately, it did not arrive on the day of the ceremony, so they were going to use a borrowed statue of Saint Joseph in its place, but when the ceremony was going to begin a heavy downpour broke out that diluted the parade and it had to be postponed until December 8 of that year, the date on which the statue of Jesus had already arrived, which was finally blessed and installed with all the pomp that had been planned.[59].
Five years later, in Pasto, Fr. Pueyo de Val would publish his first Pastoral, in which he mentions said sculpture of the temple of the National Vote:.
Between 1914 and 1915, the four statues of the American saints were installed on the façade of the temple: San Toribio, San Luis Bertrán, San Pedro Claver and Santa Rosa de Lima.[49] The author was the Argentine sculptor Juan C. Atehortúa, a graduate of the National School of Fine Arts.[62].
In 1916, the 16 stained glass windows in the side chapels were completed, which began to be installed in 1915. These were designed by the painter Ricardo Acevedo Bernal and executed by the Maumejean Artistic Stained Glass House in Spain.[8].
On September 24, 1916, the temple was consecrated. This date was chosen because it was the anniversary of the episcopal weddings of Archbishop Herrera and because it coincided with the arrival in Bogotá of the prelates of the Republic summoned to Conference. On the eve, an improvised chapel was established in the house of Don Belisario Castro, a resident of the temple, in which the holy relics destined to be placed in the tombs of the altars were deposited. [63] Solemn vespers were sung there on the 23rd and they remained veiled all night. Meanwhile, there was activity in the temple, dismantling the last scaffolding that still remained, finishing certain decoration touches and at night giving the final coat of cleaning, work carried out by very distinguished ladies of the capital.[63].
The ceremony was carried out with total solemnity:
Once the consecration was over, a mass was celebrated in which Nuncio Enrico Gasparri officiated.[63] Afterwards, Brother Atanasio Vicente Soler y Royo, Apostolic Vicar of La Guajira, ascended to the pulpit, gave a speech and the vote of consecration of the Republic of Colombia to the Sacred Heart was read.[63] After the religious ceremony, Fr. Pueyo de Val gave a banquet.[63] It should be noted that the temple of the Vow was not yet completely finished, it had many details left to finish, for example in 1916 the pavement was made of simple brick; The side chapels, although they were consecrated that year, were not completely finished.[46].
In 1919, Fr. Pueyo spread the word that he wanted to have an image made in silver; In response, the parishioners made donations of objects in said metal, but at that time the businessman José Candela Albert, owner of the Factory of Ornaments and Sculpture Workshops in Valencia, Spain, toured Bogotá,[n. 15] who meets with Fr. Pueyo, who then changes his mind regarding the silver image and makes a contract with Mr. Candela for different images and as a form of payment he gives him the collected silver. After a season, the Crucifixion group, the Carmen group, the Presentation group, the Anguish group, and one or two simple images arrived from Valencia, Spain. The latter were not to people's taste and were sold.[10].
Likewise, Fr. Martín Jové commissions the “Casa Rius” of Barcelona,[n. 16] Spain, other images, which were: those of the Heart of Mary, Saint Joseph and Perpetual Help. From the same house is the sculptural group of the Assumption, currently located in the Cali chapel, which arrived in 1919, and also commissioned by Fr. Jové, who paid 1,500 pesos.[10] Some years later the images of San Joaquín and Santa Ana would arrive from the Rius house and also paid for by the priest. Jové.[10] The image of the Resurrection was bought in a store in Bogotá, which was commissioned by one of the towns of the diocese and seeing it so large they did not want to receive it.[10] In 1926 the altar of the diocese of Medellín was already complete with a marble altarpiece; The one from Tunja and Garzón "Garzón (Huila)") was also completed.[46].
The images of San Antonio and San Francisco de Paula were also obtained by the priest. Jové and made by the “El Arte Cristiano” workshop in the city of Olot, Spain.[10] [n. 17] The images of Santa Zita and Santa Teresita, there are no records of how they were obtained. Perhaps this last one from the time of Fr. Desantiago The images of Saint Louis and Saint Elizabeth were obtained urgently by the priest. Pueyo, when there were no images in the temple of the Vow.[10].
Between 1917 and 1920, the painter Ricardo Acevedo Bernal created 10 paintings, of which 8 are of large proportions and are located on the ceiling of the central nave. The artistic request was the initiative of Fr. Pueyo de Val and cost 4000 pesos.[8] In 1919, Fr. Villarroya founded the "El Voto Nacional Magazine" that began to circulate in March of that year, and in his advertisements he reported that it operated in the "Casa de los Misioneros (Temple del Voto), 10th Street, 330." And it is also reported on the "shortage of work elements" in the work of the temple and the rush to advance due to the Marian Congress, which would be held that same year.[72] In addition, in that year (1919) the new pavement of the temple was installed composed of pigmented cement tiles (also known as artisanal hydraulic tile) made by the "Company of Hydraulic Mosaics" (Mosaicos Tobón).[73].
The temple was consecrated using the western end of the property donated by Mrs. Rosa Calvo as a presbytery, but between 1925 and 1927 Fr. Villarroya manages to acquire for 28,000 pesos the fractions of land necessary to extend the available area and thus build the transept that currently exists, and the dome in its transept.[74].
The expansion work was carried out by the Dutch architect Antonio Stoute.[n. 1] The expansion project included a long apse, with an ambulatory and a large chapel reserved diagonally, but unfortunately it was not possible to acquire all the required land, so the project had to be adapted to the properties that were managed to be obtained.[75].
In addition, the work also included the expansion of the crypts. Below the alley on the south side were ossuaries. But the new project involved building new crypts beneath the entire transept. Work concerning the transept began in 1927.[75].
The project was sponsored simultaneously with contributions from the Government and donations from the general public. As compensation, different privileges were offered depending on the amount of donations: from a Eucharist on the first Friday of each month, to a niche in the crypt and masses during the first ten anniversaries of the donor's death.[75].
On the occasion of the commemoration of the 25 years of peace, Law 33 was issued, of October 20, 1927, which ordered the completion of the temple and a contribution from the public treasury of two thousand pesos per month until the dome was completed.
In 1927, electric lighting was installed inside the temple to illuminate the arches and cornices;[77] on the façade, the eight large Corinthian capitals that were missing from the columns at the bottom were placed; other stones and cornices that were still in the rough were carved, with a value of 3,500 pesos.[8].
On January 2, 1928, Archbishop Bernardo Herrera Restrepo died, and he was automatically replaced by his coadjutor Ismael Perdomo Borrero, who continued to support the works of the temple.[78].
In 1930, two images were purchased, of the Nativity and of Saint Therese, also made by the Rius house.[79].
In 1931, three new bells (known as the minor ones) arrived from Germany, made of bronze by Mefecerunt Franzfelillingsöhne Auolda Germania. and in 1933 the iron frame of the dome arrived from England, which cost 19,000 pesos to install.[74] The heavy 3,000 pieces of yellow, blue, and red glass cost 11,000 pesos.[74].
In 1932, the current tubular organ arrived from Spain, which is solemnly blessed on August 7, cost 15,000 pesos and was built by the organ house Nuestra Señora de Begoña, Bilbao, by Juan Dourte.[n. 18].
On February 25, 1934, Antonio María Claret was beatified, and since 1936 the novena of Blessed Claret was spread with great success, which increased his devotees in the country, many of them making pilgrimages to the temple to express their faith. And between 1936 and 1940 communions went from 160,000 to 340,000.
The pbro. In August 1936, Pedro Díaz processed the construction license for the dome with the Municipal Public Works Secretariat, whose work had been suspended due to not having the required permit. Then, in September of that year, the license was granted, in which Antonio Stoute appears as the director architect.[81].
In 1938, Colombians were urged to "work with enthusiasm for the Heart of Jesus" so that "in the next celebration of the IV Centennial of Bogotá, the Temple of the National Vow will be one of the religious monuments that Bogotá can present."[82] Previously, in January, the Circular had been issued on the work of the votive temple of the Sacred Heart of Jesus, in which it stated that the dome and the altar needed to be finished:
In 1938 the first shipment of a thousand glasses arrived. On the occasion of the inauguration of the dome, in celebration of the fourth centenary of the founding of the Colombian capital, the municipality of Bogotá presents the temple with the tower clock,[84] which was made by the German house J. F. Weule;[n. 19] This is ratified in Agreement 35 of the City Council, with which "authorizations are given to the executive to make the transfers required by the purchase of a clock for the temple of the National Vote." After installation, it was possible to synchronize it with the temple bells and with a two-meter-high image of the Sacred Heart of Jesus installed on a small platform, which, like a cuckoo, comes out to indicate 7 in the morning, 12 noon and 6 in the afternoon.[85].
On May 26, 1938, the large monstrance "Custody (liturgy)") made of bronze that tops the exterior dome was installed and blessed. The blessing was carried out by Archbishop Perdomo.[86].
Finally, on August 21, 1938, the transept, dome and clock of the tower were blessed and inaugurated by Archbishop Ismael Perdomo with pontifical mass and a procession of the Blessed Sacrament through the park, which was followed by the renewal of the vow made in person by the archbishop.[84] The celebration of the four hundred years of the founding of the city was the opportunity to present the new works of the temple of the National Vote. Its presbytery and the transept with the altar had, in front of curtains, an image of the Sacred Heart of Jesus, of more modest proportions than the current one. The glass dome with the Colombian flag, illuminated at more than 55 meters high, stood out in the city's urban landscape.[87].
At that moment of splendor, the temple had a great religious activity, which included great activities in the sector due to the processions and devotions of various associations and brotherhoods, among which the following stood out: 1) the devotion to the Immaculate Heart of Mary, whose processions passed through the streets near the temple; 2) to complement, the home visit of the Heart of Mary, which included "19 urns with the image" and visited more than 500 Bogotá homes; 3) since 1919 Eucharistic Thursdays were held, which in 1927 was noted as the most flourishing religious festival in the city; 4) the association of Saint Zita, made up of about eight hundred servants who celebrated the Patron Saint "and paraded through the temple to place a kiss on the Saint's hand"; 5) from 1915 to 1932, the Heart of Jesus wardrobe operated, a group of ladies who met in the church on Wednesdays to pray and to arrange sacred ornaments; 6) and the Aguja union, of an educational nature for young people.[88].
On June 20 of that year (1952), the first fifty years of the National Vote were commemorated, which began to be celebrated the day before, with an expiatory nocturnal adoration, midnight mass and a massive torchlight parade, which started from Plaza España to Plaza de Los Mártires. Afterwards, the president of the republic went to the stands to kneel there to renew his vote.[99].
That same year (1952) the Altar of the Heart of Jesus arrived from Spain in 224 boxes and the priest received them. Bahillo, parish priest.[94] In two years the Casa Granda in Madrid executed the commission and sent it to Bogotá "but not before exhibiting the monument in its workshops in Madrid where artists, priests, prelates, [ ] historians [ ] passed by, admiring the work of art that our capital was going to show off in its temple of the Vow." The Casa Granda sent three technicians for the installation, one in charge of the marble section, the second chief master of the bronze workshops and the third master in cabinetmaking and carving, and the assembly was carried out in 40 days.[94] On January 11, 1953, the blessing of the tabernacle, the monstrance and the image of the Sacred Heart took place.[94] In 1954 four gigantic crystal chandeliers "Araña" arrived from Spain. (lamp)") also made by the Casa Granda.[100].
In 1956, improvements continued to the temple and the Missionaries' House on 10th Street. The library was expanded, the rooms were equipped and the furniture was improved. Other improvement works were carried out in the sacristy and the apse, such as the closure of "two arches that damaged the perspective of the sumptuous monument to the Heart of Jesus."[101] The chapel of San Antonio Claret was painted, improvements were made to the crypt to protect it from leaks and repairs to the roof. Repairs were made to the dome, which had been damaged since the riots of 1948, and 18 windows were opened at the top of the side walls of the longitudinal nave to increase the lighting of the nave.[101] In addition, investments were made in the acquisition of carpets, candlesticks, bronze lamps, and in the repair of the Holy Christ at the exit of the temple. Also, louder microphones and speakers were installed, and the fourteen niches in the side chapels were rebuilt in more durable material.[101].
The Los Mártires sector was affected by the violence and looting of April 9, 1948, and adding the transfer of the market to the nearby Plaza España "Plaza España (Bogotá)") in 1956, generated the arrival of crime to the sector and led to the flight of traditional residents and the disappearance of religious associations, such as that of Eucharistic Thursdays.[102] Over the years the old houses became tenements and hotels where travelers sought fleeting encounters (becoming a zone of tolerance), as well as in merchandise warehouses or shops. However, the prestige of the parish persisted; For example, in that year (1956) 68 missions, 2,555 baptisms, 450 marriages, 258,600 communions within the temple and 150 funerals were carried out;[102] and in 1962 it was the second parish in Bogotá with the highest number of baptisms (3,616), and was highly esteemed for marriages of inhabitants of the city and the nearby region. (418 marriages). In that same year, 198 funerals were held there.[103].
Starting in June 1956 and for 15 months, the right arm of Saint Anthony Mary Claret toured the nation on a missionary pilgrimage. On June 7 he arrived in Bogotá, he was welcomed in the temple of the National Vote and on June 8, in the afternoon, the President of the Republic, General Rojas Pinilla, renewed his vote, accompanied by the full government. Then, caravans of pilgrims arrived and kissed the relic.[104].
The houses to the south of the temple, located in front of the Plaza de Los Mártires that had been acquired in 1950, 1951 and 1952, began to be demolished in 1956 to build a modern five-story building for the Claretian community, which would house what is currently known as El Filosofado. On March 24, 1957, the first stone was blessed, and in 1961 it was inaugurated, with the celebration of the Provincial Elections Chapter.[105][n. 22].
