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Characterization and Analysis of the Mortars in the Church of the Company of Jesus—Quito (Ecuador)

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Characterization and Analysis of the Mortars in the Church of the Company of Jesus—Quito (Ecuador) minerals Article Characterization and Analysis of the Mortars in the Church of the Company of Jesus—Quito (Ecuador) M. Lenin Lara 1,2,* , David Sanz-Arauz 1, Sol López-Andrés 3 and Inés del Pino 4 1 Department of Construction and Architectural Technology, Polytechnic University of Madrid, 28040 Madrid, Spain; [email protected] 2 School for the City, Landscape and Architecture, UIDE International University of Ecuador, Simón Bolívar Av. Jorge Fernández Av., Quito 170411, Ecuador 3 Mineralogy and Petrology Department, Complutense University of Madrid, 28040 Madrid, Spain; [email protected] 4 Faculty of Arts, Design and Architecture, Pontifical Catholic University of Ecuador, Quito 170411, Ecuador; [email protected] * Correspondence: [email protected]; Tel.: +34-593-994384851 Abstract: The Church of the Company of Jesus in Quito (1605–1765) is one of the most remarkable examples of colonial religious architecture on the World Heritage List. This church has multiple constructive phases and several interventions with no clear record of the entire architectural site, including the historical mortars. A total of 14 samples of coating mortars inside the central nave were taken, with the protocols suggested by the research team and a comparative sample of the architectural group that does not have intervention. The analysis presented in this paper focuses on mineralogical characterization, semi-quantitative analysis by X-ray diffraction and scanning electron microscopy with microanalysis of the samples. The results showed the presence of volcanic aggregate lime and gypsum, used in lining mortars and joint mortars. Mineralogical and textural composition Citation: Lara, M.L.; Sanz-Arauz, D.; data have allowed the mortar samples to be relatively dated. López-Andrés, S.; Pino, I.d. Characterization and Analysis of the Keywords: lime mortars; gypsum mortars; mineralogy of historical mortars; quito cultural heritage; Mortars in the Church of the church of the company of jesus in quito Company of Jesus—Quito (Ecuador). Minerals 2021, 11, 781. https:// doi.org/10.3390/min11070781 Academic Editor: Anna Arizzi 1. Introduction Historic buildings evolve over time and reflect upwardly the transfer of constructive Received: 31 May 2021 knowledge. Its value and historical importance oblige to study the use and application Accepted: 14 July 2021 of antique and new lining mortars to consolidate masonry in heritage buildings. Quito, Published: 19 July 2021 which was declared World Heritage by UNESCO in 1978 [1,2], has the better preserved historical centre of Latin America denominated the “Great Convent” [3]. It is bounded by Publisher’s Note: MDPI stays neutral 375.25 hectares with more than 4674 built properties of which 130 are monumental assets. with regard to jurisdictional claims in In the 16th century, 15 religious buildings stood out in this colonized urban centre; this published maps and institutional affil- paper focuses on the Jesuitic complex (Figure1)[4–6]. iations. The best example of both the interpretation of hierophany and dominance of power after the conquest is the Church of the Company of Jesus in Quito, which fuses the pre- hispanic building tradition with the European technique. The church was built by following the architectural plan and guidelines brought from Gesú di Roma by the principal Nicolas Copyright: © 2021 by the authors. Duran Mastrilli [7]. It denotes the practical example of the Latin American baroque built Licensee MDPI, Basel, Switzerland. between 1605 and 1765: it has a single nave distribution, communicating chapels, and a This article is an open access article transept connected with the north and south chapels, presbytery, and sacristy. The church distributed under the terms and is 58.855 m long and 26.585 m wide, the height of the vault of the central nave is 16.00 m conditions of the Creative Commons and the larger diameter of the transept cupola is 10.60 m, and the presbytery is 12.50 m Attribution (CC BY) license (https:// long by 9.00 m wide [8–10]. creativecommons.org/licenses/by/ 4.0/). Minerals 2021, 11, 781. https://doi.org/10.3390/min11070781 https://www.mdpi.com/journal/minerals Minerals 2021, 11, x FOR PEER REVIEW 2 of 11 Minerals 2021, 11, 781 2 of 12 FigureFigure 1. 1.Location Location and contextand context of the study of the area, study and the area drawing, and by the Dario drawing Donoso Samaniegoby Dario includedDonoso in Samaniego page 57 [11]. included in page 57 [11]. The architectural transformation of the churches in Quito between the 17th and 19th centuries was complex due to the events that took place over time, thus making the reading The architecturalor thetransformation analysis of the of constructive the churches phases in andQuito procedures between something the 17th of and a challenge. 