In colonial times, the Church of El Sagrario was one of the largest architectural marvels of Quito. The construction is of the Italian Renaissance style and was built in the late 17th century. It has a screen that supports its sculptures and decorations. This structure was built by Bernardo de Legarda. Its central arch leads to a dome decorated with frescoes of biblical scenes featuring archangels, work by Francisco Albán. The altarpiece was gilded by Legarda. It is located on Calle García Moreno, near the Cathedral.
Although they arrived in Quito in 1541, in 1580 the Dominicans started to build their temple, using the plans and direction of Francisco Becerra. The work was completed in the first half of the 17th century. Inside the church are valuable structures, such as the neo-Gothic main altar. This was placed in the late 19th century by Italian Dominicans. The roof of the Mudéjar style church features paintings of martyrs of the Order of Saint Dominic. The roof of the nave is composed of a pair and knuckle frame, coated inside by pieces of tracery. In the museum located on the north side of the lower cloister are wonderful pieces of great Quito sculptors such as the Saint Dominic de Guzmán by Father Carlos, the Saint John of God by Caspicara, and the Saint Thomas Aquinas by Legarda. Another Baroque piece that stands is the Chapel of Nuestra Señora del Rosario, which is a recognizable feature of the architecture of Quito. This chapel was built beside the church, in the gospel side. In this was founded the largest fraternity in the city of Quito.
El Panecillo is a hill located in the middle west of the city at an altitude of about 3,016 metres (9,895 ft) above sea level. A monument to the Virgin Mary is located on top of El Panecillo and is visible from most of the city of Quito. In 1976, the Spanish artist Agustín de la Herrán Matorras was commissioned by the religious order of the Oblates to build a 41 metres (135 ft)–tall aluminum monument of a madonna, which was assembled on a high pedestal on the top of Panecillo.
The Quito School originated in the school of Artes y Oficios, founded in 1552 by the Franciscan priest Jodoco Ricke, who together with Friar Pedro Gocial transformed the San Andrés seminary, where the first indigenous artists were trained. As a cultural expression, it is the result of a long process of acculturation between indigenous peoples and Europeans, and it is one of the richest expressions of miscegenation ("mestizaje") and of syncretism, in which the participation of the vanquished Indian is seemingly of minor importance as compared to the dominant European contribution.
The Quito School ("Escuela Quiteña") is an artistic tradition that developed in the territory of the Royal Audience of Quito, from Pasto and Popayán in the north to Piura and Cajamarca in the south, during the colonial period (1542-1824). This artistic production was one of the most important activities in the economy of the Royal Audience of Quito.
The major artists of the Quito School are the sculptors Bernardo de Legarda , Manuel Chili (Caspicara) and Miguel Angel Tejada Zambrado and the painters Fray Pedro Gosseal, Fray Pedro Bedón, Nicolás Javier Goríbar, Hernando de la Cruz, Miguel de Santiago, Manuel de Samaniego
The Basilica of the National Vow is a Roman Catholic church in the historic center of Quito. It is sometimes also called the Catedral Consagración de Jesús or the Basílica de San Juan. It is the largest neo-Gothic basilica in the Americas.
The basilica arose from the idea, proposed by father Julio Matovelle in 1883, of building a monument as a perpetual reminder of the consecration of Ecuador to the Sacred Heart, President Luis Cordero issued the decree on July 23, 1883, and it was carried out by president José María Plácido Caamaño on March 5, 1884. The congress, in accordance with the year's budget, designated 12,000 pesos for the construction - 1,000 pesos per month, beginning in 1884. By the decree of July 3, 1885, the fourth Quitense Provincial Council turned the construction of the basilica into a religious commitment in the name of the country. The basilica remains technically "unfinished." & local legend says that when the Basílica is completed, the end of the world will come.
Construction began in 1562, seventeen years after the diocese of Quito was created (1545) and located in the heart of the historic city and its status as the main church of the city, is one of the largest religious symbols of spiritual value for the Catholic community in the city.
It is one of the seven monumental churches of the 16th and 17th centuries whose main portico was built on stone in the Spanish Baroque-architecture style.
The church includes a small atrium (decorated by a large stone cross), an inside yard with a large garden and a large session hall where the frayers held dissertations or "capitulations" of faith.
The cloister and convent have a separate entrance which leads to the garden. The bell tower reaches a high of twenty-two meters (seventy feet) and houses two bronze bells of the period.
Guápulo is a district of Quito, Ecuador, also called an electoral parish ("parroquia electoral urbana"). The parish was established as a result of the October 2004 political elections when the city was divided into 19 urban electoral parishes. Set behind Hotel Quito, the neighborhood of Guápulo runs down the winding Camino de Orellana, from González Suárez to Calle de los Conquistadores, the main road out of Quito and to the neighboring suburbs.
Guápulo Park is a 19.5 hectares, 48 acre public park. The park is administered by the Public Sector under the Parks and Public Spaces Urban Spaces that is under the National Plan for Good Living as to the creation of green spaces for cultural practices, recreational and sports activities.
Uralic languages
The Uralic languages are a language family. They were originally spoken in Eastern Europe and Asia but originated somewhere in eastern Siberia near Lake Baikal.
There are two modern main kinds: the Samoyedic languages and the Finno-Ugric languages.
The proto-Uralic languages and the early Uralic people originated somewhere in eastern Siberia or possibly Northeast Asia. They were closely related to other Siberian and East Asian but also Inuit people. They migrated into central Siberia and then about 3,000 years ago started to migrate to the Baltic region in northeastern Europe. They assimilated many Paleo-European tribes. Genetic and anthropologic studies show that the early Uralic people were similar to various Siberian and East Asian people (Mongoloids).
Several linguists and geneticists suggest that the Uralic languages are related to various Siberian languages and possibly also some languages of northern Native Americans. A proposed family is named Uralo-Siberian. It includes Uralic, Yukaghir, Eskimo–Aleut (Inuit), possibly Nivkh and Chukotko-Kamchatkan.
Indo-Aryan languages
The Indo-Aryan languages are a branch of Indo-Iranian languages. They are spoken in Southern Asia, including India, Pakistan and Bangladesh.
Indo-Iranian languages
The Indo-Iranian languages are the largest group of the Indo-European language family. They include the Indo-Aryan (Indic) and Iranic (Iranian) languages. They are mostly spoken in the Indian subcontinent and the Iranian plateau. Originally, they were spoken in Central Asia, to the east of the Caspian Sea.
There are about 221 Indo-Aryan (Indic) languages, with more than 800 million speakers.
Below are the most widely spoken Indo-Aryan languages.
There are about 86 Iranian languages, with between 150 and 200 million speakers.
Below are the most widely spoken Iranian languages.
Some scholars consider the Nuristani and Bangani languages as part of the Indo-Aryan subgroup, but some other scholars consider them as two separate subgroups of Indo-Iranian. The Badeshi language is also an unclassified Indo-Iranian language.
Slavic languages