In 1960, on the occasion of the celebration of the Sesquicentennial of Independence, improvement works were carried out in the Plaza de Los Mártires, which had been fragmented since the opening of Caracas Avenue; The parking lot that it had become was eliminated, and the obelisk was centralized in the largest fragment of the square and protected with an iron fence, trees were planted, new public lighting was installed and paths were built. The square was reopened on July 17 of that year.[106].
In that year (1960), Fr. Miguel Rodríguez began several improvement works in the temple, such as the internal decoration, the painting of walls and arches and the expansion of the crypt with 2,900 ossuaries.[107] In that same year (1960), a shipment arrived from Madrid from the "Talleres de Arte Granda" which are:[n. 20] two sculptures of angels carrying candelabras, almost 2 meters high, were premiered on August 21 of that year, they were donated by Mr. Álvaro Fonnegra and each sculpture cost 2,000 dollars including the structure on which they are mounted.[105] And a sculpture of the Miraculous Virgin, which is currently located in the chapel of Antioquia.[105] In that same year (1960) the Claretiano School, which operated in the building on 10th Street until 1968, when it was transferred to Bosa "Bosa (Bogotá)") and most of said property was sold, preserving only the innermost part of the property that was used for the sacristy. In 1961 two large bells (known as the largest) arrived from Spain, manufactured in June of that year in the Portilla Brothers workshop, in the city of Santander "Santander (Spain)").[80].
In the parish period of Fr. Mariano Izquierdo (1962-1965) dismantled the stained glass of the exterior dome, which suffered perforations from gunshots on April 9, 1948, which was generating water leaks and causing damage to the temple. Therefore, the decision was made to replace the dome's glass with a concrete membrane. Some pieces of glass remained in the structure of the temple, a few others remained in the current priest's house and others were sent to the church that was being built in the Class neighborhood,[n. 23] and was named "Suffering Christ".[108] In 1964 the Claretine Community bought a property that borders the north side of the temple on which a two-story house was built to use it as a priestly house. On August 22, 1963, the altar of the Heart of Mary was blessed, made of bronze and marble and also made in the Granda workshops in Madrid.[109].
It was the initiative of Fr. Guillermo Rozo, parish priest of the Basilica of the Heart of Mary in Rome, to request the title of Minor Basilica for the Temple of the National Vow. The proposal was accepted by the archbishop of Bogotá, Cardinal Luis Concha Córdoba, which led Pope Paul VI to elevate the temple to the dignity of Minor Basilica through the brief of February 14, 1964 and it was proclaimed a Minor Basilica in a pontifical mass celebrated by Cardinal Concha on June 5 of the same year.[108]
In the parish period of Fr. Jorge Palacios (1966-1969) saw other notable changes, such as the sale of the property of the Casa de los Misioneros and the construction of the current priest's house.[110] Between the temple and the priest's house there was no internal access that connected both buildings, so it was necessary to go out to the street to go from one building to another. Due to this inconvenience, around the early years of the seventies, the door that currently exists and communicates to both was opened. buildings. Part of the property that remained on 10th Street, where the sacristy is currently located, whose door that connects with the rest of the temple dates back to the 1950s.[108] The various communications that existed between the sold property and the church were closed, due to the frequent thefts that occurred in the temple.[110].
In 1971, by decision of Cardinal Concha, the Te Deum ceremony stopped taking place in the National Vote and began to be celebrated in the Cathedral of Bogotá, due to the social and urban deterioration suffered by the area around the basilica.[5] This was a hard blow that further accentuated the decline of the preeminence of the temple for the city and the nation, entering further into oblivion.
On the occasion of the commemoration of the 75 years of the Claretians in the National Vote, their then parish priest, Fr. Rafael María Cuéllar planned a Thanksgiving to the Sacred Heart of Jesus between May 30 and June 2, 1987, gathering a large number of parishioners in the Plaza de Los Mártires and carrying out a procession of the Blessed Sacrament at the altars of the participating parishes. The priest began, for this commemoration, the repaving of the church.[111] The stained glass windows at the ends of the transept had to be replaced as they suffered serious damage caused by the explosion of the bomb against the DAS building that occurred on December 6, 1989, especially the north stained glass window.[108].
The impacts of time have taken their toll on the building, since, starting in the 1980s, the parish priests have taken steps to repair humidity, water leaks and deterioration in the temple's artistic works. In 1991, the new Political Constitution of Colombia came into force, which established the pluralistic character of the nation and the separation between Church and State, thus ending with the official Consecration of the country to the Sacred Heart, although the ceremony was no longer celebrated in the temple.[110] Later, in 1994 the Constitutional Court declared the law of January 1952 unenforceable.[112][113].
• - Some examples of the state of deterioration of the temple before the restoration.
At the same time, the area around the temple increasingly deteriorated socially and urbanly, insecurity and crime increased drastically. In the eighties, 10th Street, between 15th and 17th Streets, a few meters from the basilica, became a center of drugs and crime that became known as "El Bronx "El Bronx (Bogotá)"), and this phenomenon worsened in 2000, when "El Cartucho", another crime site that was a few blocks "Manzana (urban planning)") from the church, was demolished which moved much of the criminal activity and extreme poverty towards the surroundings of the temple.[114].
The insecurity problems worsened to very dangerous levels, until priest Darío Echeverri González, parish priest of the temple, was robbed several times, even dressed as a priest. The sector itself was already impassable, but as evening fell, it got even worse, a situation that forced the parish to cancel the six o'clock mass (in Colombia it gets dark at 6 p.m.) and the religious took shelter very early in their rooms.[115] The temple was only open during the few masses that were held during the day, at which time some homeless people entered the building, some used it as a latrine and others to steal what they had. they could. With the absence of parishioners, came a lack of resources and the temple had no means to sustain itself financially.[115].
With all this, the basilica was isolated and forgotten, which generated great deterioration in the building, mainly in the façade, the roof and the dome, to such an extent that it threatened to collapse.[17] The cuckoo clock stopped. There were fewer and fewer who dared to enter the temple for fear of the insecurity of the area,[18][19] Gone were the times when the basilica enjoyed great prestige, where baptisms or marriages were highly requested, and then they became less and less, for example at that time approximately 5 marriages were celebrated per year and 10 baptisms per month (before there were 1000 per month). Most of these celebrations took place in the precincts of the priest's house and rarely in the temple.[116].
Priest Darío Echeverri González, parish priest of the temple, upon seeing the serious situation in which the basilica was found, began to make efforts and requests for help from the ecclesiastical and civil authorities.[17] Among the efforts carried out by the parish priest Echeverri, is the request in June 2005 to register the Basilica in the National Registry of Cultural Heritage. In October of the same year, the General Management of the former "La Candelaria Corporation" in Bogotá, requested from the Ministry of Culture of Colombia its declaration of Asset of Cultural Interest of National Character -BIC- (equivalent to the old title of National Monument that is in disuse).[16] All this was so that, being a BIC, its protection and restoration would be guaranteed.
Between 2016 and 2017, the first stage was carried out, which consisted of the restoration of the body of the main façade, which suffered a collapse in its vertical axis of 60 cm, becoming a risk for passers-by. A group of experts was in charge of cleaning the façade, restoring the missing or poor condition elements of the front, such as stone moldings, colored cement moldings, cornices, and other constituent elements of the decoration, in addition to restoring the dome, the roof, the shields and the statue of Jesus on the tower.[121].
Likewise, the sculptures on the façade were dismantled (Santo Toribio, San Luis Bertrán, Santa Rosa de Lima and San Pedro Claver), and were restored in a suitable workshop that was established inside the temple, later they were reassembled in their place. Furthermore, in the choir the mezzanines and the wooden railing were consolidated, the oculi were recovered allowing the passage of natural light.[121].
This stage included the preservation of the property's heritage values and artistic objects, such as the rehabilitation of the clock, stained glass windows, doors, among others. Likewise, the clock tower was consolidated including the wooden structures and its roof. Likewise, and according to the structural project, excavations were carried out around the front walls to carry out structural reinforcements and consolidate the main façade. In general, structural reinforcement, restoration of the façade, counterfaçade, choir, socochoir and humidity treatment works were carried out. In this stage, $3,141,408,345 pesos (approximately one million USD at that time) were invested.[120][122][n. 24].
Then, between 2018 and 2020 (September 11), the second stage was carried out, which consisted of the restoration of the presbytery, transept and dome. Reinforcement and structural stiffening of the foundation, walls and columns of the presbytery, transept and dome were carried out. To structurally reinforce the foundation, it was necessary to exhume 789 ossuaries in the crypt, which were treated with the biosafety protocol by a forensic anthropologist and then reburied.[120][123].
Likewise, the project included the restoration of movable assets such as the stained glass windows of the Resplendent Sun (interior dome), the windows of the north and south arms of the transept, the glass of the rose windows, plasterwork, moldings and cleaning of the sculptures of the presbytery and the arms of the transept. The exterior dome was restored, the concrete membrane was removed and the glass that makes up the Colombian flag (the National tricolor) was restored. To carry out the works at height, a self-supporting scaffolding system was installed, and in order to avoid overloading the existing building and guarantee the stability of the property, the activities were organized into work crews distributed by levels. In this stage, $10,592,000,000 pesos (approx. 3,228,000 USD at that time) were invested.[120][122][n. 25].
For the third and final stage, which had the initial resources and was projected to begin in 2020,[120] but due to the contingency caused by the Covid 19 pandemic, it had to be postponed and said resources were redirected to face said contingency, for this reason this last intervention is on hold and will focus on the structural consolidation of the central nave and the side chapels.[120] It has been calculated that an investment of $25,000 million pesos (approx. 6,786,000 USD at that time), being the most expensive, which is why it is planned to divide it into more phases.[123][n. 26].
In mid-February 2025, the Attorney General's Office "Procuraduría General de la Nación (Colombia)") alerted about the deterioration of the Basilica of the National Vow, as it identified a worrying deterioration in the artistic, sculptural and stained glass elements of the temple. In addition, serious damage was evident to the ceiling of the longitudinal nave, the oil paintings that decorate it, and the structures of the nave and roof. These problems put at risk not only the integrity of the building, but also the safety of those who frequent it.[124].
For this reason, the control entity requested from the District Institute of Cultural Heritage detailed information about the status of the restoration, its future plans and to know the progress of phase 3 of the basilica conservation project. For the same reason he addressed the Directorate of Heritage and Memory of the Ministry of Culture. This alert highlights the urgency of concrete actions to prevent further deterioration of the building, declared cultural and religious heritage.[124].
The presbytery of the temple has changed location twice and the main altar with its altarpiece has changed three times.
The first presbytery that the temple had was the area located between the chapels of the National Police and Cartagena, that is, the western end of the property donated by Mrs. Rosa Calvo. The first altar and main altarpiece with which the temple was consecrated and inaugurated in 1916 was located in said presbytery.
The pbro. José Payás briefly describes this first altarpiece:
This quote indicates that the first main altarpiece is located in the Popayán chapel and the comparison of style and structure with photographs confirms it, in addition said altarpiece is the only one without a peer in the front chapel.[163] The oldest reference that has been found of this first main altarpiece dates from 1916, the date of the consecration of the church. Said altarpiece is made of wood, previously covered with plaster that was polychrome or gilded with a yellow bowl base.[163] Today this first altarpiece is almost completely preserved, missing only two rose windows in the pilasters on the sides.[163] [n. 30].
A new main altarpiece arrived between 1916 and 1919 (the second in the history of the temple), in which the image of the Sacred Heart was venerated, which today is kept in the sacristy deposit, accompanied on the sides by sculptures of the Virgin Mary (under the invocation of the Immaculate Heart), and Saint Joseph, which are currently located in the niches of the south and north arms of the transept.[163].
On August 21, 1938, the extension of the church was inaugurated, which is currently the transept that the building has and with this extension came the new area for the presbytery, this was thanks to the new land acquired between 1925 and 1927. The new area of the presbytery is the area between the current four pillars that support the dome, that is, the transept "Cruise (architecture)"). The second main altarpiece is moved to the new presbytery.[163].
In accordance with the historical documentation and the comparison of style, structure and forms of the photographs of the second main altarpiece, it was possible to determine that it is the same altarpiece that is currently located in the north arm of the transept, in which the image of Saint Anthony Mary Claret is venerated. Said altarpiece is made of wood, previously covered with plaster that was polychrome or gilded with a red bowl base and has several missing pieces.[164].
The third and current main altarpiece, including the current sculpture of the Sacred Heart of Jesus, were designed by the artist Ricardo Acevedo Bernal at the request of the priest. Pueyo and ordered to be made around 1950 at the “Talleres de Arte Granda” in Madrid, Spain by order of the first parish priest of the Temple, Fr. Alfredo Martínez with the help of donations collected by Fr. Ignacio Trujillo. The pbro. Juan Punset, during his visit to Spain in that same year, "formalized in Madrid the contract with the Casa Granda, of the altar of the Heart of Jesus."[7].
The quote below is a meticulous description of the altar, as designed by Acevedo and entrusted to Talleres de Arte Granda:
Finally, in 1952 the altar and main altarpiece of the Vow arrived from Spain, in 224 boxes received by the priest. Jesús Bahillo, parish priest.[94] The assembly was carried out in 40 days, «three technicians came from the Madrid workshops: one in charge of the marble section; the second for the bronze parts; the third as a cabinetmaker and carving master. Therefore, between the floor of the presbytery and the crypt, a foundation and additional structure were made to transmit the loads to the ground, two load-bearing walls were built in an east-west direction and two columns connected by beams, in the spaces left between the walls new ossuaries were installed.[165].
• - Details of the presbytery.
• - View of the tabernacle and the old main altar.
• - Tabernacle.
• - Side view of the old main altar.
• - South Ambon.
• - Balustrade detail.
• - Doors to the communion room.
• - Detail of the communion room.
• - Bronze appliqué on a pillar.
• - Fingers of the angels pointing out the location of Bogotá on the terrestrial sphere.
• - Detail of the Coat of Arms of Colombia.