19th In centuries was complexsome due cases, to renovationsthe events aimed that took to solve place the damages over time, produced thus bymaking continuous the read- earthquakes ing or the analysis ofand the volcanic constructive eruptions. phases Moreover, and loss procedures was oftenthe something occasion to of rebuilt, a challenge to demolish. In some some cases, renovationpartss aimed or to abandon to solve sectors the damages due to the lackproduced of economic by continuous resources [12 ].earthquakes There is no official scientific documentation of the construction and subsequent inter- and volcanic eruptionsventions. Moreover, of the Jesuitic loss temple.was often Modifications the occasion were to made rebuilt by the, to religious demolish order some to highlight parts or to abandon thesectors image due of the to temple.the lack However, of economic the research resources studies [12] focused. on both the adobe, brick There is no officialand stonescientific masonry documentation in the Monastery of of the San construction Francisco [13] andand the subsequent mural painting in- in the terventions of the JesuiticSanto Domingotemple. ConventModifications [14] strengthened were made the criteriaby the ofreligious this study. order to high- The construction of the Jesuitic temple began at the beginning of the 17th century light the image of theand temple. lasted 160 However, years. There the wereresearch three constructivestudies focused phases. on The both first the phase adobe, took place brick and stone masonrybetween in 1606the Monastery and 1636 (Figure of San2) and Francisco was led by[13] the and full the order mural under painting Father Martin in de the Santo Domingo AzpitarteConventand [14] Jesuit strengthen Gil de Madrigaled the criteria with an officialof this standard study. Jesuitic style. The second The constructionphase, of the between Jesuitic 1636 temple and 1689, began was ledat the by Marcosbeginni Guerrang of S.J., the a 17 Neapolitanth century architect and who lasted 160 years. Thereprovided were visualthree andconstructive spatial unity, phases proportion. The andfirst baroque phase took details place in the between temple [15 ]. In the third phase, between 1689 and 1765, with the participation of Leonardo Deubler and 1606 and 1636 (FigureVenancio 2) and Gandolfi, was led the by stone the façade full order of the churchunder was Father finished Martin (1723–1765). de Azpitarte The reading of and Jesuit Gil de Madrigalthe church with and itsan adjoiningofficial buildings,standard suchJesuitic as college style. and The university second cloisters, phase, was be- finally tween 1636 and 1689consolidated, was led by [16 Marcos]. Guerra S.J., a Neapolitan architect who provided visual and spatial unity, proportion and baroque details in the temple [15]. In the third phase, between 1689 and 1765, with the participation of Leonardo Deubler and Venancio Gandolfi, the stone façade of the church was finished (1723–1765). The reading of the church and its adjoining buildings, such as college and university cloisters, was finally consolidated [16]. It is worth mentioning that, since the construction of the temple until our days, the city of Quito has been affected by tectonics and earthquakes of great intensity, particularly the one of 1755 known as the “earthquake of Quito”, which collapsed the novitiate cupola and its roofs and damaged the masonry of the central nave. After these construction phases, some exceptional events occurred, including the abandonment due to expulsion of the Jesuitic order led by King Carlos III of Spain in 1767. Another moment led by José María Urvina took place in 1852 [17,18]. In this regard, an- other determinant moment took place when the Jesuitic order gained force between 1862 and 1920; nevertheless, the earthquakes preyed on the temple, thus collapsing the bell Minerals 2021, 11, x FOR PEER REVIEW 3 of 11 tower, and damaging the central nave masonry in 1859. Afterwards, the masonry ele- ments and the roof of the church got more damaged because of the earthquake of 1868. In the 20th century, the most critical moment constituted the damages occurred in 1945 when, after a pressure washing of water and sand, the façade lost its treatment of “Venetian luster” that imitated marble. Moreover, cracks and fissures appeared in the ma- Minerals 2021, 11, 781 sonry, arches, cupolas, and domes in 1987; then, a negligence in 1996 caused a fire in3of the 12 San Francisco Javier altarpiece when doing internal maintenance works [19]. Finally, in 1998, fissures and cracks were evident in the masonry, cupolas, and domes [3,20–22]. FigureFigure 2. (a 2.) Illustration(a) Illustration of ofthe the three three phases phases (during aa period period of of 160 160 years) years) of the of constructionthe construction process process of the Churchof the Church of the of Company of Jesus in Quito: Phase I (1605–1636), construction of the central nave and side chapels; Phase II (1636–1689), the Company of Jesus in Quito: Phase I (1605–1636), construction of the central nave and side chapels; Phase II (1636– construction of the sacristy, the high choir, and the tower; Phase III (1689–1765), the works of the stone façade are finished.
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