La Merced Church (Iglesia de la Merced) in Cali, Colombia, is one of
the city’s most historically and spiritually significant landmarks. Founded in
the mid-16th century, it stands on the very site where the first Catholic Mass
was celebrated in Cali by Fray Santos de Añasco, shortly after the city’s
founding by Sebastián de Belalcázar in 1536. The church is part of the larger
Religious Complex of La Merced, which includes the main church dedicated to
Our Lady of Mercy (the city’s patron saint), auxiliary chapels, a former
convent, and two museums—one of religious art and another of archaeology.
Architecturally, La Merced Church is a classic example of Spanish colonial
style, with whitewashed walls, a long narrow nave, and a richly gilded baroque
altar. The main altar features the image of the Virgen de las Mercedes,
adorned with 18-karat gold and precious stones, and flanked by statues of
Saint Andrew and Saint Augustine. The church also houses the Chapel of Our
Lady of Remedies, which holds a revered statue believed to have miraculous
powers, and the Chapel of the Christ of Letrán, home to a life-sized wooden
sculpture of Christ that is deeply venerated by locals.
Over the centuries, the complex has served multiple roles. It was once a
convent for Mercedarian monks, later repurposed as a military barracks during
Colombia’s independence wars, and eventually returned to religious use. In
1975, it was declared a National Monument, recognizing its cultural and
historical value. The adjacent Museo Arqueológico La Merced showcases
artifacts from pre-Columbian cultures such as the Calima, Quimbaya, and San
Agustín, offering visitors a broader view of the region’s indigenous heritage.
Today, La Merced Church remains a cherished spiritual and cultural site in
Cali. It hosts religious services, community events, and draws tourists
interested in colonial architecture, sacred art, and local history. As the
oldest standing church in the city, it not only reflects Cali’s colonial past
but also continues to serve as a living symbol of faith and identity for its
people.
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South entrance to La Merced Church
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East entrance to La Merced Church
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Augustinian Recollect Missionaries (Misioneras Agustinas Recoletas)
The Augustinian Recollect Missionaries (Misioneras Agustinas Recoletas) have had a significant presence in Cali, Colombia, since the mid-20th
century, though their roots in the region date back even further.
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Their mission in Cali is part of a broader legacy of Augustinian
Recollect spirituality, which emphasizes community life, interiority,
service, and a deep commitment to the Church. The congregation was
formally established in Colombia in 1945, and in 1955, the Tertiary
Augustinian Recollects of Cali—a local religious community with over
two centuries of history—merged with the Augustinian Recollect
Missionaries, strengthening their presence and expanding their
apostolic work in the region2.
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One of their most enduring contributions in Cali is the founding of
the Nuestra Señora de la Consolación School in 1954. This institution,
created under the leadership of Sister Lucía Padilla and other
pioneering sisters, has provided generations of students with a
holistic education rooted in Gospel values. The school emphasizes both
academic excellence and technical training, preparing students not
only for higher education but also for the workforce. It continues to
be a beacon of faith-based education in the city, celebrating its 70th
anniversary in 2024.
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Beyond education, the Augustinian Recollect Missionaries in Cali are
involved in pastoral, social, and charitable work, especially among
vulnerable populations. Through partnerships with organizations like
ARCORES Colombia, they support food distribution, spiritual
accompaniment, and social development programs for children, the
elderly, and the sick. Their mission reflects a blend of contemplative
life and active service, staying true to the Augustinian Recollect
charism of living in community while reaching out to those in need.
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Today, the community remains a vital part of Cali’s religious and
social fabric. Their legacy is visible not only in schools and
churches but also in the lives they’ve touched through decades of
service. The Augustinian Recollect Missionaries continue to embody a
spirituality of humility, charity, and dedication, rooted in centuries
of tradition and adapted to the challenges of the modern world.
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Chapel of Our Lady of Remedies
In the chapel of Our Lady of
Remedies is her image carved in stone.
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It was found in what is currently called "El Queremal", in the
municipality of Dagua, a few kilometers from Cali.
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The child here carries in his hand a chontaduro, a tropical fruit,
typical of this area. The indigenous people of that region venerated
this image.
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Calvary (Calvario or Cristo del Calvario)
The
cult of Christ on the Cross flanked by the Virgin Mary and Saint John
holds deep religious and cultural significance in Colombia, as in much
of Latin America. This iconographic representation—known as the
Calvario or Cristo del Calvario—depicts the moment of
Christ’s crucifixion, with Mary and John standing in sorrow at the foot
of the cross. It is a powerful visual expression of suffering,
compassion, and redemption, central themes in Catholic theology that
resonate strongly in Colombian religious life.