On January 11, 1953, Monsignor Emilio de Brigard Ortiz, auxiliary bishop of Bogotá, blesses the Tabernacle, Custody and image of the Sacred Heart,[7] and on June 14 of the same year it was consecrated by Bishop Pedro Grau Arola"),[94] Vicar Apostolic of Quibdó and who received his episcopal consecration on May 31, 1953 in the temple of the National Vote.[166].
Currently this altar and main altarpiece is as it was installed by the Casa Granda, except for the coat of arms of Colombia, which is a movable piece that was stolen years ago and was replaced by the current shield, which is made of plaster.[167].
Due to the provisions emanating from the Second Vatican Council, which ended in 1965, the presbytery had to be adapted, for which a new main altar was installed in the presbytery independent of the main altarpiece, in order to celebrate mass facing the parishioners.
The presbytery is located in the final area of the longitudinal nave, in the space that includes the transept and the apse, just below the dome, the transept is the space generated by the intersection of the longitudinal nave and the transept. The presbytery is elevated by three steps from the rest of the temple and framed by the four pillars. It is enclosed from the general public by a bronze communion railing. In the presbytery there is the main altar, the main altarpiece with the image of Jesus, two ambos, two credenzas on which two large statues of angels rest.[168].
The image of Jesus seated is the central sculpture of the entire temple, it is made of polychrome and gilded plaster with wooden appliqués and the disk in the background is made of gilded and enameled bronze. This sculpture exaggerates the anatomical proportions to generate an effect of grandeur on the viewer. The caryatids that support the ancient altar table and the bases of the angels are in gilded plaster. The communion railing is made of gilded bronze, as are the decorations on the door and the top of the tabernacle, which combine this technique with enamel (cloisoné). The appliqués on the shaft of the pilasters are made of patinated bronze "Patina (copper)") (black). The ambos are made of pink marble with gilt bronze appliqués.[168].
The 16 side chapels indicate 14 episcopal sees that existed at the time of the consecration of the temple, three archdioceses: Cartagena, Popayán and Medellín; and 11 dioceses: Jericó, Cali, Ibagué, Garzón, Manizales, Socorro, Santa Marta, Pamplona, Pasto, Antioquia and Tunja (although currently some dioceses are already archdioceses); Additionally, two chapels were included for Panama (which at that time was no longer part of Colombia) and the National Police.[169].
In one of his stories, Fr. José Payas indicates what was the criterion that was carried out for the distribution of the images in the chapels:
In general terms, the altarpieces in the chapels have the following construction stages:[169].
• - The altarpieces of the 16 chapels of the church, before 1913, had as initial pieces tables with columns carved in non-polychrome stone.
• - the altarpieces of the Manizales Chapel and the Antioquia Chapel have stone basements that were carved in 1913.
• - the altarpieces of the Cali Chapel, Socorrro Chapel and the Santa Marta Chapel have sotabans made of colored marble by Italian Marble Shop, between 1916 and 1920.
• - the altarpieces of the Jericó Chapel and the Medellín Chapel have bodies made by Italian Marmolería in colored marbles, between 1916 and 1920.
• - the altarpieces of the Panama Chapel, Cali Chapel, Ibagué Chapel, Garzón Chapel, Manizales Chapel, Socorro Chapel, Tunja Chapel, Antioquia Chapel, Pasto Chapel, Pamplona Chapel and Santa Marta Chapel have bodies that were made in polychrome wood by the master Eugenio Vargas, between 1916 and 1919.
• - the altarpieces of the Cartagena chapel and the National Police chapel were remodeled in colored marble and bronze pieces in 1954 by the Talleres de Arte Granda.
• - Initially the niches of the altarpieces were not deep, so the sculptures were located in the intrados of each altarpiece, but in 1956 the fourteen niches of the side chapels were rebuilt and expanded in more durable material.
Now the historical information is shown, in a more detailed and individual way for the different altarpieces for which documentation was found.
The first elements that adorned the 16 chapels from the first decade of the construction of the church were the altar table and its stone columns, but without any altarpiece,[167] as mentioned in one of the chronicles by the priest. Martín Jové from 1913: «The chapels, today small side naves formed by walls closed all the way down, with only a table...».[44].
The oldest known image of the altarpieces is a photograph of the Pasto chapel, which was consecrated on September 23, 1916, published in the serial publication of El Gráfico of that same month. In this photograph you can see the stone table that still exists and as well as the arches that allow people to move between the chapels.[169].
In the following years the construction of all the other altarpieces continued. However, in June 1919 it was noted that:
A series of photographs published in various printed media in different years allows us to analyze that the altarpieces did not initially have a deep niche as they do today. For example, in one of the photographs from 1920, the altarpiece of the Medellín chapel had a flat window instead of the current deep niches, this window was the initial structure that preceded the current niches.[171] This altarpiece is currently preserved with all the pieces and structure, except for the current niche. This allows us to understand the initial way in which the sculptures were located in the intrados of each altarpiece, without the current deep niche.
However, another photograph published in 1922 of the altarpiece of the Tunja chapel that houses the sculptural group of the Crucifixion, clearly shows a shallow niche, presenting a shallow vault very close to the cross, indicating that some altarpieces had a small initial niche that began from the intrados of the semicircular arch, where the sculptures were located.[171].
Another altarpiece about which there is information is that of the Cali chapel. In 1919 "the sculptural group of the Assumption arrived at the Cali chapel"[77] and its altar made by Marmolería Italiana and by the master Eugenio Vargas had a cost of 3000 pesos,[10] of which there is a photograph taken in 1948 in which it can be seen that the sculpture is still located in the intrados, exactly on the edge. The windows or structure of the current deep niche are not yet visible, which may mean that the current niches had not yet been placed for that year.[171].
There is no specific information about the remaining side altarpieces, however it is known that their completion spanned several years since in 1922 bazaars continued to be made "For the benefit of the temple of the Sacred Heart of Jesus (...) and the completion of some altars."[172] Fr. José Payas recounts the evolution of the church, which goes from 1912 to 1941, in which he indicates that the completion of the altarpieces lasted until the end of the 1920s:[171].
The altarpieces of the chapels of Cartagena and the National Police are the most recent, which were made of colored marble and bronze pieces by the "Talleres de Arte Granda" in Madrid, installed in 1954 by technicians who arrived from Spain, consecrated in 1963 by Fr. Jorge Restrepo (parish priest) and blessed by Mons. Pedro Grau Arola.[173] Originally the chapel of Cartagena would house the sculpture "of the Heart of Mary" and that of the National Police that of "of San José", this would clarify the differences between these two altarpieces with the remaining 14, since they are the only ones that have work in bronze and have the characteristic symbols of both characters under the altar table. The anagram of Mary and the Flowering Rod of Saint Joseph.[174] Both altarpieces were designed taking into account both the form and the materials; However, the Cartagena altarpiece is less tall than that of the National Police, which is why it is likely that they resorted to mural painting imitating the finish of the other altarpiece to have the appearance of the same finish, since the Cartagena altarpiece is not completely finished in marble.[174].
It is noteworthy that today the sculptures located in these altarpieces are the Virgin of Fátima in the Chapel of Cartagena and the Virgin of Carmen in the chapel of the National Police. This could be explained by the lower height of the niches of these two chapels in relation to the larger size of the sculptures of the Heart of Mary and Saint Joseph, a reason that would possibly explain the need to find a new place for these two images, for which two spaces were adapted consisting of arches that are located in the south and north arms of the transept, right on the sides of the presbytery, in which two niches were created, each with its marble altar table. In the south niche there is the sculpture of the Heart of Mary and in the north niche there is the sculpture of Saint Joseph.[174].
Finally, in 1956 the fourteen niches of the side altars were rebuilt and expanded in more durable material, just as they are today.[101].
They are the chapels that are on the left, as you look at the altar. They are the following.
• - Chapels on the south side (gospel side).
• - Tunja.
• - Antioch.
• - Grass.
• - Pamplona.
• - Santa Marta.
• - Medellin.
• - Popayán.
• - Cartagena.
They are the chapels that are on the right, as you look at the altar. They are the following:
• - Chapels on the north side (epistle side).
• - Help.
• - Manizales.
• - Garzón.
• - Ibagué.
• - Cali.
• - Jericho.
• - Panama.
• - National Police.
This coat of arms of Colombia is the central element in the decoration of the façade, not only because of its literal location in the center of the second body, but on a symbolic level because it represents the Colombian homeland, consecrated to the Sacred Heart of Jesus, the objective and maximum act that Archbishop Bernardo Herrera Restrepo proposes with the National Vote.[195].
The set of Catholic symbols, such as the four American saints, complement the message when framing this shield. Below and in a more discreet way, there is a medallion of Constantine Augustus (Flavius Valerius Constantinus), who was Roman emperor and the first to give freedom of worship to Christianity.[195] The image of Constantine is a direct allegory to the union of politics and religion, which thus reinforces the language of the entire complex.[195].
Of this group, the ecclesiastical shields also stand out, which are a decorative exaltation to honor the memory of the promoters and builders of the temple. Towards the south side, there is the episcopal shield of Archbishop Bernardo Herrera, author of the pastoral of the National Vow, indicating his important role in the conceptualization of the temple and his personal decision to execute it. On the north side is the shield of the Claretians, a religious order that is in charge of the construction of the temple, and currently guards it. At the top, where the third body begins, is the shield of Pope Benedict
Finally, there are the decorative elements attached to the façade such as the moldings and capitals. The author of the carvings of these elements is unknown, although it is possible that they were also the work of the D'Achiardi workshop, especially the capitals due to the characteristics of the materials, since these are made of cement and plaster with a stone-like finish.[6] This façade was the one that Fr. Pueyo designed with the help of maestro Acevedo Bernal.
The central door of the façade is decorated with cast bronze pieces. On each leaf of the central door there are 12 panels "Cuarterón (carpentry)") of equal proportions, framed by a simple molding with a gold finish, in the center of each one is a trefoiled cross "Cross (heraldry)") with equal arms. In the corners of each panel there is a fleur-de-lis containing the word PAX, peace in Latin. These fleurs-de-lis are placed in such a way that they point to the trefoil cross, indicating that peace is in Christ, as indicated by several references in the Bible such as the Gospel of John (14, 27-31), when Jesus says: "I leave you peace, my peace I give you."[198].
In the combs that separate the quarters there are interspersed open pomegranates in which you can see their red grains and radiant 5-pointed stars (associated with the military world). Additionally, among the upper combs are the coat of arms of Colombia (north leaf) and a mantle with a royal crown (south leaf) that contains a flaming heart wrapped with a crown of thorns surrounded with olive branches.[198].
The pomegranate is a fruit that is found in the coat of arms of Colombia and in that of Bogotá, it is also a reference to the New Granada (old name of Colombia).[198] In heraldry, the pomegranate is a symbol of concord and unity.[199] Through all these decorative elements a clear political-religious content can be read in accordance with the language of the entire temple.[198].
Although there are no direct references to these decorative pieces, the possibility is raised that they are part of the initial design of the facade, it is deduced from the old photos in which these pieces are seen. Even so, the author of these elements is unknown, or if they were designed with the mediation of the master Ricardo Acevedo Bernal or Colombo Ramelli.[198].
Before the restoration of the façade, the sculptures presented serious conservation problems, due on the one hand to the manufacturing technique itself and, on the other, to their prolonged exposure to a contaminated environment due to being located outside.[200].
Of these, the statues of Saint Pedro Claver and Saint Luis Beltrán were the most affected, as they showed cracking and fracturing of the cement, and these cracks also allowed corrosion of the internal metal. For example, the sculpture of San Luis Beltrán had a gap in the central part that generated a cavity that served as a pigeon's nest and that in the medium term could lead to structural failure.[200].
The other two statues, Saint Toribio and Saint Rose of Lima, suffered superficial deterioration, caused by the weather conditions and the deterioration of the pictorial layer. They presented black spots associated with environmental contamination by sulfur dioxide (SO) in conjunction with biological growth and colonization, which were causing green spots, affecting the sculptures and their characteristics.[200].
Something similar happened with the shields and other decorative elements, which apart from the black stains presented an exaggerated amount of accumulated dirt, caused by pigeon droppings.[200].
The iron statue of Jesus showed corrosion and abrasion. In addition, traces of a red layer were found that were part of an anticorrosive coating; it is not known if the state of the work, at that time, was part of an alteration process caused by the environment or if it was subjected to an inadequate cleaning process that eliminated the original patinas or coatings. The memoirs of the Claretians mention that the image, apparently imported from Germany, is a "gilt bronze", so it is possible that gilding was its original color.[201] The central door had dirt, graffiti and multiple missing pieces of bronze due to theft and vandalism.[198] For example, the cloak-shaped piece containing the flaming heart is slightly raised at the bottom due to an attempted robbery in which they attempted to tear it from the door.
The sculptures permanently exhibited inside the temple are an important example of the imagery of the century, which were brought from different parts of Europe, especially Spain and Portugal, an origin that is indicated in marks or signatures inscribed on each of these works. This sculptural collection that is preserved today in the basilica is the result of the management of the Claretian priests and several donors who contacted prominent artistic houses or importers of artistic works from Europe to Bogotá.[202].
According to the historical records that are still preserved, several sculptures were contracted in 1919 directly by the priest Pueyo de Val with the businessman José Candela Albert,[n. 15] from the city of Valencia, Spain: the Crucifixion, that of Carmen, that of the presentation of the child Jesus and that of the Angustias.[10] These works were carried out thanks to the collection of silver elements donated by the parishioners, which was organized in the Temple and with which the businessman was paid.[10].
Mostly, the businessman Candela's Workshop made his sculptures in carved and polychrome wood, flaked and with glass eyes. In some works, those that have been least intervened, the following inscription can be seen: «Ornament Factory. Sculpture workshops. José Candela Albert. Santo Tomás 18 Valencia, Spain»; and are currently located in the chapels of Tunja, Manizales, Medellín and Garzón. The sculpture of the Virgin of Sorrows or Sorrows appears in several publications of the time and in photographs of Holy Week processions.[202].
