Convent of the Holy Ecce Homo, Boyaca, Colombia

The Convento del Santo Ecce Homo is a serene and historically rich Dominican monastery nestled in the countryside near Villa de Leyva, in the Boyacá department of Colombia. Founded on March 15, 1620, it was established as a retreat for elderly friars, offering a peaceful refuge far from urban centers.

The convent’s architecture is a beautiful blend of Mudéjar and colonial styles, with whitewashed stone walls, red brick accents, and a roof of traditional ceramic tiles. Its layout centers around a cloistered courtyard, where semicircular arches and stone columns frame a tranquil garden with radial paths leading to a central well. The church, with a single nave and wooden ceiling, features elegant millwork and a modest altar space that reflects the contemplative spirit of the place.

The name “Ecce Homo” (“Behold the Man”) refers to a revered painting of Christ that inspired the convent’s founding. According to tradition, the image was brought from Rome after the 1527 sack and became the spiritual heart of the monastery.

Over the centuries, the convent has witnessed Colombia’s turbulent history—from being seized during the wars of independence to later restoration by the Dominican order. Today, it stands as a national monument, open to visitors who come to admire its architecture, peaceful setting, and deep spiritual legacy.

Panorama of the convent facade
The facade of the Convento del Santo Ecce Homo, near Villa de Leyva in Colombia, is a beautiful expression of 17th-century colonial architecture with a touch of Mudéjar influence. It’s primarily built from whitewashed stone, giving it a serene, monastic appearance that blends harmoniously with the surrounding landscape.

What makes the facade especially striking are three key elements where the red brick is left exposed: the main entrance to the church, which has a more monumental feel; the bell tower, which rises modestly above the structure; and a smaller doorway leading to the cloister. These contrasting textures—smooth white stone and rustic red brick—create a subtle but elegant rhythm across the front of the building.
The roof is covered in traditional ceramic tiles, and the overall design is modest yet dignified, reflecting the convent’s original purpose as a peaceful retreat for elderly Dominican friars. From the outside, the building seems to emerge naturally from the gentle hillside, offering a quiet dialogue between architecture and nature.

Main entrance to the church
The construction of the church's facade appears to have been carried out in the early 19th century, influenced by an "anti-classical" spirit, and the restoration stripped the church of its original main facade, made of plaster and lime-coated brick, thereby losing its cladding and decorative language.

Sacred Place

«Traveler: The ground you tread upon is sacred. The monastery is a work of the heart, the pinnacle of art. It grants you august silence, solitude, and peace; its foundations, its walls, its columns are hymns to uncreated glory, heard only by the venerable soul. Do not write, do not scratch, nor profane the ground where you stand, for it is sacred!»

The construction of the monastery 1650 - 1695

Ammonites
The Convento del Santo Ecce Homo, nestled near Villa de Leyva in Colombia, is not only a spiritual retreat but also a geological marvel. Its stone floors, quarried from the surrounding region, are embedded with ammonites and other fossils, including petrified corn and flowers. These remnants are a striking reminder that this area was once submerged beneath an ancient sea.

As you walk through the convent’s corridors and chapel, you’re literally treading on prehistoric life. Fossils are even visible in the base of a statue in the chapel, blending natural history with religious heritage in a way that’s both unexpected and deeply poetic.
It’s one of those rare places where time folds in on itself—where marine life from millions of years ago meets centuries-old monastic life.

Panorama of the monastery courtyard and cloister
The cloister, formed by four galleries that encompass the quadrilateral of the courtyard, has as its regulating element the Renaissance expressed through the Tuscan order evident in the type of columns of the arcade.

Two guacas in the courtyard of the monastery cloister
For the Indigenous peoples of Colombia, guacas—sacred burial sites or ceremonial places—hold profound spiritual, cultural, and ancestral significance.

The word guaca comes from the Quechua huaca, meaning something sacred, and in the Colombian context, it refers to pre-Columbian tombs, ritual spaces, or objects imbued with spiritual power.
These sites were not merely graves; they were gateways between the physical and spiritual worlds.
Guacas often contained offerings like gold, ceramics, textiles, and food, placed with the dead to accompany them into the afterlife.
The presence of phallic stones or other symbolic sculptures in some guacas reflects Indigenous cosmologies centered on fertility, life cycles, and cosmic balance.
Many Indigenous communities believed guacas were protected by spirits or supernatural forces, and disturbing them could bring misfortune. These beliefs persist in local legends, which speak of curses or disappearances tied to those who desecrate these sacred places.
Beyond their spiritual role, guacas are repositories of memory and identity. They preserve the stories, artistry, and worldviews of Colombia’s ancient civilizations—like the Muisca, Quimbaya, and San Agustín cultures.
Today, they are also powerful symbols of Indigenous resilience and a reminder of the deep roots that predate colonization.