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In Colombia, this image is not only a devotional object but also a
focal point of Holy Week (Semana Santa) celebrations,
particularly in cities like Popayán, Mompox, and Tunja, where
elaborate processions carry statues of the crucified Christ
accompanied by Mary and John through the streets. These processions
are deeply emotional events, blending liturgical solemnity with local
traditions, music, and community participation. The trio of Christ,
Mary, and John symbolizes the human and divine dimensions of the
Passion, inviting the faithful to meditate on themes of sacrifice,
maternal sorrow, and spiritual witness.
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The image also plays a role in personal and communal devotion. Many
rural chapels and urban churches in Colombia feature altars or
paintings of this scene, where believers pray for healing,
forgiveness, or strength in times of suffering. The presence of Mary
and John at the crucifixion offers a model of steadfast faith and
compassion, making the image especially meaningful in a country that
has endured social and political violence. It becomes a symbol of
endurance and hope amid pain.
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Moreover, the cult of the crucified Christ flanked by Mary and John
has inspired Colombian religious art, music, and literature,
reinforcing its place in the national spiritual imagination. Whether
in colonial-era paintings, baroque altarpieces, or contemporary
processions, this sacred trio continues to evoke a profound sense of
empathy and connection to the divine, anchoring Colombian Catholic
identity in both tradition and lived experience.
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Altarpiece of the Chapel of the Virgin of Mercy
The
altarpiece of the Chapel of the Virgin of Mercy is made of polychrome
carved wood and gilded with a gold foil with a clear Baroque influence.
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The altarpiece of the Chapel of the Virgin of Mercy (Capilla de la Virgen de las Mercedes) in Cali, Colombia, is one of the most treasured examples of
colonial religious art in the city. Located within the La Merced
Religious Complex, this altarpiece is the focal point of the chapel
dedicated to Our Lady of Mercy, the patroness of Cali. The chapel
itself is part of the oldest church in the city, built on the site
where the first Catholic Mass was celebrated in Cali in 1536.
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The altarpiece is a baroque-style retablo, richly adorned with gold
leaf and intricate carvings. At its center stands a revered
15th-century wooden statue of the Virgin of Las Mercedes, brought from
Spain and believed to have miraculous powers. She is typically
depicted holding the scapular of the Mercedarian Order, symbolizing
her role as a protector and intercessor. The altarpiece is flanked by
smaller niches containing statues of saints, angels, and decorative
motifs that reflect both European artistic traditions and local
craftsmanship.
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This altarpiece is not only a devotional centerpiece but also a symbol
of Cali’s colonial heritage and spiritual identity. It has witnessed
centuries of religious ceremonies, civic celebrations, and personal
pilgrimages. The Virgin of Mercy is especially venerated during her
feast day in September, when the chapel becomes a hub of processions,
prayers, and offerings.
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Today, the Chapel of the Virgin of Mercy and its altarpiece remain a
living testament to the fusion of faith, art, and history in Cali. As
part of a national monument, it continues to attract both worshippers
and visitors, offering a glimpse into the city’s sacred past and its
enduring devotion to the Virgin who has long been seen as its
celestial guardian.
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Virgin of Mercy
The Virgin of Mercy is a wood carving where
she appears with the child. She is also recognized as the patron saint
of the inmates.
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The cult of the Virgin of Mercy (Virgen de las Mercedes) holds
a special place in Colombia’s religious and cultural landscape,
particularly in cities like Cali, where she is venerated as the
patroness of the city. Rooted in the Mercedarian tradition, which
began in 13th-century Spain with the Order of the Blessed Virgin Mary
of Mercy, this devotion was brought to the Americas during the
colonial period. The Mercedarian Order was originally founded to
redeem Christian captives from Muslim territories, and the Virgin of
Mercy came to symbolize liberation, protection, and maternal
compassion—qualities that resonated deeply in colonial societies
marked by slavery, conflict, and spiritual longing.
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In Colombia, the Virgin of Mercy became a powerful intercessor,
especially among communities seeking deliverance from suffering or
injustice. Her image—often depicted holding the Mercedarian scapular
and flanked by chains or captives—evoked themes of freedom and divine
mercy, which were particularly meaningful in a country shaped by
colonial rule, internal conflict, and social inequality. Churches,
chapels, and altarpieces dedicated to her, such as the one in La
Merced Church in Cali, became centers of pilgrimage and devotion,
especially on her feast day, September 24.