Likewise, Fr. In that same year (1919), Martín Jové commissioned the "Casa Rius" in Barcelona,[n. 16] Spain, other images which were: those of the Heart of Mary, Saint Joseph and Perpetual Help, and which cost 3,000 pesos. pbro. Jové, who paid 1,500 pesos for it.[10] The complex was blessed on July 12, 1919 by Mons. Antonio María Pueyo.[204].
A few years later the images of San Joaquín and Santa Ana would arrive, also made by Casa Ríus and also paid for by the priest. Jové.[10] The sculptures made by Casa Rius are marked with the signature of the different artists who made them and with the corresponding date.[205].
The image of the Resurrection was acquired in one of the shops in Bogotá, which was originally ordered by one of the towns of the diocese, but since it was too large, they did not wish to receive it.[10] The images of San Antonio and San Francisco de Paula were also acquired by the priest. Jové, which are from the "Taller El Arte Cristiano" in the city of Olot, one of the most prominent religious imagery workshops in Spain.[10] [n. 17].
In 1930 the temple purchased "two beautiful images, that of the Birth and that of Saint Therese",[79] both made of polychrome wood, leafed and with glass eyes, from the Casa Rius.[206].
Years later, in 1960, a sculptural shipment arrived from Spain consisting of two large carved angels (which currently accompany the main altarpiece) and "a gigantic image of the Blessed Miraculous Virgin",[105] (which is currently located in the chapel of Antioquia) and were made by the "Talleres de Arte Granda" of Madrid,[105][n. 20] one of the most prominent artistic workshops in Spain.
The angels, almost 2 meters high, are in a modern baroque style, are made of carved wood, were donated by the lawyer Álvaro Fonnegra and premiered on August 21, 1960. overhang of a micro altar, tabernacles with gilt bronze veneers and stripes of blue enamels.
The enormous image of the Virgin of the Miraculous Medal is made of carved and polychrome wood, with glass eyes and gold leaf. It was blessed on September 17 of the same year (1960) by the then bishop of Santa Fe de Antioquia. Guillermo Escobar Vélez.[105].
In the warehouse next to the sacristy, the images used to be displayed on certain dates of the liturgical year are stored. Among the most notable sculptures located in said facility is the image of the Sacred Heart of Jesus, made of carved and polychrome wood and appears signed and dated 1919, from the Ríus Workshop in Barcelona.[9] The aforementioned image was the second image of the Sacred Heart that the basilica had and which presided over the temple from the main altarpiece. This image was part of the sculptural ensemble of the Holy Family, which was located from 1919 to 1952 in the presbytery, in such a way that the Sacred Heart was located in the main altarpiece, and next to it, on the right, was the statue of the Virgin Mary (under the invocation of the Immaculate Heart), and on the left, Saint Joseph (these images are currently located in the side niches of the transept).[9].
The other images stored in the warehouse make up three groups: the first concerns the steps of Holy Week and the special festivals of the church; The second and third are mangers of different formats and sizes, with cardboard, plaster and textile support on a metal structure.[9].
The large format images that make up the processional steps and one of the mangers were made by the Taller El Arte Cristiano,[n. 17] from Olot, Spain, and made with the material called "cardboard-wood" pulp.[9] [n. 32] These sculptures were imported by order from Spain, in the "Almacén Lourdes" of Mr. Antonio Brando (located behind the cathedral of Bogotá, on Carrera 6), who requested them from the Spanish workshop, according to the tastes of the applicant. There they placed the images on wooden bases with a hexagonal or octagonal shape with two steps and modulated edges, on which the small silver metal plate with inscriptions in black letters that says "Taller El Arte Cristiano" was glued.[9].
This Spanish workshop, which manufactured two dozen sculptures for the basilica, has an artisan tradition from 1880 to the present. The sculptures made of cardboard-wood paste (in reality it is plaster reinforced with textile fibers) have the affirmative concession by the Sacred Congregation of rites and indulgences, therefore, being considered noble and venerable material, as stated in the decree of April 1, 1887 issued by said congregation.[9].
Another outstanding sculpture is the image of the Recumbent Christ made of carved, polychrome wood with glass eyes and which, together with his tomb, were made by the Candela Workshop. These works remain stored almost all year round in the Sacristy deposit, but during Holy Week they are exhibited in the south arm of the transept of the Temple, next to the High Altar.[202].
In the corners of the exterior of the base of the drum of the dome there are four sculptures of angels (cherubs) with the anagram of the Sacred Heart of Jesus. There is no information about the author of the design or manufacture of these four angels, although due to their location and characteristics, it is known that they were part of the construction project of the dome and the transept that ended in 1938.[207].
Each sculpture is a head that protrudes from the top of a pointed shield that contains the anagram of the Sacred Heart. Two wings unfold on the sides of the shield, one on each side. The sculptures were originally made with a cement and sand mortar colored yellow/ocher. Each sculpture has a metal structure inside that supports it.[207].
Before the restoration, the sculptures showed surface erosion caused by weather conditions and also showed cracks and fissures in the cement. They also exhibited black and green spots as a result of environmental pollution and biological colonization.[207].
• - Stained glass windows on the south side (gospel side).
• - San Anselmo, century (Tunja).
• - Saint Bernard, century (Antioquia).
• - San Fernando, century and Venerable Scotus, century (Pasto).
• - San Vicente Ferrer, century (Pamplona).
• - Saint Francis Xavier, century (Santa Marta).
• - San Francisco Solano, century (Medellín).
• - San Pablo de la Cruz, century and San Antonio María Claret, century (Popayán).
The stained glass windows that are on the right, as you look at the altar. They are the following:
• - Stained glass windows on the north side (epistle side).
• - Saint Odilón of Cluny, century (Socorro).
• - San Eulogio, century (Manizales).
• - San Juan Damasceno, century (Garzón).
• - San Gregorio, century and San Isidoro, century (Ibagué).
• - San Jerónimo, century (Cali).
• - Saint Athanasius, century (Jericho).
• - San Cipriano, century (Panama).
In the high choir "Choir (architecture)") there is a stained glass window of painted glass that faces the main façade and of which the date of manufacture and installation is unknown, however based on photographic records, it is concluded that it was not before 1938, since in said record of those years you can see that closed opening.[210].
But according to the inscription found at the bottom of the stained glass window, it is known that it was made of painted glass, by the "Artistic Stained Glass of Colombia" factory, located in Cali, on Carrera 8. n. 15-46. There is no more information about the factory, apart from its location.[210] The stained glass window has a great chromatic richness, in which Saint Cecilia, patron saint of music, can be seen. She is identified thanks to her attributes that are iconographically represented playing a musical instrument, especially a tubular organ, as can be seen in the stained glass window.[210].
The stained glass window has a structure of flat posts that serve as the main support and that form a grid that divides the stained glass window into nine fields. Within each of these fields, the glass pieces are joined with tin-lead solder.[212].
Before the restoration, the stained glass window of Santa Cecilia was generally in a good state of conservation, although it showed dirt, misalignments and misalignment of pieces, as well as occasional missing pieces of glass that were located at one end and did not alter the scene of the work.[212].
In the south and north arms of the transept there are 6 stained glass windows, 3 on each side, of which there is no record of the date of manufacture and installation, nor of who made them, since they lack any signature on them, however the similarity in colors and brushstrokes suggests that they could have been manufactured by the same house that manufactured the stained glass window in the choir.[210].
Currently these stained glass windows are not complete, fragments are missing, this is due to the bomb explosion against the DAS building that occurred on December 6, 1989, and the one that suffered the most damage was the stained glass window of the north arm.[108] The missing ones were replaced with corrugated colored glass.
In the stained glass windows of the south arm we find the following images: Consolatrix Afflictorum, Regina Mundi and Regina Apostorum (with Saint Anthony Mary Claret). In the stained glass windows of the north arm we have: Immaculate Heart of Mary, Isabel and Francisco, and Legio Marie. This series of stained glass windows show scenes typical of medieval Marian iconography such as the "Consolatrix Afflictorium" or the "Regina Mundi" where Mary is crowned queen of the world and the Catholic Church. These scenes, however, are related to the devotion of Saint Anthony Mary Claret, who was very devoted to the Virgin Mary and founded the Missionary Sons of the Immaculate Heart of Mary, popularly known as Claretians.[213].
Before the restoration, these stained glass windows showed mismatches in the assemblies between the pieces, accumulated dirt such as dust and particulate matter, as well as dirt related to the burning of candles inside the temple. But the main problem that they continue to suffer, even though that area of the temple has already been restored, is the missing glass pieces that interrupt the visual fabric, making it difficult to read the scenes.[213].
The temple has a double dome system, the outer one having a very long drum on which rises a glass dome with the colors of the Colombian flag; and internally there is a dome formed by a stained glass window 9.20 meters in diameter. The exterior dome cannot be considered a stained glass window as such, as it does not have the technical and artistic characteristics that indicate this.
On the other hand, the stained glass window with the shining sun that allegorically represents Christ is an interior dome, which rests on a cylindrical wall, made up of a structure of riveted metal profiles that form twelve semicircular sections and that provide the main support of the stained glass window.[214] Each of these sections is divided in turn with metal plates that run parallel and perpendicular to the main ribs. These elements are linked together by means of screws and nuts. This distribution, by sections, serves as a metal frame to locate the colored glass that makes up the stained glass, which are joined with sheets of lead and fixed with lead and tin solder.[214] There is no information about its author or manufacturer, it is known that the exterior dome was brought from England, and was inaugurated in 1938, which is why it is presumed that the Shining Sun stained glass window corresponds to this moment.
The stained glass window presents a wide palette of yellows, reds, greens and blues, to create the image of a sun with wavy and straight rays, bordered by green waves. Most of these glasses are textured and have different finishes such as hail, rain or hammered. Furthermore, it is a way of playing with the metaphorical idea of Jesus as the light of peace.[216].
Associating Jesus with the sun is something recurring in Christian art. These types of representations are quite primitive and according to Ripa's iconology, they have a Roman origin in the Adventus or festival of arrival of the emperors.[216] In the Bible there are several references that associate or relate Jesus with the sun such as: Jesus shone "bright as the sun" in the episode of the transfiguration (Mt 17, 2). And when the Lord died on the Cross, the Holy Scripture says, the sun was eclipsed (Lk 23, 45). And if Christ is the sun, by extension his disciples must also be, "the righteous will shine like the sun."[217] Likewise, the Gospel of John (8:12) is fundamental to this iconography by quoting Jesus himself when he says: "I am the light of the world."[217] Other sources directly relate the solar representation with the vision of Saint Margaret Mary (known for having received the apparitions of the Sacred Heart of Jesus), who saw a sun born from the heart of Jesus.[216].
Before the restoration, the stained glass window presented serious problems, the frame exhibited plane deformations, missing parts, corrosion with pits and concretions, repainting and a large accumulation of dirt that interfered with the entry of light. The stained glass showed weakening or loss of cañuelas, loss of color, scratches, drips, a high degree of dirt and missing glass.[218].
Its restoration was carried out during the second phase carried out between 2018 and 2020, which included the transept and the domes. The stained glass window was carefully dismantled, the glass that was added in the inadequate interventions it suffered was removed, the plane was recovered, the original fractured glass was put back together, the canes were recovered, and the dirt was removed. After this entire restoration process, the stained glass window recovered its splendor.[218].
On June 22 of the same year (1902), the decision was made concrete through a celebration that began with a Eucharist in the Cathedral in the morning and in the afternoon continued with a procession to the temple under construction, which went down 10th Street and was made up of educational institutions, religious communities, the archbishop, the metropolitan chapter, the municipal (Bogotá), departmental (Cundinamarca), and national governments, together with the National Police and the Army, among others.[12][35][n. 5].
In the Plaza de Los Mártires the poet José María Rivas Groot, appointed by the civil authority, made a speech:
Then the donations were received, for which the sums that those present wanted to donate to help in the work of the temple were registered, through ballots; During registration, the Christian Brothers schools sang in honor of the Sacred Heart of Jesus.[37].
Afterwards they returned along 11th Street to the Cathedral, once there Archbishop Herrera "went up to the pulpit from where he read aloud the formula of consecration of the Republic to the sacred heart of Jesus, a formula that the Hon. Mr. Vice President with the others who were present at such a sublime act", thus leaving Colombia consecrated to the Sacred Heart of Jesus.[12] This date (June 22, 1902) is taken into account as the laying of the first stone of the temple of the National Vow. The war ended five months later.[13].
Furthermore, in that year (1902) Archbishop Herrera, under his immediate presidency, established a Board of ecclesiastics and laymen for the execution of the National Vote.[n. 6] He named it the Central Board of the National Vote and was made up of the following priests and figures of the time: The priests Eulogio Tamayo (canon), Salustiano Gómez Riaño (canon), Luis A. Gamero (S.J.), Lucas A. Toledo (S.J.); and the laymen Rudesindo Castillo, Francisco Mendoza Pérez, José Joaquín Casas, Gabriel Rosas, Aurelio Uribe B. and Rufino Gutiérrez.[38].
In 1903, the archdiocese of Bogotá, as part of the "National Vote" project, decided to buy a portion of land from Belisario Castro.[n. 4] Portion of land that the archdiocese of Bogotá, through Archbishop Bernardo Herrera, purchased for:.
Due to the shape that the façade currently has, it is assumed that the archdiocese must have purchased a section of land of similar dimensions to the south-eastern side of the front, for the same purpose and they probably bought it from Mr. Aristides Rivera who since 1897 was the owner of lot number 2 of the succession of Doña Rosa Calvo.[40] The construction of the temple continued slowly, so much so that the work was almost forgotten, since at the beginning of the following decade it was nothing more than a precarious construction.
In the memory of Fr. Martín Jové, writing in 1943 from Caracas, says: "Father Pueyo, in spite of Mr. Lombana, director of the temple works, opened the solid walls that previously formed a kind of chapels and gave the temple the three-nave aspect that it now has."[49].
