Enjoy your stay surrounded by important baroque works.
The Dominican friars are present in the lands of Andalusia, since 1236, when the city of Cordoba was reconquered by King Ferdinand III the Saint. After the capture of the city, the monarch donated the Royal Convent of San Pablo. The presence of preaching friars among the entourage of the holy king is documented, and hand in hand with his campaigns of reconquest, the presence of the new mendicant orders in the southern lands of the Crown of Castile is given.
In 1630, the Dominican order established a hospice in Cádiz and five years later managed to found its convent. It was not until 1643, when the corresponding permits were obtained for the construction of the convent, as it is known today. The work began two years later and that of the church in 1652, with the builders Antón Martín Calafate and Bartolomé Ruiz. It was completed by Luis de Lojo in 1666.
EOn July 14, 1635 thanks to the purchase of houses and plots, together with a location called "del Boquete" (place that had been a muladar and where the Anglo-Dutch assailants had thrown the image of the Virgin of the Rosary in 1596) near the walls. It was not until 1643, when the corresponding permits were obtained for the construction of the convent, as it is known today.
The construction of the convent began at the end of 1645. The community Dominica Arrange with the builders Juan Ruiz and Pedro Martínez the foundation of the church. The construction of the church does not begin until June 21, 1652, date in which its construction is arranged with the also builders Antón Martín Calafate and Bartolomé Ruiz. It was completed by Luis de Lojo in 1666.
In the mid-eighteenth century the church was reformed, so it included an abundant decoration of Plasterwork. After suffering serious damage when it was burned on two occasions (in 1931 and 1936), it was restored between 1945 and 1948 under the direction of Aurelio Gómez Millán.
The convent responds to the traditional typology of these buildings: it has a central cloister with perimeter galleries, attaching the church to one of its sides. This is of Latin cross plant inserted in a rectangle, with three naves and straight head compartmentalized in three spaces. The naves are separated by cruciform pillars, the central one being wider and higher than the lateral ones. The decks in the central nave, the presbytery and the arms of the transept are barrel with lunettes and fajones; those of the lateral naves, groin vaults and in the transept there is a dome on pendentives. The first two sections of the feet are occupied by a choir that is supported by a lowered barrel vault.
Formando ángulo recto con la fachada de los pies de la iglesia, se encuentra la portada de Santo Domingo por la que se ingresa a la zona conventual y a la capilla de la Venerable Orden Tercera. Dicha portada, que ostenta la fecha de 1675 and is carved in sandstone masonry, has two bodies. The lower one is lintelled and molded with mixtilinear drumstick and folded pilasters of Tuscan order that support an entablature with inscription alluding to the foundation. On the ledge of the cornice is formed a broken curved pediment.
In this second body, the center is occupied by a venerated niche framed by Tuscan pilasters and straight pediment, which houses an Italian sculpture of the XVII of white marble of Santo Domingo de Guzmán, and the sides two shields of the Dominican Order, of the same origin, chronology and material.
Crossed the cover of Santo Domingo, through a hallway with a seventeenth-century tile plinth in which the shields of Dominicans and Franciscans and Genoese marble flooring in checkerboard are repeated, are the accesses to the cloister and the chapel of the Venerable Third Order built in the first half of the eighteenth century, whose design is due to Juan Martín de León.
The interior portal of the chapel of the Venerable Third Order offers a lintelled hole that closes with an interesting wooden door carved in noble woods of the first half of the siglo XVIII and is framed by molded drumstick of mixtilinear profile crowned by moved fragments of curved pediment. Flanking the cover are two small altars, ornamented with plasterwork, which house images of the Infant Jesus and la Virgen del Rosario.
Inside, the only nave of this chapel, rectangular, is subdivided into five sections by molded sashes that rest on pilasters with Corinthian counterpilasters. Each of the sections of the vault, with a very low profile, is decorated with plasterwork that draws starry shapes resembling Gothic ribs. Also decorated with plasterwork, denticles and eggs, the cornice that runs around the perimeter of the space is presented as an impost line from which the vault starts. On this cornice are angular and moved fragments of entablature on dogs with lateral leaves.The triumphal arch of access to the presbytery presents a fleshy decoration of fruit garlands and central cartouche with the Dominican shield. At the feet, high, is the choir.
Towards 1660 The cloister, which organizes the conventual dependencies, is dated. It has three floors of decreasing height. The lower one, open, has arcades of five semicircular bays on Tuscan columns of white marble, with spandrels decorated with flat moldings superimposed. The cloister, which organizes the conventual dependencies, is dated. It has three floors of decreasing height. The lower one, open, has arcades of five semicircular bays on Tuscan columns of white marble, with spandrels decorated with flat moldings superimposed.
At the angle of the border bay to the church, the box of ladder that starts and disembarks in rectangular rooms centered by double semicircular arches that rests on a robust Tuscan marble column. The staircase, of large dimensions, is developed in two sections with central plateau. Each step constitutes a single piece of white marble.
Occupying the center of the cloister are four equal well curbs. They are made of white Italian marble and octagonal shape. On four of its fronts overlap, alternately, carvings of Dominican and Franciscan shields. Two tombstones with inscriptions are in the cloister in the vicinity of the access to the sacristy: the tombstone of Domingo Munárriz (1701) and the remembrance of the bull of redemption of souls in Purgatory (1724). In addition, the tombstones of the priest Núñez Chacón, dated in 1672, and of the Alderman Olivares,of 1701, both with heraldic shields.
In the sacristy It is interesting to highlight the area adjacent to the church, in front of which there are two lintel doors framed by mixtilinear drumsticks between which is located a white marble aguamanil on a tile background.