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The cult of the Virgin of Mercy also reflects the broader phenomenon
of popular Catholicism in Colombia, where institutional religious
practices blend with grassroots expressions of faith. In rural areas
and urban neighborhoods alike, devotees pray to her for healing,
protection, and guidance, often incorporating local customs, music,
and offerings. Her image is carried in processions, adorned with
flowers and candles, and invoked in times of crisis—whether personal
or communal.
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Today, the Virgin of Mercy remains a living symbol of hope and
resilience in Colombian spirituality. Her cult bridges the colonial
past with contemporary faith, embodying both the historical legacy of
the Mercedarian mission and the enduring need for compassion and
liberation in the hearts of the faithful.
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Crucifix (Crucifijo)
The cult of the Crucifix in
Colombia holds profound spiritual and cultural significance, with its
most iconic expression centered on the Señor de los Milagros de Buga
(Lord of Miracles of Buga).
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This devotion originated in the 16th century in the town of
Guadalajara de Buga, Valle del Cauca, when, according to tradition, an
Indigenous laundress found a small crucifix floating in the
Guadalajara River. Miraculously, the crucifix began to grow in size
and became the object of widespread veneration. Over time, it came to
be known as a miraculous image, believed to grant healing and divine
intervention.
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The crucifix, now housed in the Basílica del Señor de los Milagros, is
a life-sized figure of Christ on the cross, made of mud and covered in
silver and platinum. It is also known as the Black Christ of Buga, due
to its darkened appearance—said to have resulted from candle smoke and
a failed attempt to burn it during the colonial period. Despite
multiple attempts to destroy it, the crucifix remained intact, further
fueling its reputation for miraculous power. Pilgrims from across
Colombia and beyond visit the basilica, especially on September 14,
the feast of the Exaltation of the Holy Cross, when processions and
special Masses are held.
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The cult of the Crucifix in Buga is not just a religious phenomenon
but also a national symbol of faith, resilience, and hope. It draws
millions of pilgrims annually, making it one of the most important
non-Marian Catholic shrines in the Americas. Devotees pray to the
Señor de los Milagros for healing, protection, and guidance in
desperate situations, and many attribute personal miracles to his
intercession. The basilica itself has become a hub of religious
tourism, cultural heritage, and community identity.
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More broadly, the veneration of the crucified Christ in Colombia
reflects the country’s deep-rooted Catholic traditions and its
historical experiences of suffering and redemption. The image of
Christ on the cross—especially one believed to have emerged
miraculously—resonates with the collective memory of a nation that has
endured violence, displacement, and hardship. The cult of the
Crucifix, particularly in Buga, continues to offer a powerful
spiritual anchor for millions of Colombians seeking solace, healing,
and divine presence in their lives.
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Our Lady of Consolation (Nuestra Señora de la Consolación)
The cult of Our Lady of Consolation (Nuestra Señora de la Consolación) in Colombia is a deeply rooted Marian devotion, especially associated
with the Augustinian Recollect tradition, which has had a strong
presence in the country since the 20th century.
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This devotion traces its origins to the Augustinian Order, where the
Virgin Mary is venerated under the title of Consolation, inspired by a
vision granted to Saint Monica, the mother of Saint Augustine. In that
vision, the Virgin gave her a leather belt—symbolizing spiritual
protection and maternal care—which became a hallmark of the devotion.
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In Colombia, the cult of Our Lady of Consolation has flourished
particularly in regions where the Augustinian Recollect Missionaries
have established schools, parishes, and social ministries. One of the
most prominent centers of this devotion is in Cali, where the
Augustinian Recollect sisters founded the Nuestra Señora de la
Consolación School in 1954. The Virgin under this title is seen as a
motherly figure of comfort and strength, invoked especially in times
of hardship, illness, or emotional distress. Her image is often
depicted holding the Child Jesus and offering a consoling embrace,
symbolizing her role as a source of peace and hope.
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The importance of this cult lies not only in its theological depth but
also in its pastoral and social impact. Devotion to Our Lady of
Consolation has inspired charitable works, educational initiatives,
and spiritual formation programs across Colombia. Her feast day,
celebrated on September 4, is marked by processions, novenas, and
community gatherings, particularly in schools and parishes under her
patronage. These celebrations reinforce a sense of identity and
continuity among the faithful, especially in communities shaped by the
values of Augustinian spirituality—interiority, community, and
service.