For example, around 1912 the façade of the temple was "in the middle of the cornice of the first body", but the current façade was not the one originally designed by the architect Lombana, since Fr. Pueyo refused to execute it, instead, he spoke with the artist Ricardo Acevedo Bernal and he "drawn it according to the Father's wish and it was made as it exists today."[49] By 1913 the façade was finished, but details were still missing in the ornamentation.
To further promote the works of the church, Fr. Pueyo gave a conference on sacred architecture in Bogotá in April 1913, "with the most prominent gentlemen of Bogotá attending, representatives of the government, banking, commerce, lawyers, landowners, etc." [50] Thanks to this conference he later facilitated the formation of the "Board for the completion of the works" of the Temple of the Vow. Also as a result of the conference, monetary aid was provided to the attendees, which lasted for eight months, raising about four hundred pesos each month.[50].
In March 1913, Archbishop Herrera recomposed the Board in charge of the work, for which he appointed the survivors of the first Board and other new members; among them José María González Valencia, who acted as President; and Gerardo Arrubla, Rafael Carvajal and Manuel José Marroquín. The pbro. Pueyo was also a member of the Board. The purpose of said Board was stated as follows: "With the Temple about to be completed and seeing it already very crowded with the faithful, our Most Reverend Prelate wishes that this Board be in charge of organizing worship and prayers for peace, the main goal and object of the National Vote." To achieve this, two means are proposed: first, the establishment of a Confraternity in the church, which worships the Sacred Heart; and second, an annual celebration, called the National Vote Festival, as a novena, for 9 years, in which it would rotate through the different dioceses of the country.[51] The date was assigned for the Sunday following July 20. It was Bogotá's turn in 1914 and 1923.
Between 1912 and 1913, various activities were carried out to raise funds to speed up the works. Although unfinished, a daily religious ceremony took place in the church. For example, in Holy Week 1913, Holy Thursday was held there: "on Thursday at 12, the sermon of the Seven Words will be given by the Reverend Father Antonio Puenjo (sic)."[52] There is also a reference to the Mass of Fr. Campoamor in May 1913:.
In June of the same year, the Central Board for the completion of the temple of the National Vow invites merchants to contribute to the completion of the temple, through a letter addressed to the director of the newspaper El Tiempo "El Tiempo (Colombia)").
Another way of raising funds for the work was also advertised in said newspaper, in August 1913: «Tonight at the Teatro del Bosque, there will be a splendid cinematograph performance, to benefit the Temple of the Heart of Jesus. There is great enthusiasm for attending this function.
In that same year, on September 12 (1913), a ceremony was planned to be held, including a procession, to bless and install the statue of Jesus Christ at the top of the temple façade, which would mark the formal completion of the stone façade in its three bodies,[n. 12] but the statue was delayed on its trip along the Magdalena River, even so the river companies assured that it would arrive on time. Unfortunately, it did not arrive on the day of the ceremony, so they were going to use a borrowed statue of Saint Joseph in its place, but when the ceremony was going to begin a heavy downpour broke out that diluted the parade and it had to be postponed until December 8 of that year, the date on which the statue of Jesus had already arrived, which was finally blessed and installed with all the pomp that had been planned.[59].
Five years later, in Pasto, Fr. Pueyo de Val would publish his first Pastoral, in which he mentions said sculpture of the temple of the National Vote:.
Between 1914 and 1915, the four statues of the American saints were installed on the façade of the temple: San Toribio, San Luis Bertrán, San Pedro Claver and Santa Rosa de Lima.[49] The author was the Argentine sculptor Juan C. Atehortúa, a graduate of the National School of Fine Arts.[62].
In 1916, the 16 stained glass windows in the side chapels were completed, which began to be installed in 1915. These were designed by the painter Ricardo Acevedo Bernal and executed by the Maumejean Artistic Stained Glass House in Spain.[8].
On September 24, 1916, the temple was consecrated. This date was chosen because it was the anniversary of the episcopal weddings of Archbishop Herrera and because it coincided with the arrival in Bogotá of the prelates of the Republic summoned to Conference. On the eve, an improvised chapel was established in the house of Don Belisario Castro, a resident of the temple, in which the holy relics destined to be placed in the tombs of the altars were deposited. [63] Solemn vespers were sung there on the 23rd and they remained veiled all night. Meanwhile, there was activity in the temple, dismantling the last scaffolding that still remained, finishing certain decoration touches and at night giving the final coat of cleaning, work carried out by very distinguished ladies of the capital.[63].
The ceremony was carried out with total solemnity:
Once the consecration was over, a mass was celebrated in which Nuncio Enrico Gasparri officiated.[63] Afterwards, Brother Atanasio Vicente Soler y Royo, Apostolic Vicar of La Guajira, ascended to the pulpit, gave a speech and the vote of consecration of the Republic of Colombia to the Sacred Heart was read.[63] After the religious ceremony, Fr. Pueyo de Val gave a banquet.[63] It should be noted that the temple of the Vow was not yet completely finished, it had many details left to finish, for example in 1916 the pavement was made of simple brick; The side chapels, although they were consecrated that year, were not completely finished.[46].
In 1919, Fr. Pueyo spread the word that he wanted to have an image made in silver; In response, the parishioners made donations of objects in said metal, but at that time the businessman José Candela Albert, owner of the Factory of Ornaments and Sculpture Workshops in Valencia, Spain, toured Bogotá,[n. 15] who meets with Fr. Pueyo, who then changes his mind regarding the silver image and makes a contract with Mr. Candela for different images and as a form of payment he gives him the collected silver. After a season, the Crucifixion group, the Carmen group, the Presentation group, the Anguish group, and one or two simple images arrived from Valencia, Spain. The latter were not to people's taste and were sold.[10].
Likewise, Fr. Martín Jové commissions the “Casa Rius” of Barcelona,[n. 16] Spain, other images, which were: those of the Heart of Mary, Saint Joseph and Perpetual Help. From the same house is the sculptural group of the Assumption, currently located in the Cali chapel, which arrived in 1919, and also commissioned by Fr. Jové, who paid 1,500 pesos.[10] Some years later the images of San Joaquín and Santa Ana would arrive from the Rius house and also paid for by the priest. Jové.[10] The image of the Resurrection was bought in a store in Bogotá, which was commissioned by one of the towns of the diocese and seeing it so large they did not want to receive it.[10] In 1926 the altar of the diocese of Medellín was already complete with a marble altarpiece; The one from Tunja and Garzón "Garzón (Huila)") was also completed.[46].
The images of San Antonio and San Francisco de Paula were also obtained by the priest. Jové and made by the “El Arte Cristiano” workshop in the city of Olot, Spain.[10] [n. 17] The images of Santa Zita and Santa Teresita, there are no records of how they were obtained. Perhaps this last one from the time of Fr. Desantiago The images of Saint Louis and Saint Elizabeth were obtained urgently by the priest. Pueyo, when there were no images in the temple of the Vow.[10].
Between 1917 and 1920, the painter Ricardo Acevedo Bernal created 10 paintings, of which 8 are of large proportions and are located on the ceiling of the central nave. The artistic request was the initiative of Fr. Pueyo de Val and cost 4000 pesos.[8] In 1919, Fr. Villarroya founded the "El Voto Nacional Magazine" that began to circulate in March of that year, and in his advertisements he reported that it operated in the "Casa de los Misioneros (Temple del Voto), 10th Street, 330." And it is also reported on the "shortage of work elements" in the work of the temple and the rush to advance due to the Marian Congress, which would be held that same year.[72] In addition, in that year (1919) the new pavement of the temple was installed composed of pigmented cement tiles (also known as artisanal hydraulic tile) made by the "Company of Hydraulic Mosaics" (Mosaicos Tobón).[73].
The temple was consecrated using the western end of the property donated by Mrs. Rosa Calvo as a presbytery, but between 1925 and 1927 Fr. Villarroya manages to acquire for 28,000 pesos the fractions of land necessary to extend the available area and thus build the transept that currently exists, and the dome in its transept.[74].
The expansion work was carried out by the Dutch architect Antonio Stoute.[n. 1] The expansion project included a long apse, with an ambulatory and a large chapel reserved diagonally, but unfortunately it was not possible to acquire all the required land, so the project had to be adapted to the properties that were managed to be obtained.[75].
In addition, the work also included the expansion of the crypts. Below the alley on the south side were ossuaries. But the new project involved building new crypts beneath the entire transept. Work concerning the transept began in 1927.[75].
The project was sponsored simultaneously with contributions from the Government and donations from the general public. As compensation, different privileges were offered depending on the amount of donations: from a Eucharist on the first Friday of each month, to a niche in the crypt and masses during the first ten anniversaries of the donor's death.[75].
On the occasion of the commemoration of the 25 years of peace, Law 33 was issued, of October 20, 1927, which ordered the completion of the temple and a contribution from the public treasury of two thousand pesos per month until the dome was completed.
In 1927, electric lighting was installed inside the temple to illuminate the arches and cornices;[77] on the façade, the eight large Corinthian capitals that were missing from the columns at the bottom were placed; other stones and cornices that were still in the rough were carved, with a value of 3,500 pesos.[8].
On January 2, 1928, Archbishop Bernardo Herrera Restrepo died, and he was automatically replaced by his coadjutor Ismael Perdomo Borrero, who continued to support the works of the temple.[78].
In 1930, two images were purchased, of the Nativity and of Saint Therese, also made by the Rius house.[79].
In 1931, three new bells (known as the minor ones) arrived from Germany, made of bronze by Mefecerunt Franzfelillingsöhne Auolda Germania. and in 1933 the iron frame of the dome arrived from England, which cost 19,000 pesos to install.[74] The heavy 3,000 pieces of yellow, blue, and red glass cost 11,000 pesos.[74].
In 1932, the current tubular organ arrived from Spain, which is solemnly blessed on August 7, cost 15,000 pesos and was built by the organ house Nuestra Señora de Begoña, Bilbao, by Juan Dourte.[n. 18].
On February 25, 1934, Antonio María Claret was beatified, and since 1936 the novena of Blessed Claret was spread with great success, which increased his devotees in the country, many of them making pilgrimages to the temple to express their faith. And between 1936 and 1940 communions went from 160,000 to 340,000.
The pbro. In August 1936, Pedro Díaz processed the construction license for the dome with the Municipal Public Works Secretariat, whose work had been suspended due to not having the required permit. Then, in September of that year, the license was granted, in which Antonio Stoute appears as the director architect.[81].
In 1938, Colombians were urged to "work with enthusiasm for the Heart of Jesus" so that "in the next celebration of the IV Centennial of Bogotá, the Temple of the National Vow will be one of the religious monuments that Bogotá can present."[82] Previously, in January, the Circular had been issued on the work of the votive temple of the Sacred Heart of Jesus, in which it stated that the dome and the altar needed to be finished:
In 1938 the first shipment of a thousand glasses arrived. On the occasion of the inauguration of the dome, in celebration of the fourth centenary of the founding of the Colombian capital, the municipality of Bogotá presents the temple with the tower clock,[84] which was made by the German house J. F. Weule;[n. 19] This is ratified in Agreement 35 of the City Council, with which "authorizations are given to the executive to make the transfers required by the purchase of a clock for the temple of the National Vote." After installation, it was possible to synchronize it with the temple bells and with a two-meter-high image of the Sacred Heart of Jesus installed on a small platform, which, like a cuckoo, comes out to indicate 7 in the morning, 12 noon and 6 in the afternoon.[85].
On May 26, 1938, the large monstrance "Custody (liturgy)") made of bronze that tops the exterior dome was installed and blessed. The blessing was carried out by Archbishop Perdomo.[86].
Finally, on August 21, 1938, the transept, dome and clock of the tower were blessed and inaugurated by Archbishop Ismael Perdomo with pontifical mass and a procession of the Blessed Sacrament through the park, which was followed by the renewal of the vow made in person by the archbishop.[84] The celebration of the four hundred years of the founding of the city was the opportunity to present the new works of the temple of the National Vote. Its presbytery and the transept with the altar had, in front of curtains, an image of the Sacred Heart of Jesus, of more modest proportions than the current one. The glass dome with the Colombian flag, illuminated at more than 55 meters high, stood out in the city's urban landscape.[87].
At that moment of splendor, the temple had a great religious activity, which included great activities in the sector due to the processions and devotions of various associations and brotherhoods, among which the following stood out: 1) the devotion to the Immaculate Heart of Mary, whose processions passed through the streets near the temple; 2) to complement, the home visit of the Heart of Mary, which included "19 urns with the image" and visited more than 500 Bogotá homes; 3) since 1919 Eucharistic Thursdays were held, which in 1927 was noted as the most flourishing religious festival in the city; 4) the association of Saint Zita, made up of about eight hundred servants who celebrated the Patron Saint "and paraded through the temple to place a kiss on the Saint's hand"; 5) from 1915 to 1932, the Heart of Jesus wardrobe operated, a group of ladies who met in the church on Wednesdays to pray and to arrange sacred ornaments; 6) and the Aguja union, of an educational nature for young people.[88].
On June 20 of that year (1952), the first fifty years of the National Vote were commemorated, which began to be celebrated the day before, with an expiatory nocturnal adoration, midnight mass and a massive torchlight parade, which started from Plaza España to Plaza de Los Mártires. Afterwards, the president of the republic went to the stands to kneel there to renew his vote.[99].
That same year (1952) the Altar of the Heart of Jesus arrived from Spain in 224 boxes and the priest received them. Bahillo, parish priest.[94] In two years the Casa Granda in Madrid executed the commission and sent it to Bogotá "but not before exhibiting the monument in its workshops in Madrid where artists, priests, prelates, [ ] historians [ ] passed by, admiring the work of art that our capital was going to show off in its temple of the Vow." The Casa Granda sent three technicians for the installation, one in charge of the marble section, the second chief master of the bronze workshops and the third master in cabinetmaking and carving, and the assembly was carried out in 40 days.[94] On January 11, 1953, the blessing of the tabernacle, the monstrance and the image of the Sacred Heart took place.[94] In 1954 four gigantic crystal chandeliers "Araña" arrived from Spain. (lamp)") also made by the Casa Granda.[100].
