Perched atop the loaf-shaped hill of El Panecillo in the heart of Quito,
Ecuador, the Virgin of El Panecillo—also known as the Virgin of Quito—is one
of the city’s most iconic landmarks. This towering aluminum statue, completed
in 1975, was designed by Spanish sculptor Agustín de la Herrán Matorras and
stands at an impressive 135 feet (41 meters), making it the tallest statue in
Ecuador and one of the tallest in South America—surpassing even Rio de
Janeiro’s Christ the Redeemer. The statue is a monumental replica of a much
smaller 18th-century wooden sculpture by Bernardo de Legarda, a masterpiece of
the Quito School of Art.
What sets this Virgin Mary apart is her dynamic pose and unique features. She
is depicted with wings, a detail inspired by the Book of Revelation, and
stands atop a globe while crushing a serpent beneath her feet—symbolizing
triumph over evil. Her crown of twelve stars represents the apostles or the
tribes of Israel. These elements, combined with her flowing robes and
expressive posture, give her the nickname “Dancing Virgin,” a rare portrayal
that blends religious symbolism with artistic flair.
The statue is not only a religious and cultural symbol but also a major
tourist attraction. Visitors flock to El Panecillo for its panoramic views of
Quito, especially from the viewing platforms around the monument. The site
hosts annual events such as Nativity illuminations and novenas, and it has
even made appearances in popular culture, including the closing credits of the
Hollywood film Proof of Life.
Historically, El Panecillo was known as Shungoloma during Inca times, and its
strategic location between central and southern Quito made it an ideal spot
for the monument. The decision to erect the statue was made in the 1950s, and
after years of planning and construction, the Virgin of El Panecillo became a
defining feature of the city’s skyline. Today, she watches over Quito as both
a spiritual guardian and a testament to the city’s artistic heritage.
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Virgin of Quito seen from the east
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Top photograph by Arabsalam, distributed under a CC-BY 4.0 license.
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Bottom photograph by David C. S., distributed under a CC-BY 4.0
license.
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Virgin of Quito seen from the northeast
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Top photograph by Arabsalam, distributed under a CC-BY 4.0 license.
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Middle photograph by Maros, distributed under a CC-BY 3.0 license.
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Bottom photograph by David Adam Kess, distributed under a CC-BY 4.0
license.
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Virgin of Quito seen from the north
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Photograph by Josuadaniel, distributed under a CC-BY 4.0 license.
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Gateway to the interior of the monument
- Photograph by Cayambe, distributed under a CC-BY 3.0 license.
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Monument dedication
«Ecuador, to the Immaculate Mother of
God, August Queen, Most Loving Mother and Protector of this Republic.
Legislative Decree 1892.»
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The dedication inscribed at the base of the Virgin of El Panecillo in
Quito reads: “Ecuador, to the Immaculate Mother of God, August Queen,
Most Loving Mother and Protector of this Republic. Legislative Decree
1892.” This powerful statement reflects the deep Marian devotion that
has long shaped Ecuador’s religious and national identity. The decree
was passed by the Ecuadorian Congress on August 5, 1892, following the
bishops’ consecration of the country to the Most Pure Heart of Mary
earlier that July.
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The initiative was spearheaded by Father Julio Matovelle, a senator
and religious leader known for his fervent advocacy of Catholic values
in public life. His proposal to honor the Virgin Mary with a
monumental statue atop El Panecillo was part of a broader movement to
consecrate Ecuador to sacred figures—first to the Sacred Heart of
Jesus in 1874, and then to Mary in 1892. The dedication was not merely
symbolic; it was a legislative act that enshrined the Virgin as the
spiritual protector of the Republic, blending faith with civic
identity.
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Despite the decree, the statue itself would not be realized for
decades. Political upheaval, including the Liberal Revolution of 1895
and subsequent instability, delayed the project. It wasn’t until
1975—over 80 years later—that the statue was finally completed by
Spanish sculptor Agustín de la Herrán Matorras. The dedication
remained a guiding principle, and when the statue was inaugurated, it
stood not only as a work of art but as a long-awaited fulfillment of
Ecuador’s promise to its “Most Loving Mother.”