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Ultimately, the cult of Our Lady of Consolation in Colombia reflects
the enduring power of Marian devotion as a source of healing, unity,
and resilience. In a country that has faced social conflict and
displacement, the Virgin of Consolation offers a spiritual refuge and
a maternal presence that continues to inspire faith and solidarity
among Colombians.
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Lord of the Sugarcane (Señor de la Caña)
The cult of
the Señor de la Caña (Lord of the Sugarcane) is a deeply rooted and
uniquely local devotion in Cali, Colombia, centered around a revered
image of Christ crucified that has become a symbol of faith, resilience,
and identity for the city.
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The devotion dates back to the late 16th century, when a small chapel
was built near the banks of the Cali River and dedicated to Our Lady
of Sorrows and the Señor de la Caña. The name "Señor de la Caña"
likely refers to the region’s sugarcane economy and the wooden
material of the crucifix, linking the image both spiritually and
materially to the land and its people.
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Over time, the Señor de la Caña became a miraculous figure for the
people of Cali. During the civil conflict of December 25, 1876, the
image was officially declared the Savior of Cali, a title that
reflects the deep emotional and spiritual connection between the city
and this crucifix. The devotion intensified after the 1925 earthquake,
which destroyed much of the original chapel, but left the wall
containing the image of the Señor de la Caña miraculously intact. This
event was seen as a divine sign, reinforcing the image’s sacred status
and prompting a massive civic and religious effort to rebuild the
church.
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The new church, La Ermita, was completed in 1942 in a striking
neo-Gothic style, inspired by the Ulm Cathedral in Germany. It houses
the original image of the Señor de la Caña in a side altar, where it
continues to draw pilgrims and devotees. The church itself has become
one of Cali’s most iconic landmarks, and the image of the Señor de la
Caña is central to the city’s religious life, especially during Holy
Week and other major liturgical celebrations3.
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The importance of this cult lies not only in its religious dimension
but also in its civic and cultural symbolism. The Señor de la Caña
represents protection, endurance, and divine presence in the face of
adversity—qualities that resonate deeply in a city shaped by
migration, conflict, and transformation. For many caleños, devotion to
the Señor de la Caña is both a personal act of faith and a collective
expression of identity, rooted in the history and soul of Cali.
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Lord of Good Hope (Señor de la Buena Esperanza)
The
Señor de la Buena Esperanza (Lord of Good Hope) is a deeply venerated
image of Christ in Quito, Ecuador, with a powerful story that has
inspired devotion across Latin America, including in parts of Colombia.
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The origin of this devotion dates back to 1652, when a mule carrying a
mysterious crate wandered through the streets of Quito without a guide
and stopped at the gate of the Convent of San Agustín. The mule
refused to move, and when the crate was opened, the friars discovered
a beautiful statue of Christ, dressed in a velvet robe and wearing
golden sandals encrusted with precious stones.
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The statue was so heavy that it could not be moved to the church, so
it was placed in the convent’s portería (gatehouse), where it quickly
became an object of public veneration. Miracles were soon attributed
to the image, and the faithful began to flock to it in growing
numbers. One of the most famous miracles involved a poor man named
Gabriel Cayancela, who, in desperation, prayed before the image for
help. During his prayer, one of the statue’s golden sandals
miraculously fell into his hands. Gabriel, unaware of the
consequences, sold the sandal to a jeweler to feed his starving
family.
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However, the sandal was recognized as belonging to the sacred image,
and Gabriel was accused of sacrilege and theft. He was condemned to
death. As a final request, he asked to be brought before the Señor de
la Buena Esperanza. There, in front of a crowd, he tearfully explained
that the sandal had been a divine gift. In a moment that stunned the
onlookers, the statue lifted its other foot and dropped the second
sandal into Gabriel’s hands—confirming his innocence. The crowd
erupted in awe, and Gabriel was pardoned. The authorities even paid
him the weight of the sandal in gold, lifting him out of poverty.
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This miracle solidified the Señor de la Buena Esperanza as a symbol of
divine mercy, justice, and hope, especially for the poor and
oppressed. The devotion emphasizes Christ’s compassion for those in
despair and his power to intervene in the most desperate
circumstances. The image remains enshrined in the Church of San
Agustín in Quito, where it continues to draw pilgrims and inspire acts
of charity and faith throughout the region.
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