In 1956, improvements continued to the temple and the Missionaries' House on 10th Street. The library was expanded, the rooms were equipped and the furniture was improved. Other improvement works were carried out in the sacristy and the apse, such as the closure of "two arches that damaged the perspective of the sumptuous monument to the Heart of Jesus."[101] The chapel of San Antonio Claret was painted, improvements were made to the crypt to protect it from leaks and repairs to the roof. Repairs were made to the dome, which had been damaged since the riots of 1948, and 18 windows were opened at the top of the side walls of the longitudinal nave to increase the lighting of the nave.[101] In addition, investments were made in the acquisition of carpets, candlesticks, bronze lamps, and in the repair of the Holy Christ at the exit of the temple. Also, louder microphones and speakers were installed, and the fourteen niches in the side chapels were rebuilt in more durable material.[101].
The Los Mártires sector was affected by the violence and looting of April 9, 1948, and adding the transfer of the market to the nearby Plaza España "Plaza España (Bogotá)") in 1956, generated the arrival of crime to the sector and led to the flight of traditional residents and the disappearance of religious associations, such as that of Eucharistic Thursdays.[102] Over the years the old houses became tenements and hotels where travelers sought fleeting encounters (becoming a zone of tolerance), as well as in merchandise warehouses or shops. However, the prestige of the parish persisted; For example, in that year (1956) 68 missions, 2,555 baptisms, 450 marriages, 258,600 communions within the temple and 150 funerals were carried out;[102] and in 1962 it was the second parish in Bogotá with the highest number of baptisms (3,616), and was highly esteemed for marriages of inhabitants of the city and the nearby region. (418 marriages). In that same year, 198 funerals were held there.[103].
Starting in June 1956 and for 15 months, the right arm of Saint Anthony Mary Claret toured the nation on a missionary pilgrimage. On June 7 he arrived in Bogotá, he was welcomed in the temple of the National Vote and on June 8, in the afternoon, the President of the Republic, General Rojas Pinilla, renewed his vote, accompanied by the full government. Then, caravans of pilgrims arrived and kissed the relic.[104].
The houses to the south of the temple, located in front of the Plaza de Los Mártires that had been acquired in 1950, 1951 and 1952, began to be demolished in 1956 to build a modern five-story building for the Claretian community, which would house what is currently known as El Filosofado. On March 24, 1957, the first stone was blessed, and in 1961 it was inaugurated, with the celebration of the Provincial Elections Chapter.[105][n. 22].
In 1960, on the occasion of the celebration of the Sesquicentennial of Independence, improvement works were carried out in the Plaza de Los Mártires, which had been fragmented since the opening of Caracas Avenue; The parking lot that it had become was eliminated, and the obelisk was centralized in the largest fragment of the square and protected with an iron fence, trees were planted, new public lighting was installed and paths were built. The square was reopened on July 17 of that year.[106].
In that year (1960), Fr. Miguel Rodríguez began several improvement works in the temple, such as the internal decoration, the painting of walls and arches and the expansion of the crypt with 2,900 ossuaries.[107] In that same year (1960), a shipment arrived from Madrid from the "Talleres de Arte Granda" which are:[n. 20] two sculptures of angels carrying candelabras, almost 2 meters high, were premiered on August 21 of that year, they were donated by Mr. Álvaro Fonnegra and each sculpture cost 2,000 dollars including the structure on which they are mounted.[105] And a sculpture of the Miraculous Virgin, which is currently located in the chapel of Antioquia.[105] In that same year (1960) the Claretiano School, which operated in the building on 10th Street until 1968, when it was transferred to Bosa "Bosa (Bogotá)") and most of said property was sold, preserving only the innermost part of the property that was used for the sacristy. In 1961 two large bells (known as the largest) arrived from Spain, manufactured in June of that year in the Portilla Brothers workshop, in the city of Santander "Santander (Spain)").[80].
In the parish period of Fr. Mariano Izquierdo (1962-1965) dismantled the stained glass of the exterior dome, which suffered perforations from gunshots on April 9, 1948, which was generating water leaks and causing damage to the temple. Therefore, the decision was made to replace the dome's glass with a concrete membrane. Some pieces of glass remained in the structure of the temple, a few others remained in the current priest's house and others were sent to the church that was being built in the Class neighborhood,[n. 23] and was named "Suffering Christ".[108] In 1964 the Claretine Community bought a property that borders the north side of the temple on which a two-story house was built to use it as a priestly house. On August 22, 1963, the altar of the Heart of Mary was blessed, made of bronze and marble and also made in the Granda workshops in Madrid.[109].
It was the initiative of Fr. Guillermo Rozo, parish priest of the Basilica of the Heart of Mary in Rome, to request the title of Minor Basilica for the Temple of the National Vow. The proposal was accepted by the archbishop of Bogotá, Cardinal Luis Concha Córdoba, which led Pope Paul VI to elevate the temple to the dignity of Minor Basilica through the brief of February 14, 1964 and it was proclaimed a Minor Basilica in a pontifical mass celebrated by Cardinal Concha on June 5 of the same year.[108]
In the parish period of Fr. Jorge Palacios (1966-1969) saw other notable changes, such as the sale of the property of the Casa de los Misioneros and the construction of the current priest's house.[110] Between the temple and the priest's house there was no internal access that connected both buildings, so it was necessary to go out to the street to go from one building to another. Due to this inconvenience, around the early years of the seventies, the door that currently exists and communicates to both was opened. buildings. Part of the property that remained on 10th Street, where the sacristy is currently located, whose door that connects with the rest of the temple dates back to the 1950s.[108] The various communications that existed between the sold property and the church were closed, due to the frequent thefts that occurred in the temple.[110].
In 1971, by decision of Cardinal Concha, the Te Deum ceremony stopped taking place in the National Vote and began to be celebrated in the Cathedral of Bogotá, due to the social and urban deterioration suffered by the area around the basilica.[5] This was a hard blow that further accentuated the decline of the preeminence of the temple for the city and the nation, entering further into oblivion.
On the occasion of the commemoration of the 75 years of the Claretians in the National Vote, their then parish priest, Fr. Rafael María Cuéllar planned a Thanksgiving to the Sacred Heart of Jesus between May 30 and June 2, 1987, gathering a large number of parishioners in the Plaza de Los Mártires and carrying out a procession of the Blessed Sacrament at the altars of the participating parishes. The priest began, for this commemoration, the repaving of the church.[111] The stained glass windows at the ends of the transept had to be replaced as they suffered serious damage caused by the explosion of the bomb against the DAS building that occurred on December 6, 1989, especially the north stained glass window.[108].
The impacts of time have taken their toll on the building, since, starting in the 1980s, the parish priests have taken steps to repair humidity, water leaks and deterioration in the temple's artistic works. In 1991, the new Political Constitution of Colombia came into force, which established the pluralistic character of the nation and the separation between Church and State, thus ending with the official Consecration of the country to the Sacred Heart, although the ceremony was no longer celebrated in the temple.[110] Later, in 1994 the Constitutional Court declared the law of January 1952 unenforceable.[112][113].
• - Some examples of the state of deterioration of the temple before the restoration.
At the same time, the area around the temple increasingly deteriorated socially and urbanly, insecurity and crime increased drastically. In the eighties, 10th Street, between 15th and 17th Streets, a few meters from the basilica, became a center of drugs and crime that became known as "El Bronx "El Bronx (Bogotá)"), and this phenomenon worsened in 2000, when "El Cartucho", another crime site that was a few blocks "Manzana (urban planning)") from the church, was demolished which moved much of the criminal activity and extreme poverty towards the surroundings of the temple.[114].
The insecurity problems worsened to very dangerous levels, until priest Darío Echeverri González, parish priest of the temple, was robbed several times, even dressed as a priest. The sector itself was already impassable, but as evening fell, it got even worse, a situation that forced the parish to cancel the six o'clock mass (in Colombia it gets dark at 6 p.m.) and the religious took shelter very early in their rooms.[115] The temple was only open during the few masses that were held during the day, at which time some homeless people entered the building, some used it as a latrine and others to steal what they had. they could. With the absence of parishioners, came a lack of resources and the temple had no means to sustain itself financially.[115].
With all this, the basilica was isolated and forgotten, which generated great deterioration in the building, mainly in the façade, the roof and the dome, to such an extent that it threatened to collapse.[17] The cuckoo clock stopped. There were fewer and fewer who dared to enter the temple for fear of the insecurity of the area,[18][19] Gone were the times when the basilica enjoyed great prestige, where baptisms or marriages were highly requested, and then they became less and less, for example at that time approximately 5 marriages were celebrated per year and 10 baptisms per month (before there were 1000 per month). Most of these celebrations took place in the precincts of the priest's house and rarely in the temple.[116].
Priest Darío Echeverri González, parish priest of the temple, upon seeing the serious situation in which the basilica was found, began to make efforts and requests for help from the ecclesiastical and civil authorities.[17] Among the efforts carried out by the parish priest Echeverri, is the request in June 2005 to register the Basilica in the National Registry of Cultural Heritage. In October of the same year, the General Management of the former "La Candelaria Corporation" in Bogotá, requested from the Ministry of Culture of Colombia its declaration of Asset of Cultural Interest of National Character -BIC- (equivalent to the old title of National Monument that is in disuse).[16] All this was so that, being a BIC, its protection and restoration would be guaranteed.
Between 2016 and 2017, the first stage was carried out, which consisted of the restoration of the body of the main façade, which suffered a collapse in its vertical axis of 60 cm, becoming a risk for passers-by. A group of experts was in charge of cleaning the façade, restoring the missing or poor condition elements of the front, such as stone moldings, colored cement moldings, cornices, and other constituent elements of the decoration, in addition to restoring the dome, the roof, the shields and the statue of Jesus on the tower.[121].
Likewise, the sculptures on the façade were dismantled (Santo Toribio, San Luis Bertrán, Santa Rosa de Lima and San Pedro Claver), and were restored in a suitable workshop that was established inside the temple, later they were reassembled in their place. Furthermore, in the choir the mezzanines and the wooden railing were consolidated, the oculi were recovered allowing the passage of natural light.[121].
This stage included the preservation of the property's heritage values and artistic objects, such as the rehabilitation of the clock, stained glass windows, doors, among others. Likewise, the clock tower was consolidated including the wooden structures and its roof. Likewise, and according to the structural project, excavations were carried out around the front walls to carry out structural reinforcements and consolidate the main façade. In general, structural reinforcement, restoration of the façade, counterfaçade, choir, socochoir and humidity treatment works were carried out. In this stage, $3,141,408,345 pesos (approximately one million USD at that time) were invested.[120][122][n. 24].
Then, between 2018 and 2020 (September 11), the second stage was carried out, which consisted of the restoration of the presbytery, transept and dome. Reinforcement and structural stiffening of the foundation, walls and columns of the presbytery, transept and dome were carried out. To structurally reinforce the foundation, it was necessary to exhume 789 ossuaries in the crypt, which were treated with the biosafety protocol by a forensic anthropologist and then reburied.[120][123].
Likewise, the project included the restoration of movable assets such as the stained glass windows of the Resplendent Sun (interior dome), the windows of the north and south arms of the transept, the glass of the rose windows, plasterwork, moldings and cleaning of the sculptures of the presbytery and the arms of the transept. The exterior dome was restored, the concrete membrane was removed and the glass that makes up the Colombian flag (the National tricolor) was restored. To carry out the works at height, a self-supporting scaffolding system was installed, and in order to avoid overloading the existing building and guarantee the stability of the property, the activities were organized into work crews distributed by levels. In this stage, $10,592,000,000 pesos (approx. 3,228,000 USD at that time) were invested.[120][122][n. 25].
For the third and final stage, which had the initial resources and was projected to begin in 2020,[120] but due to the contingency caused by the Covid 19 pandemic, it had to be postponed and said resources were redirected to face said contingency, for this reason this last intervention is on hold and will focus on the structural consolidation of the central nave and the side chapels.[120] It has been calculated that an investment of $25,000 million pesos (approx. 6,786,000 USD at that time), being the most expensive, which is why it is planned to divide it into more phases.[123][n. 26].
In mid-February 2025, the Attorney General's Office "Procuraduría General de la Nación (Colombia)") alerted about the deterioration of the Basilica of the National Vow, as it identified a worrying deterioration in the artistic, sculptural and stained glass elements of the temple. In addition, serious damage was evident to the ceiling of the longitudinal nave, the oil paintings that decorate it, and the structures of the nave and roof. These problems put at risk not only the integrity of the building, but also the safety of those who frequent it.[124].
For this reason, the control entity requested from the District Institute of Cultural Heritage detailed information about the status of the restoration, its future plans and to know the progress of phase 3 of the basilica conservation project. For the same reason he addressed the Directorate of Heritage and Memory of the Ministry of Culture. This alert highlights the urgency of concrete actions to prevent further deterioration of the building, declared cultural and religious heritage.[124].
The presbytery of the temple has changed location twice and the main altar with its altarpiece has changed three times.
The first presbytery that the temple had was the area located between the chapels of the National Police and Cartagena, that is, the western end of the property donated by Mrs. Rosa Calvo. The first altar and main altarpiece with which the temple was consecrated and inaugurated in 1916 was located in said presbytery.
The pbro. José Payás briefly describes this first altarpiece:
This quote indicates that the first main altarpiece is located in the Popayán chapel and the comparison of style and structure with photographs confirms it, in addition said altarpiece is the only one without a peer in the front chapel.[163] The oldest reference that has been found of this first main altarpiece dates from 1916, the date of the consecration of the church. Said altarpiece is made of wood, previously covered with plaster that was polychrome or gilded with a yellow bowl base.[163] Today this first altarpiece is almost completely preserved, missing only two rose windows in the pilasters on the sides.[163] [n. 30].