Interior of the cloister

Petrified tree inside the cloister

Church interior

Calvary with rosary
The Dominicans have a deep and enduring relationship with the rosary, one that’s woven into the very fabric of their identity.

According to longstanding tradition, St. Dominic, founder of the Order of Preachers (Dominicans), received the rosary from the Virgin Mary in the early 13th century as a spiritual weapon to combat heresy and promote contemplation of Christ’s life. From that moment, the Dominicans became the primary promoters of the rosary, spreading its devotion across Europe and eventually the world.
They didn’t just popularize the rosary—they shaped it. Dominican friars like Alan de la Roche in the 15th century helped formalize the structure of the rosary and established Rosary Confraternities, which brought laypeople together to pray and meditate on the mysteries of Christ’s life, death, and resurrection. These confraternities were instrumental in unifying the way the rosary was prayed and in embedding it into Catholic devotional life.
As for Calvary, while not exclusive to the Dominicans, it’s central to the Sorrowful Mysteries of the rosary, which include the Crucifixion. The Dominicans’ preaching and meditative practices often emphasize Christ’s Passion and the redemptive power of the Cross. In this way, Calvary becomes not just a historical event but a spiritual focal point—contemplated daily through the rosary and preached from Dominican pulpits.
So in essence, the rosary is the Dominicans’ spiritual compass, and Calvary is one of its most sacred destinations.

Mural paintings depicting Dominican friars
The Dominican habit is as striking as it is symbolic—a visual sermon in itself. It consists of a white tunic, scapular, and capuce, worn beneath a black cappa (cape) and black capuce. This contrast of white and black isn’t just aesthetic; it reflects the Dominican vocation: to be a light in the darkness, contemplatives in action.

The white represents purity, truth, and the light of Christ—fitting for an order devoted to preaching and teaching. According to tradition, St. Dominic chose white after a vision of the Virgin Mary, who clothed a sick canonist in the habit as a sign of healing and consecration.
The black cape, worn over the white habit, was originally practical—used for warmth and travel—but it also came to symbolize penance and humility. It’s from this garment that Dominicans earned the nickname “Blackfriars.” The full habit includes a leather belt and a rosary, worn at the side, underscoring their commitment to prayer and poverty3.
Together, the habit is more than clothing—it’s a daily reminder of their vows and mission.

Christ of Yeca (Cristo de Yeca)

Christ fallen next to the column
The image of Christ fallen next to a column holds deep spiritual and cultural resonance in Latin America, especially within Catholic devotional practices. While not as universally iconic as the crucifixion, this depiction often represents a moment from the Passion of Christ, particularly the Flagellation at the column or the Third Fall on the way to Calvary.

In Latin American religious art and processions—especially during Holy Week (Semana Santa)—this imagery is used to evoke Christ’s suffering, humility, and solidarity with human pain. The column can symbolize the site of his scourging, while the fallen posture emphasizes his physical exhaustion and the weight of the cross, both literal and symbolic.
This image resonates powerfully in a region where faith is often expressed through embodied devotion: dramatic processions, penitential acts, and vivid religious iconography. It becomes a visual theology of compassion—Christ not as a distant deity, but as one who collapses under the burden of injustice, just as many people do.
In some local traditions, such as in parts of Colombia, Mexico, and Peru, statues or tableaux of the fallen Christ are carried through the streets, accompanied by prayers, music, and acts of penance. These moments are not just commemorations—they’re communal expressions of hope, endurance, and divine empathy.

Christ standing next to the column
In Latin America, both images of the beaten Christ—standing next to a column and lying beside a column—are deeply rooted in Catholic devotional life, but they convey distinct theological and emotional emphases.

The image of Christ standing next to a column typically represents the Flagellation of Christ, a moment from the Passion when Jesus was scourged by Roman soldiers. It’s often referred to as Cristo de la Columna or Cristo Amarrado a la Columna. In Latin American churches and processions, this depiction is especially powerful because it shows Christ upright, bound, and enduring suffering with dignity. It emphasizes:

Christ willingly accepts suffering.
His pain is not defeat but part of salvation.
The standing figure is often displayed prominently in Holy Week processions, inviting the faithful to reflect on their own endurance and faith.