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Today, the inscription serves as a reminder of Ecuador’s enduring
Marian devotion and the historical journey that led to the Virgin of
El Panecillo becoming a national symbol. It encapsulates the fusion of
religious reverence and patriotic sentiment, elevating the monument
beyond its physical grandeur into the realm of spiritual guardianship
and cultural legacy.
- Photograph by Cayambe, distributed under a CC-BY 3.0 license.
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History of this monument
The Virgin of El Panecillo in Quito
is the result of decades of vision, devotion, and artistic
collaboration.
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The idea for the monument was first proposed in the 1950s by religious
and civic leaders who saw the hill of El Panecillo as the ideal site
for a Marian statue that would overlook the city. The chosen model was
the 18th-century wooden sculpture of the Virgin of Quito by Bernardo
de Legarda, a masterpiece of the Quito School of Art. This original
piece, known for its dynamic posture and apocalyptic symbolism, served
as the artistic and spiritual inspiration for the monument.
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Spanish sculptor Agustín de la Herrán Matorras was commissioned to
design and execute the statue. Working from his studio in Madrid, he
created a towering 98-foot-tall replica composed of 7,400 numbered
aluminum pieces. These were disassembled, shipped to Ecuador, and
meticulously reassembled atop a concrete base on El Panecillo. The
structural engineering was a feat in itself, with the aluminum panels
supported by an internal metal framework designed to withstand the
region’s seismic activity and high-altitude conditions.
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Construction began in earnest in the early 1970s, with the base taking
several years due to financial constraints and the decision to clad it
in volcanic stone. The foundation includes 18 columns symbolizing
Ecuador’s provinces at the time, and the statue stands atop a globe
and serpent—representing the Virgin’s triumph over evil. The wings,
measuring around 90 meters, were assembled on the ground before being
affixed to the statue, adding to the complexity of the build.
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The monument was inaugurated on March 28, 1975, marking the
culmination of a long-held national aspiration. The Virgin of El
Panecillo quickly became a symbol of Quito’s identity, blending
religious devotion with artistic grandeur. Today, it remains a beloved
landmark, offering panoramic views of the city and serving as a
spiritual beacon for locals and visitors alike.
- Photograph by Cayambe, distributed under a CC-BY 3.0 license.
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The Woman of the Apocalypse
Revelation chapter 12 opens with
a striking celestial image: “A great sign appeared in heaven: a woman
clothed with the sun, with the moon under her feet and a crown of twelve
stars on her head” (Revelation 12:1). This woman, pregnant and in labor,
gives birth to a male child “who will rule all the nations with an iron
scepter” (Revelation 12:5).
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The child is widely interpreted as Jesus Christ, and the woman has
been variously understood as Mary, Israel, or the Church. The chapter
continues with the appearance of a dragon—symbolizing Satan—who seeks
to devour the child, but the child is taken up to God, and the woman
flees to a place prepared for her in the wilderness.
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The Virgin of El Panecillo in Quito is a direct artistic
interpretation of this apocalyptic vision. Inspired by Bernardo de
Legarda’s 18th-century sculpture, the monument depicts the Virgin Mary
with wings, standing on a globe and crushing a serpent—imagery that
echoes Revelation 12’s themes of divine protection and triumph over
evil. Her crown of twelve stars and elevated posture mirror the
biblical description, reinforcing her role as a celestial figure and
spiritual guardian.
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This connection between scripture and sculpture is not merely
symbolic—it’s theological. The statue embodies the belief that Mary,
as the Mother of God, plays a pivotal role in salvation history. By
portraying her as the Woman of the Apocalypse, the Virgin of El
Panecillo becomes a visual catechism, teaching viewers about the
cosmic battle between good and evil and the protective power of divine
grace. Her wings, a rare feature in Marian iconography, emphasize her
supernatural role and link her to the “two wings of a great eagle”
given to the woman in Revelation 12:14 so she might escape the
serpent.
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Thus, the Virgin of El Panecillo is more than a monument—it’s a
theological statement rooted in Revelation. It transforms the hilltop
of Quito into a sacred space, where the biblical narrative of
Revelation 12 is not only remembered but made manifest in aluminum and
stone. The statue stands as a testament to Ecuador’s Marian devotion
and its desire to anchor national identity in divine protection and
apocalyptic hope.
- Photograph by Cayambe, distributed under a CC-BY 3.0 license.
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