A new main altarpiece arrived between 1916 and 1919 (the second in the history of the temple), in which the image of the Sacred Heart was venerated, which today is kept in the sacristy deposit, accompanied on the sides by sculptures of the Virgin Mary (under the invocation of the Immaculate Heart), and Saint Joseph, which are currently located in the niches of the south and north arms of the transept.[163].
On August 21, 1938, the extension of the church was inaugurated, which is currently the transept that the building has and with this extension came the new area for the presbytery, this was thanks to the new land acquired between 1925 and 1927. The new area of the presbytery is the area between the current four pillars that support the dome, that is, the transept "Cruise (architecture)"). The second main altarpiece is moved to the new presbytery.[163].
In accordance with the historical documentation and the comparison of style, structure and forms of the photographs of the second main altarpiece, it was possible to determine that it is the same altarpiece that is currently located in the north arm of the transept, in which the image of Saint Anthony Mary Claret is venerated. Said altarpiece is made of wood, previously covered with plaster that was polychrome or gilded with a red bowl base and has several missing pieces.[164].
The third and current main altarpiece, including the current sculpture of the Sacred Heart of Jesus, were designed by the artist Ricardo Acevedo Bernal at the request of the priest. Pueyo and ordered to be made around 1950 at the “Talleres de Arte Granda” in Madrid, Spain by order of the first parish priest of the Temple, Fr. Alfredo Martínez with the help of donations collected by Fr. Ignacio Trujillo. The pbro. Juan Punset, during his visit to Spain in that same year, "formalized in Madrid the contract with the Casa Granda, of the altar of the Heart of Jesus."[7].
The quote below is a meticulous description of the altar, as designed by Acevedo and entrusted to Talleres de Arte Granda:
Finally, in 1952 the altar and main altarpiece of the Vow arrived from Spain, in 224 boxes received by the priest. Jesús Bahillo, parish priest.[94] The assembly was carried out in 40 days, «three technicians came from the Madrid workshops: one in charge of the marble section; the second for the bronze parts; the third as a cabinetmaker and carving master. Therefore, between the floor of the presbytery and the crypt, a foundation and additional structure were made to transmit the loads to the ground, two load-bearing walls were built in an east-west direction and two columns connected by beams, in the spaces left between the walls new ossuaries were installed.[165].
• - Details of the presbytery.
• - View of the tabernacle and the old main altar.
• - Tabernacle.
• - Side view of the old main altar.
• - South Ambon.
• - Balustrade detail.
• - Doors to the communion room.
• - Detail of the communion room.
• - Bronze appliqué on a pillar.
• - Fingers of the angels pointing out the location of Bogotá on the terrestrial sphere.
• - Detail of the Coat of Arms of Colombia.
On January 11, 1953, Monsignor Emilio de Brigard Ortiz, auxiliary bishop of Bogotá, blesses the Tabernacle, Custody and image of the Sacred Heart,[7] and on June 14 of the same year it was consecrated by Bishop Pedro Grau Arola"),[94] Vicar Apostolic of Quibdó and who received his episcopal consecration on May 31, 1953 in the temple of the National Vote.[166].
Currently this altar and main altarpiece is as it was installed by the Casa Granda, except for the coat of arms of Colombia, which is a movable piece that was stolen years ago and was replaced by the current shield, which is made of plaster.[167].
Due to the provisions emanating from the Second Vatican Council, which ended in 1965, the presbytery had to be adapted, for which a new main altar was installed in the presbytery independent of the main altarpiece, in order to celebrate mass facing the parishioners.
The presbytery is located in the final area of the longitudinal nave, in the space that includes the transept and the apse, just below the dome, the transept is the space generated by the intersection of the longitudinal nave and the transept. The presbytery is elevated by three steps from the rest of the temple and framed by the four pillars. It is enclosed from the general public by a bronze communion railing. In the presbytery there is the main altar, the main altarpiece with the image of Jesus, two ambos, two credenzas on which two large statues of angels rest.[168].
The image of Jesus seated is the central sculpture of the entire temple, it is made of polychrome and gilded plaster with wooden appliqués and the disk in the background is made of gilded and enameled bronze. This sculpture exaggerates the anatomical proportions to generate an effect of grandeur on the viewer. The caryatids that support the ancient altar table and the bases of the angels are in gilded plaster. The communion railing is made of gilded bronze, as are the decorations on the door and the top of the tabernacle, which combine this technique with enamel (cloisoné). The appliqués on the shaft of the pilasters are made of patinated bronze "Patina (copper)") (black). The ambos are made of pink marble with gilt bronze appliqués.[168].
The 16 side chapels indicate 14 episcopal sees that existed at the time of the consecration of the temple, three archdioceses: Cartagena, Popayán and Medellín; and 11 dioceses: Jericó, Cali, Ibagué, Garzón, Manizales, Socorro, Santa Marta, Pamplona, Pasto, Antioquia and Tunja (although currently some dioceses are already archdioceses); Additionally, two chapels were included for Panama (which at that time was no longer part of Colombia) and the National Police.[169].
In one of his stories, Fr. José Payas indicates what was the criterion that was carried out for the distribution of the images in the chapels:
In general terms, the altarpieces in the chapels have the following construction stages:[169].
• - The altarpieces of the 16 chapels of the church, before 1913, had as initial pieces tables with columns carved in non-polychrome stone.
• - the altarpieces of the Manizales Chapel and the Antioquia Chapel have stone basements that were carved in 1913.
• - the altarpieces of the Cali Chapel, Socorrro Chapel and the Santa Marta Chapel have sotabans made of colored marble by Italian Marble Shop, between 1916 and 1920.
• - the altarpieces of the Jericó Chapel and the Medellín Chapel have bodies made by Italian Marmolería in colored marbles, between 1916 and 1920.
• - the altarpieces of the Panama Chapel, Cali Chapel, Ibagué Chapel, Garzón Chapel, Manizales Chapel, Socorro Chapel, Tunja Chapel, Antioquia Chapel, Pasto Chapel, Pamplona Chapel and Santa Marta Chapel have bodies that were made in polychrome wood by the master Eugenio Vargas, between 1916 and 1919.
• - the altarpieces of the Cartagena chapel and the National Police chapel were remodeled in colored marble and bronze pieces in 1954 by the Talleres de Arte Granda.
• - Initially the niches of the altarpieces were not deep, so the sculptures were located in the intrados of each altarpiece, but in 1956 the fourteen niches of the side chapels were rebuilt and expanded in more durable material.
Now the historical information is shown, in a more detailed and individual way for the different altarpieces for which documentation was found.
The first elements that adorned the 16 chapels from the first decade of the construction of the church were the altar table and its stone columns, but without any altarpiece,[167] as mentioned in one of the chronicles by the priest. Martín Jové from 1913: «The chapels, today small side naves formed by walls closed all the way down, with only a table...».[44].
The oldest known image of the altarpieces is a photograph of the Pasto chapel, which was consecrated on September 23, 1916, published in the serial publication of El Gráfico of that same month. In this photograph you can see the stone table that still exists and as well as the arches that allow people to move between the chapels.[169].
In the following years the construction of all the other altarpieces continued. However, in June 1919 it was noted that:
A series of photographs published in various printed media in different years allows us to analyze that the altarpieces did not initially have a deep niche as they do today. For example, in one of the photographs from 1920, the altarpiece of the Medellín chapel had a flat window instead of the current deep niches, this window was the initial structure that preceded the current niches.[171] This altarpiece is currently preserved with all the pieces and structure, except for the current niche. This allows us to understand the initial way in which the sculptures were located in the intrados of each altarpiece, without the current deep niche.
However, another photograph published in 1922 of the altarpiece of the Tunja chapel that houses the sculptural group of the Crucifixion, clearly shows a shallow niche, presenting a shallow vault very close to the cross, indicating that some altarpieces had a small initial niche that began from the intrados of the semicircular arch, where the sculptures were located.[171].
Another altarpiece about which there is information is that of the Cali chapel. In 1919 "the sculptural group of the Assumption arrived at the Cali chapel"[77] and its altar made by Marmolería Italiana and by the master Eugenio Vargas had a cost of 3000 pesos,[10] of which there is a photograph taken in 1948 in which it can be seen that the sculpture is still located in the intrados, exactly on the edge. The windows or structure of the current deep niche are not yet visible, which may mean that the current niches had not yet been placed for that year.[171].
There is no specific information about the remaining side altarpieces, however it is known that their completion spanned several years since in 1922 bazaars continued to be made "For the benefit of the temple of the Sacred Heart of Jesus (...) and the completion of some altars."[172] Fr. José Payas recounts the evolution of the church, which goes from 1912 to 1941, in which he indicates that the completion of the altarpieces lasted until the end of the 1920s:[171].
The altarpieces of the chapels of Cartagena and the National Police are the most recent, which were made of colored marble and bronze pieces by the "Talleres de Arte Granda" in Madrid, installed in 1954 by technicians who arrived from Spain, consecrated in 1963 by Fr. Jorge Restrepo (parish priest) and blessed by Mons. Pedro Grau Arola.[173] Originally the chapel of Cartagena would house the sculpture "of the Heart of Mary" and that of the National Police that of "of San José", this would clarify the differences between these two altarpieces with the remaining 14, since they are the only ones that have work in bronze and have the characteristic symbols of both characters under the altar table. The anagram of Mary and the Flowering Rod of Saint Joseph.[174] Both altarpieces were designed taking into account both the form and the materials; However, the Cartagena altarpiece is less tall than that of the National Police, which is why it is likely that they resorted to mural painting imitating the finish of the other altarpiece to have the appearance of the same finish, since the Cartagena altarpiece is not completely finished in marble.[174].
It is noteworthy that today the sculptures located in these altarpieces are the Virgin of Fátima in the Chapel of Cartagena and the Virgin of Carmen in the chapel of the National Police. This could be explained by the lower height of the niches of these two chapels in relation to the larger size of the sculptures of the Heart of Mary and Saint Joseph, a reason that would possibly explain the need to find a new place for these two images, for which two spaces were adapted consisting of arches that are located in the south and north arms of the transept, right on the sides of the presbytery, in which two niches were created, each with its marble altar table. In the south niche there is the sculpture of the Heart of Mary and in the north niche there is the sculpture of Saint Joseph.[174].
Finally, in 1956 the fourteen niches of the side altars were rebuilt and expanded in more durable material, just as they are today.[101].
They are the chapels that are on the left, as you look at the altar. They are the following.
• - Chapels on the south side (gospel side).
• - Tunja.
• - Antioch.
• - Grass.
• - Pamplona.
• - Santa Marta.
• - Medellin.
• - Popayán.
• - Cartagena.
They are the chapels that are on the right, as you look at the altar. They are the following:
• - Chapels on the north side (epistle side).
• - Help.
• - Manizales.
• - Garzón.
• - Ibagué.
• - Cali.
• - Jericho.
• - Panama.
• - National Police.
This coat of arms of Colombia is the central element in the decoration of the façade, not only because of its literal location in the center of the second body, but on a symbolic level because it represents the Colombian homeland, consecrated to the Sacred Heart of Jesus, the objective and maximum act that Archbishop Bernardo Herrera Restrepo proposes with the National Vote.[195].
The set of Catholic symbols, such as the four American saints, complement the message when framing this shield. Below and in a more discreet way, there is a medallion of Constantine Augustus (Flavius Valerius Constantinus), who was Roman emperor and the first to give freedom of worship to Christianity.[195] The image of Constantine is a direct allegory to the union of politics and religion, which thus reinforces the language of the entire complex.[195].
Of this group, the ecclesiastical shields also stand out, which are a decorative exaltation to honor the memory of the promoters and builders of the temple. Towards the south side, there is the episcopal shield of Archbishop Bernardo Herrera, author of the pastoral of the National Vow, indicating his important role in the conceptualization of the temple and his personal decision to execute it. On the north side is the shield of the Claretians, a religious order that is in charge of the construction of the temple, and currently guards it. At the top, where the third body begins, is the shield of Pope Benedict
Finally, there are the decorative elements attached to the façade such as the moldings and capitals. The author of the carvings of these elements is unknown, although it is possible that they were also the work of the D'Achiardi workshop, especially the capitals due to the characteristics of the materials, since these are made of cement and plaster with a stone-like finish.[6] This façade was the one that Fr. Pueyo designed with the help of maestro Acevedo Bernal.
The central door of the façade is decorated with cast bronze pieces. On each leaf of the central door there are 12 panels "Cuarterón (carpentry)") of equal proportions, framed by a simple molding with a gold finish, in the center of each one is a trefoiled cross "Cross (heraldry)") with equal arms. In the corners of each panel there is a fleur-de-lis containing the word PAX, peace in Latin. These fleurs-de-lis are placed in such a way that they point to the trefoil cross, indicating that peace is in Christ, as indicated by several references in the Bible such as the Gospel of John (14, 27-31), when Jesus says: "I leave you peace, my peace I give you."[198].
In the combs that separate the quarters there are interspersed open pomegranates in which you can see their red grains and radiant 5-pointed stars (associated with the military world). Additionally, among the upper combs are the coat of arms of Colombia (north leaf) and a mantle with a royal crown (south leaf) that contains a flaming heart wrapped with a crown of thorns surrounded with olive branches.[198].
The pomegranate is a fruit that is found in the coat of arms of Colombia and in that of Bogotá, it is also a reference to the New Granada (old name of Colombia).[198] In heraldry, the pomegranate is a symbol of concord and unity.[199] Through all these decorative elements a clear political-religious content can be read in accordance with the language of the entire temple.[198].
Although there are no direct references to these decorative pieces, the possibility is raised that they are part of the initial design of the facade, it is deduced from the old photos in which these pieces are seen. Even so, the author of these elements is unknown, or if they were designed with the mediation of the master Ricardo Acevedo Bernal or Colombo Ramelli.[198].
Before the restoration of the façade, the sculptures presented serious conservation problems, due on the one hand to the manufacturing technique itself and, on the other, to their prolonged exposure to a contaminated environment due to being located outside.[200].