This image has strong ties to Spanish Baroque sculpture, like the works of Gregorio Fernández, and was brought to the Americas by missionaries and colonial artists.
The image of Christ lying next to a column is a variation, less common but still present in Latin American devotional art, often appears under names like Jesús Desmayado (Fainted Jesus) or Cristo Caído. It portrays Christ collapsed or resting after the scourging, sometimes still near the column. This image emphasizes:

It highlights Christ’s exhaustion and vulnerability.
Devotees often relate to this image on a personal level, especially those who feel crushed by life’s burdens.
The posture invites a more contemplative, tender response, often used in private devotions or smaller chapels.

The standing Christ is about strength in suffering, while the fallen Christ is about solidarity in weakness. Both are expressions of divine love, but they meet the faithful in different emotional and spiritual places—one calls to courage, the other to comfort.

Saint Catherine of Ricci
Saint Catherine of Ricci was a 16th-century Italian Dominican nun and mystic known for her deep devotion to the Passion of Christ and her extraordinary spiritual experiences, including receiving the stigmata.

The heart she holds symbolizes her burning love for Christ and her mystical union with His suffering.
In some artistic representations, the heart may even bear a cross or be aflame, emphasizing her intense charity and contemplative life.
Catherine of Ricci was also known for her weekly ecstasies during which she relived the Passion, making her a powerful figure of compassion and intercession.

Saint Vincent Ferrer
Saint Vincent Ferrer was a prominent Dominican preacher and missionary from the 14th century.

He’s often depicted holding a book and rosary—symbols of his wisdom and devotion—and a patriarchal cross (the one with two crossbars) in his right hand, signifying his role as a herald of Christ and a preacher of the Last Judgment.
The patriarchal cross is particularly significant: it’s associated with high ecclesiastical authority and sometimes with apocalyptic preaching, both of which align with Vincent’s fiery sermons across Europe.
He was known for calling people to repentance and preparing them for the end times, which earned him the title “Angel of the Apocalypse.”

Christ triumphant
This depiction—Christ triumphant, emerging from the grave with radiant light and often bearing a white banner marked with the cross—symbolizes not only the victory over death, but also the hope of liberation for communities that have long endured suffering, injustice, and marginalization.

In Latin American Holy Week traditions, especially in countries like Guatemala, Mexico, Peru, and Colombia, this image is the culmination of the Passion narrative. After days of mourning and dramatic processions reenacting Christ’s suffering, the Resurrection is celebrated with music, flowers, fireworks, and vibrant liturgies. It’s a moment of communal renewal, where the faithful affirm that suffering does not have the final word.
This image also resonates with the region’s history of colonization and resistance. For many, the risen Christ is not just a theological figure but a symbol of resilience—a divine companion who walks with the poor, the oppressed, and the hopeful. In Indigenous and mestizo communities, the Resurrection is often interpreted through local symbols and rituals, blending Catholic doctrine with ancestral worldviews to express a living, liberating faith.
As one Latin American theologian put it, “The Resurrection is not just a past event—it’s a promise that justice and life will prevail, even in the face of death.” That’s why the image of the risen Christ is not only sacred—it’s revolutionary.

Main altar with the painting of Ecce Homo
The monastery took its name from the painting of the Holy Ecce Homo that was obtained in the sack of Rome (1527), and brought to the New Kingdom of Granada by the Spanish soldier Juan Mayorga Salázar, father of the patron of the convent.

This depiction of Christ, crowned with thorns, bloodied, and humiliated before the Crucifixion, captures a moment of profound vulnerability and divine compassion. It’s not just a portrayal of suffering—it’s an invitation to contemplate the mystery of redemptive love.
In Latin American contexts, Ecce Homo is especially powerful because it reflects the lived experiences of many communities: pain, injustice, endurance, and hope. The image often becomes a mirror for the faithful, who see in Christ’s wounded face their own struggles and dignity. It’s common to find Ecce Homo statues or paintings in churches, homes, and processions, particularly during Holy Week, where they serve as focal points for prayer and reflection.
Artists like Luis de Morales in the 16th century helped shape this iconography, emphasizing Christ’s humanity and inviting intimate, personal devotion.
In some regions, the image is believed to possess miraculous qualities, and local devotions have grown around specific representations—each with its own history and emotional weight.
Ultimately, Ecce Homo in Latin America is more than a religious image—it’s a spiritual companion, a symbol of divine solidarity with the suffering, and a call to compassion and justice.

