Church of Our Lady of Candelaria, Bogota, Colombia

The Church of Our Lady of Candelaria, or Iglesia Nuestra Señora de La Candelaria, is a colonial gem nestled in the historic heart of Bogotá, Colombia.

Construction began in 1686 as part of the old Convent of San Nicolás de los Agustinos Recoletos and was completed in 1703.

This church is known for its three-nave structure and a 17th-century main altar, which stands out for its intricate design.

Inside, you'll find remarkable works by Gregorio Vásquez de Arce y Ceballos, one of Colombia’s most celebrated colonial-era painters, as well as a mural by Pedro Alcántara Quijano Moreno.

Located at the corner of Calle 11 and Carrera 4 in the La Candelaria neighborhood, the church is still active today and is staffed by priests of the Augustinian Recollect Order.

It was declared a National Monument in 1975, recognizing its cultural and historical significance.

The facade
The facade of the Church of Our Lady of Candelaria in Bogotá is a striking example of colonial architecture with a distinctive yellow-painted exterior that makes it stand out in the historic La Candelaria district.

While relatively modest compared to some grander cathedrals, its charm lies in its symmetrical simplicity and warm color palette, which harmonizes beautifully with the surrounding colonial buildings.
The entrance is framed by arched doorways and pilasters, and the upper section features a central bell gable—a hallmark of 17th-century ecclesiastical design in the region.
The overall effect is both welcoming and historically resonant, reflecting the church’s origins as part of the old Convent of San Nicolás de los Agustinos Recoletos.

The main altar
The main altar of the Church of Our Lady of Candelaria in Bogotá is a beautifully preserved piece of 17th-century religious art and architecture.

Crafted during the colonial period, it stands out for its baroque style and intricate detailing, which reflect the artistic sensibilities of the time.
What makes this altar especially significant is its historical continuity—it has remained a central feature of the church since its completion in 1703.
It was restored between 2003 and 2005, ensuring that its original splendor could be appreciated by future generations.
The altar is also notable for housing works by Gregorio Vásquez de Arce y Ceballos, one of the most important painters of colonial Colombia. His religious paintings add a profound spiritual and artistic dimension to the space.

Our Lady of Candelaria
Our Lady of Candelaria—also known as the Virgin of Candelaria or La Morenita—is a deeply venerated Marian figure whose devotion spans continents, cultures, and centuries. Her cult originated in the Canary Islands, particularly on the island of Tenerife, where she is the patron saint and is honored at the Basilica of Candelaria.

According to legend, in 1392—before the Spanish conquest of the Canary Islands—two Guanche goatherds discovered a statue of a woman holding a child and a candle on the beach of Chimisay. Attempts to harm the statue resulted in mysterious injuries, leading the local people to revere it as sacred. Initially, the Guanches associated the figure with their goddess Chaxiraxi, but after Christianization, it was identified as the Virgin Mary.
She is typically depicted as a Black Madonna, holding the Christ Child in one hand and a candle in the other—hence the name “Candelaria,” which connects her to light and purification. Her feast day is celebrated on February 2nd, known as Candlemas, and also on August 15th, the patronal feast of the Canary Islands.
The devotion to Our Lady of Candelaria spread widely through Spanish and Portuguese colonial routes. She is venerated in Latin America, the Philippines, and parts of Africa, often blending with local traditions. In the Philippines, for example, she is known as Our Lady of the Candles and is the patroness of the Western Visayas region.
Her cult is associated with protection against natural disasters like plagues, droughts, and volcanic eruptions. The original statue was lost in a tsunami in 1826, but a replica now resides in the basilica. Despite this, her symbolic power endures, making her one of the most widespread Marian devotions in the Americas after Our Lady of Guadalupe.