Of these, the statues of Saint Pedro Claver and Saint Luis Beltrán were the most affected, as they showed cracking and fracturing of the cement, and these cracks also allowed corrosion of the internal metal. For example, the sculpture of San Luis Beltrán had a gap in the central part that generated a cavity that served as a pigeon's nest and that in the medium term could lead to structural failure.[200].
The other two statues, Saint Toribio and Saint Rose of Lima, suffered superficial deterioration, caused by the weather conditions and the deterioration of the pictorial layer. They presented black spots associated with environmental contamination by sulfur dioxide (SO) in conjunction with biological growth and colonization, which were causing green spots, affecting the sculptures and their characteristics.[200].
Something similar happened with the shields and other decorative elements, which apart from the black stains presented an exaggerated amount of accumulated dirt, caused by pigeon droppings.[200].
The iron statue of Jesus showed corrosion and abrasion. In addition, traces of a red layer were found that were part of an anticorrosive coating; it is not known if the state of the work, at that time, was part of an alteration process caused by the environment or if it was subjected to an inadequate cleaning process that eliminated the original patinas or coatings. The memoirs of the Claretians mention that the image, apparently imported from Germany, is a "gilt bronze", so it is possible that gilding was its original color.[201] The central door had dirt, graffiti and multiple missing pieces of bronze due to theft and vandalism.[198] For example, the cloak-shaped piece containing the flaming heart is slightly raised at the bottom due to an attempted robbery in which they attempted to tear it from the door.
The sculptures permanently exhibited inside the temple are an important example of the imagery of the century, which were brought from different parts of Europe, especially Spain and Portugal, an origin that is indicated in marks or signatures inscribed on each of these works. This sculptural collection that is preserved today in the basilica is the result of the management of the Claretian priests and several donors who contacted prominent artistic houses or importers of artistic works from Europe to Bogotá.[202].
According to the historical records that are still preserved, several sculptures were contracted in 1919 directly by the priest Pueyo de Val with the businessman José Candela Albert,[n. 15] from the city of Valencia, Spain: the Crucifixion, that of Carmen, that of the presentation of the child Jesus and that of the Angustias.[10] These works were carried out thanks to the collection of silver elements donated by the parishioners, which was organized in the Temple and with which the businessman was paid.[10].
Mostly, the businessman Candela's Workshop made his sculptures in carved and polychrome wood, flaked and with glass eyes. In some works, those that have been least intervened, the following inscription can be seen: «Ornament Factory. Sculpture workshops. José Candela Albert. Santo Tomás 18 Valencia, Spain»; and are currently located in the chapels of Tunja, Manizales, Medellín and Garzón. The sculpture of the Virgin of Sorrows or Sorrows appears in several publications of the time and in photographs of Holy Week processions.[202].
Likewise, Fr. In that same year (1919), Martín Jové commissioned the "Casa Rius" in Barcelona,[n. 16] Spain, other images which were: those of the Heart of Mary, Saint Joseph and Perpetual Help, and which cost 3,000 pesos. pbro. Jové, who paid 1,500 pesos for it.[10] The complex was blessed on July 12, 1919 by Mons. Antonio María Pueyo.[204].
A few years later the images of San Joaquín and Santa Ana would arrive, also made by Casa Ríus and also paid for by the priest. Jové.[10] The sculptures made by Casa Rius are marked with the signature of the different artists who made them and with the corresponding date.[205].
The image of the Resurrection was acquired in one of the shops in Bogotá, which was originally ordered by one of the towns of the diocese, but since it was too large, they did not wish to receive it.[10] The images of San Antonio and San Francisco de Paula were also acquired by the priest. Jové, which are from the "Taller El Arte Cristiano" in the city of Olot, one of the most prominent religious imagery workshops in Spain.[10] [n. 17].
In 1930 the temple purchased "two beautiful images, that of the Birth and that of Saint Therese",[79] both made of polychrome wood, leafed and with glass eyes, from the Casa Rius.[206].
Years later, in 1960, a sculptural shipment arrived from Spain consisting of two large carved angels (which currently accompany the main altarpiece) and "a gigantic image of the Blessed Miraculous Virgin",[105] (which is currently located in the chapel of Antioquia) and were made by the "Talleres de Arte Granda" of Madrid,[105][n. 20] one of the most prominent artistic workshops in Spain.
The angels, almost 2 meters high, are in a modern baroque style, are made of carved wood, were donated by the lawyer Álvaro Fonnegra and premiered on August 21, 1960. overhang of a micro altar, tabernacles with gilt bronze veneers and stripes of blue enamels.
The enormous image of the Virgin of the Miraculous Medal is made of carved and polychrome wood, with glass eyes and gold leaf. It was blessed on September 17 of the same year (1960) by the then bishop of Santa Fe de Antioquia. Guillermo Escobar Vélez.[105].
In the warehouse next to the sacristy, the images used to be displayed on certain dates of the liturgical year are stored. Among the most notable sculptures located in said facility is the image of the Sacred Heart of Jesus, made of carved and polychrome wood and appears signed and dated 1919, from the Ríus Workshop in Barcelona.[9] The aforementioned image was the second image of the Sacred Heart that the basilica had and which presided over the temple from the main altarpiece. This image was part of the sculptural ensemble of the Holy Family, which was located from 1919 to 1952 in the presbytery, in such a way that the Sacred Heart was located in the main altarpiece, and next to it, on the right, was the statue of the Virgin Mary (under the invocation of the Immaculate Heart), and on the left, Saint Joseph (these images are currently located in the side niches of the transept).[9].
The other images stored in the warehouse make up three groups: the first concerns the steps of Holy Week and the special festivals of the church; The second and third are mangers of different formats and sizes, with cardboard, plaster and textile support on a metal structure.[9].
The large format images that make up the processional steps and one of the mangers were made by the Taller El Arte Cristiano,[n. 17] from Olot, Spain, and made with the material called "cardboard-wood" pulp.[9] [n. 32] These sculptures were imported by order from Spain, in the "Almacén Lourdes" of Mr. Antonio Brando (located behind the cathedral of Bogotá, on Carrera 6), who requested them from the Spanish workshop, according to the tastes of the applicant. There they placed the images on wooden bases with a hexagonal or octagonal shape with two steps and modulated edges, on which the small silver metal plate with inscriptions in black letters that says "Taller El Arte Cristiano" was glued.[9].
This Spanish workshop, which manufactured two dozen sculptures for the basilica, has an artisan tradition from 1880 to the present. The sculptures made of cardboard-wood paste (in reality it is plaster reinforced with textile fibers) have the affirmative concession by the Sacred Congregation of rites and indulgences, therefore, being considered noble and venerable material, as stated in the decree of April 1, 1887 issued by said congregation.[9].
Another outstanding sculpture is the image of the Recumbent Christ made of carved, polychrome wood with glass eyes and which, together with his tomb, were made by the Candela Workshop. These works remain stored almost all year round in the Sacristy deposit, but during Holy Week they are exhibited in the south arm of the transept of the Temple, next to the High Altar.[202].
In the corners of the exterior of the base of the drum of the dome there are four sculptures of angels (cherubs) with the anagram of the Sacred Heart of Jesus. There is no information about the author of the design or manufacture of these four angels, although due to their location and characteristics, it is known that they were part of the construction project of the dome and the transept that ended in 1938.[207].
Each sculpture is a head that protrudes from the top of a pointed shield that contains the anagram of the Sacred Heart. Two wings unfold on the sides of the shield, one on each side. The sculptures were originally made with a cement and sand mortar colored yellow/ocher. Each sculpture has a metal structure inside that supports it.[207].
Before the restoration, the sculptures showed surface erosion caused by weather conditions and also showed cracks and fissures in the cement. They also exhibited black and green spots as a result of environmental pollution and biological colonization.[207].
• - Stained glass windows on the south side (gospel side).
• - San Anselmo, century (Tunja).
• - Saint Bernard, century (Antioquia).
• - San Fernando, century and Venerable Scotus, century (Pasto).
• - San Vicente Ferrer, century (Pamplona).
• - Saint Francis Xavier, century (Santa Marta).
• - San Francisco Solano, century (Medellín).
• - San Pablo de la Cruz, century and San Antonio María Claret, century (Popayán).
The stained glass windows that are on the right, as you look at the altar. They are the following:
• - Stained glass windows on the north side (epistle side).
• - Saint Odilón of Cluny, century (Socorro).
• - San Eulogio, century (Manizales).
• - San Juan Damasceno, century (Garzón).
• - San Gregorio, century and San Isidoro, century (Ibagué).
• - San Jerónimo, century (Cali).
• - Saint Athanasius, century (Jericho).
• - San Cipriano, century (Panama).
In the high choir "Choir (architecture)") there is a stained glass window of painted glass that faces the main façade and of which the date of manufacture and installation is unknown, however based on photographic records, it is concluded that it was not before 1938, since in said record of those years you can see that closed opening.[210].
But according to the inscription found at the bottom of the stained glass window, it is known that it was made of painted glass, by the "Artistic Stained Glass of Colombia" factory, located in Cali, on Carrera 8. n. 15-46. There is no more information about the factory, apart from its location.[210] The stained glass window has a great chromatic richness, in which Saint Cecilia, patron saint of music, can be seen. She is identified thanks to her attributes that are iconographically represented playing a musical instrument, especially a tubular organ, as can be seen in the stained glass window.[210].
The stained glass window has a structure of flat posts that serve as the main support and that form a grid that divides the stained glass window into nine fields. Within each of these fields, the glass pieces are joined with tin-lead solder.[212].
Before the restoration, the stained glass window of Santa Cecilia was generally in a good state of conservation, although it showed dirt, misalignments and misalignment of pieces, as well as occasional missing pieces of glass that were located at one end and did not alter the scene of the work.[212].
In the south and north arms of the transept there are 6 stained glass windows, 3 on each side, of which there is no record of the date of manufacture and installation, nor of who made them, since they lack any signature on them, however the similarity in colors and brushstrokes suggests that they could have been manufactured by the same house that manufactured the stained glass window in the choir.[210].
Currently these stained glass windows are not complete, fragments are missing, this is due to the bomb explosion against the DAS building that occurred on December 6, 1989, and the one that suffered the most damage was the stained glass window of the north arm.[108] The missing ones were replaced with corrugated colored glass.
In the stained glass windows of the south arm we find the following images: Consolatrix Afflictorum, Regina Mundi and Regina Apostorum (with Saint Anthony Mary Claret). In the stained glass windows of the north arm we have: Immaculate Heart of Mary, Isabel and Francisco, and Legio Marie. This series of stained glass windows show scenes typical of medieval Marian iconography such as the "Consolatrix Afflictorium" or the "Regina Mundi" where Mary is crowned queen of the world and the Catholic Church. These scenes, however, are related to the devotion of Saint Anthony Mary Claret, who was very devoted to the Virgin Mary and founded the Missionary Sons of the Immaculate Heart of Mary, popularly known as Claretians.[213].
Before the restoration, these stained glass windows showed mismatches in the assemblies between the pieces, accumulated dirt such as dust and particulate matter, as well as dirt related to the burning of candles inside the temple. But the main problem that they continue to suffer, even though that area of the temple has already been restored, is the missing glass pieces that interrupt the visual fabric, making it difficult to read the scenes.[213].
The temple has a double dome system, the outer one having a very long drum on which rises a glass dome with the colors of the Colombian flag; and internally there is a dome formed by a stained glass window 9.20 meters in diameter. The exterior dome cannot be considered a stained glass window as such, as it does not have the technical and artistic characteristics that indicate this.
On the other hand, the stained glass window with the shining sun that allegorically represents Christ is an interior dome, which rests on a cylindrical wall, made up of a structure of riveted metal profiles that form twelve semicircular sections and that provide the main support of the stained glass window.[214] Each of these sections is divided in turn with metal plates that run parallel and perpendicular to the main ribs. These elements are linked together by means of screws and nuts. This distribution, by sections, serves as a metal frame to locate the colored glass that makes up the stained glass, which are joined with sheets of lead and fixed with lead and tin solder.[214] There is no information about its author or manufacturer, it is known that the exterior dome was brought from England, and was inaugurated in 1938, which is why it is presumed that the Shining Sun stained glass window corresponds to this moment.
The stained glass window presents a wide palette of yellows, reds, greens and blues, to create the image of a sun with wavy and straight rays, bordered by green waves. Most of these glasses are textured and have different finishes such as hail, rain or hammered. Furthermore, it is a way of playing with the metaphorical idea of Jesus as the light of peace.[216].
Associating Jesus with the sun is something recurring in Christian art. These types of representations are quite primitive and according to Ripa's iconology, they have a Roman origin in the Adventus or festival of arrival of the emperors.[216] In the Bible there are several references that associate or relate Jesus with the sun such as: Jesus shone "bright as the sun" in the episode of the transfiguration (Mt 17, 2). And when the Lord died on the Cross, the Holy Scripture says, the sun was eclipsed (Lk 23, 45). And if Christ is the sun, by extension his disciples must also be, "the righteous will shine like the sun."[217] Likewise, the Gospel of John (8:12) is fundamental to this iconography by quoting Jesus himself when he says: "I am the light of the world."[217] Other sources directly relate the solar representation with the vision of Saint Margaret Mary (known for having received the apparitions of the Sacred Heart of Jesus), who saw a sun born from the heart of Jesus.[216].
Before the restoration, the stained glass window presented serious problems, the frame exhibited plane deformations, missing parts, corrosion with pits and concretions, repainting and a large accumulation of dirt that interfered with the entry of light. The stained glass showed weakening or loss of cañuelas, loss of color, scratches, drips, a high degree of dirt and missing glass.[218].
Its restoration was carried out during the second phase carried out between 2018 and 2020, which included the transept and the domes. The stained glass window was carefully dismantled, the glass that was added in the inadequate interventions it suffered was removed, the plane was recovered, the original fractured glass was put back together, the canes were recovered, and the dirt was removed. After this entire restoration process, the stained glass window recovered its splendor.[218].