Isidore the Laborer (San Isidro Labrador)
San Isidro Labrador is one of the most beloved saints in the Spanish-speaking world, especially among rural and agricultural communities. Born around 1070 in Madrid, Spain, Isidro de Merlo y Quintana—later known as San Isidro Labrador—was a humble farmworker renowned for his deep faith, generosity, and miraculous life.

Isidro worked as a day laborer for a wealthy landowner named Juan de Vargas. Despite his modest means, he was known for his devotion to prayer, often attending Mass before beginning his work. According to legend, while he prayed, angels were seen plowing the fields in his place, allowing him to remain faithful without neglecting his duties.
He was married to Santa María de la Cabeza, who is also venerated as a saint. Together, they lived a life of simplicity, charity, and trust in God.
Numerous miracles are attributed to San Isidro, including:

Causing a spring to gush forth to quench the thirst of his master.
Multiplying food to feed the hungry.
Rescuing his son from a well through fervent prayer.

He was canonized in 1622 by Pope Gregory XV, alongside other great saints like Ignatius of Loyola and Teresa of Ávila.
San Isidro is the patron saint of farmers, laborers, and Madrid. His feast day is celebrated on May 15, especially in Spain and Latin America, with romerías (pilgrimages), processions, and agricultural blessings. In places like La Orotava (Canary Islands) and El Ejido (Almería), the celebrations are vibrant expressions of faith and cultural identity.
His life is a powerful reminder that holiness can be found in everyday work, and that faith and humility can transform even the most ordinary tasks into acts of grace.

Saint Catherine of Siena
Saint Catherine of Siena, a 14th-century Dominican mystic and Doctor of the Church, is often depicted clutching a crown of thorns to her chest—a powerful symbol of her mystical union with Christ’s suffering.

According to her own accounts and later hagiographies, she once had a vision in which Christ offered her a choice between a golden crown and a crown of thorns. She chose the thorns, embracing a life of sacrifice, humility, and redemptive suffering.
This gesture—pressing the crown to her heart—visually expresses her radical love and willingness to share in Christ’s Passion. It also reflects her deep interior life, marked by ecstasies, stigmata (which she received invisibly), and a burning desire for the renewal of the Church. In art, this iconography sets her apart from other saints and underscores her role as a spiritual bride of Christ and a fearless reformer.
Catherine’s influence extended far beyond the cloister. She corresponded with popes, mediated political conflicts, and helped bring the papacy back to Rome from Avignon. Her writings, especially The Dialogue, remain spiritual classics.

Side chapel of the church

Our Lady of the Assumption
Our Lady of the Assumption holds a place of profound reverence in Latin America, where Marian devotion is woven into the spiritual and cultural fabric of daily life. Her feast, celebrated on August 15, commemorates the belief that the Virgin Mary was assumed body and soul into heaven—a sign of her purity and her unique role in salvation history.

In Latin America, this belief is not just theological—it’s deeply communal and celebratory. Many towns and cities are named in her honor, and she is often the patroness of cathedrals, parishes, and entire countries. For example, the Catedral Metropolitana de la Asunción in Mexico City is one of the most iconic churches in the Americas, built atop the ruins of the Aztec Templo Mayor—a powerful symbol of the meeting of Indigenous and Christian worlds.
The Assumption is also a public holiday in several Latin American countries, marked by processions, Masses, music, and traditional dances. These celebrations blend Catholic liturgy with local customs, creating a vibrant expression of faith that honors Mary as both Queen of Heaven and Mother of the People.
Her image—often depicted rising to heaven surrounded by angels—represents hope, protection, and the promise of resurrection, especially for communities that have faced hardship. In this way, Our Lady of the Assumption becomes not just a figure of devotion, but a symbol of dignity and divine closeness.

Holy Face of Jesus
The Holy Face of Jesus—a devotional image focusing on Christ’s suffering visage, often associated with the Veil of Veronica—holds a quiet but profound place in Latin American spirituality. While not as universally prominent as Marian devotions or the crucifix, the Holy Face resonates deeply in communities where personal suffering, social injustice, and redemptive hope are part of daily life.

In Latin America, the Holy Face is often venerated in connection with acts of reparation—prayers and devotions offered to console Christ for the offenses of humanity. This aligns with a broader cultural and religious emphasis on compassion, penitence, and solidarity with the suffering Christ, especially during Holy Week, when images of Christ’s Passion are central to public processions and private prayer.
The Holy Face also speaks powerfully to mestizo and Indigenous communities, where the blending of Catholic and ancestral traditions has created a rich tapestry of visual and emotional devotion. In this context, the wounded face of Christ becomes a mirror of the people’s own pain and dignity, a sacred icon that affirms their worth and invites them into divine intimacy.
Though not always the centerpiece of liturgical celebrations, the Holy Face often appears in small chapels, personal altars, and religious art, quietly reminding the faithful that God sees, suffers, and loves through every human face.

Nativity scene in the sacristy

Our Lady of Fatima in the sacristy

Reconstruction of an ancient mass
In the Traditional Latin Mass (also called the Tridentine Mass), the priest typically celebrates facing the altar, with his back to the congregation.

This posture is not about turning away from the people, but rather about priest and people facing the same direction—toward God. Symbolic meaning:

Pilgrimage toward God: The East symbolizes the rising sun and the Resurrection. Facing East together expresses the Church’s orientation toward Christ’s return.
Sacrificial focus: The priest acts in persona Christi (in the person of Christ), offering the sacrifice to the Father on behalf of the people. The focus is vertical—God-centered, not people-centered.
Unity in worship: Priest and faithful are united in a common direction of prayer, emphasizing that the priest is not performing for the people but leading them in worship.

After the Second Vatican Council, the Novus Ordo Mass (promulgated in 1969) introduced the option for the priest to face the congregation during most of the liturgy. Symbolic meaning:

Communal participation: This orientation emphasizes the gathered community and the shared nature of the Eucharistic celebration.
Accessibility and clarity: It allows the faithful to see the priest’s gestures and expressions, fostering a sense of inclusion and understanding.
Dialogue and teaching: The priest’s visibility supports his role as a teacher and shepherd, especially during the Liturgy of the Word.

Structure of the Dominican Order in Colombia

Bartolomé de las Casas
Bartolomé de las Casas was a towering figure in the early colonial history of the Americas—a Dominican friar who became one of the first and most passionate defenders of Indigenous rights.

Originally a participant in the Spanish conquest and an encomienda holder himself, Las Casas underwent a profound conversion after witnessing the brutal treatment of Native peoples. He renounced his land and slaves, joined the Dominican Order, and dedicated his life to advocating for justice.
His most famous work, A Very Brief Recital of the Destruction of the Indies (1522), was a searing indictment of the atrocities committed by Spanish colonizers. Though sometimes criticized for exaggeration, the text was one of the earliest human rights documents in the Western world.
Las Casas argued that Indigenous peoples were rational, fully human, and capable of embracing Christianity voluntarily—a radical stance at a time when many Europeans viewed them as “natural slaves.” His most famous public confrontation came during the Valladolid Debate of 1550, where he opposed Juan Ginés de Sepúlveda, who defended the conquest and enslavement of Native peoples. Las Casas countered with the bold declaration: “All the world is human!”.
Though his advocacy didn’t immediately end colonial abuses, Las Casas influenced laws like the New Laws of 1542, which aimed to curb the worst excesses of the encomienda system. His legacy endures as a prophetic voice for human dignity and a forerunner of liberation theology.

Room of a Dominican friar
Formerly, a scourge used by the Dominican friar, now missing, was displayed on the wall of this room.

The use of flagella—or self-flagellation—as a form of bodily discipline was historically practiced by some Dominican friars, especially during the medieval and early modern periods. This practice was rooted in the desire to imitate Christ’s Passion and to participate in His suffering as a form of penance and spiritual purification.
For Dominicans, whose charism includes preaching and contemplation, the use of the discipline (a small whip or cord) was often part of private devotional life, particularly during Lent or after Compline (night prayer). It was seen as a way to subdue the flesh, express contrition, and deepen one’s union with Christ crucified. While not unique to the Dominicans—other orders like the Cistercians and Capuchins also practiced it—the Dominicans integrated it into their broader ascetic tradition.
However, this practice was never universal or mandatory, and over time, especially after the reforms of the Council of Trent and later Vatican II, it became far less common. Today, it survives only in rare, symbolic, or historical contexts, and the emphasis in Dominican spirituality has shifted more toward internal conversion, intellectual formation, and compassionate action.