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The Church of the Incarnation (Iglesia de la Encarnación) is one of the most beautiful churches in Popayán, Colombia. It stands a block east of Parque Caldas, at the corner of Calle 5 and Carrera 5.
Overview of the Church of the Incarnation
The Church of the Incarnation was originally the chapel of the Cloister of Our Lady of the Incarnation of the Discalced Augustinian Nuns (Claustro de Nuestra Señora de la Encarnación de las Monjas Agustinas Descalzas), founded in 1591. Construction began that same year, using assets donated by Agustín de la Coruña (c. 1507–1589), the second Bishop of Popayán, in 1563.
The complex was destroyed by the earthquake of February 2, 1736, and rebuilt between 1764 and 1782 under abbess Mother Mariana de San Estanislao y Saa (1726–1795). The reconstruction was designed by German architect Simon Schenherr, incorporating both Baroque and Neoclassical elements, and completed by Gregorio Causí. A small orchard to the south allowed the nuns to support themselves while maintaining their vows of isolation.
19th Century to the Present
In 1811, forces under Antonio Nariño (1760–1823) expropriated numerous works of gold and silver to fund the Colombian War of Independence. The Augustinians were expelled from Colombia in 1863 by General Tomás Cipriano de Mosquera (1798–1878). Since then, church has functioned as a parish.
Around 1898, the cloister came under the administration of the Trinitarian Josephines (Josefinas Trinitarias), who inhabited it until 1920. The College of the Sacred Heart of Jesus (Colegio del Sagrado Corazón de Jesús), administered by the Salesians, was founded there on October 25, 1927, and operated for about 50 years. A decree passed on December 27, 1977, ordered the cloister to be transferred to another school, Colegio Mayor del Cauca, which moved in two years later and still occupies it today.
An earthquake on March 31, 1983, damaged the tile roof and caused structural issues. Repairs sponsored by Government of Cauca and the Inter-American Development Bank addressed not only the 1983 damage but also alterations from previous earthquakes that had affected the church’s original design.
Nave of the Church of the Incarnation
The church has a single nave with a choir loft, supported by a series of cross vaults influenced by Byzantine design — unique in Popayán. These vaults were once colorfully painted, but only fragments of the original artwork survive today.
Main Altar
The Baroque main altarpiece is one of the finest in the city — hand-carved and gilded, with niches decorated with statues. It’s believed to be the work of Sebastián, a master of the Popayán school. The altarpiece has two levels of niches topped by a crown. On the lower level is the tabernacle, flanked by an 18th-century Spanish sculpture of St. Peter the Apostle on the left and Our Lady of Sorrows on the right. The St. Peter sculpture is used in Holy Saturday processions.
The upper level features a central niche with an elaborate semicircular arch opening to three windows. It contains an image of Our Lady the Virgin of Easter (Nuestra Señora la Virgen de la Pascua), carved by Alcides Montesdeoca (1930–2022) in Ibarra, Ecuador, in 1996, which is also used in Holy Saturday processions. To the left is a sculpture of St. Augustine of Hippo, and to the right is St. Thérèse of Lisieux (Santa Teresita del Niño Jesús).
Pulpit
The octagonal pulpit on the north wall is unique because it has no pedestal and is anchored directly to the wall. It’s accessed via a staircase built into the middle of the wall. The pulpit features gilded flower and acanthus motifs.
Side Altars
The Church of the Incarnation has beautiful side altars — three along the north side and five along the south. All are Baroque works, crowned by monstrances and painted red, except for one.
Altar of St. Martha; Mary, Help of Christians; and Mystical Rose
Starting on the north side, the first altar from the presbytery is the Altar of St. Martha; Mary, Help of Christians; and Mystical Rose (Altar de Santa Marta, María Auxiliadora y Rosa Mística). Its base features a gilded figure of a bowl of fruits — likely grapes, symbolizing the wine of the Eucharist and the Last Supper. The niche, flanked by Solomonic columns with acanthus leaf capitals, contains images of St. Martha; Mary, Help of Christians; and Mystical Rose.
Altar of Mary Magdalene
Next the pulpit is the Altar of Mary Magdalene (Altar de Santa María Magdalena). Solomonic columns with acanthus leaf capitals support an arch with gilded moldings, while the base is decorated with Baroque motifs. The niche contains an 18th-century carving of Mary Magdalene from the Quito school, which is used during Holy Saturday processions.
Altar of the Fallen Lord
The Altar of the Fallen Lord (Altar de El Señor Caído) is the third and final altar on the north side and also the most distinctive in the church. It was created by an artist of the Popayán school, featuring gilded flower motifs on a green background. Above the base is a frame with Baroque motifs, including acanthus leaves and bowls of fruit, crowned with carvings of vines and two ladders flanking a medallion in front of a cross.
An 18th-century carving of the Fallen Lord, executed by a local peasant, depicts Christ in front of the Arma Christi — the Holy Cross with the Crown of Thorns, the Spear of Longinus, the Holy Sponge, and the INRI (Jesus, King of the Jews) sign. It’s used during Holy Wednesday processions.
Altar of the Angel of the Resurrection
On the south side, starting from the presbytery, is the Altar of the Angel of the Resurrection (Altar del Ángel de la Resurrección). Its base supports two Solomonic columns topped with a canopy. The niche houses a 20th-century sculpture of the Angel of the Resurrection by Spanish artist José Lamiel (1924–2020). It’s used for various processions throughout the year. I couldn’t get a photo of this altar because it was blocked by a nativity scene.
Altar of Our Lady of Sorrows
Next is the Altar of Our Lady of Sorrows (Altar de Nuestra Señora de los Dolores), a work of the Popayán school. Its base features a gilded flower motif containing a sacred heart, believed to represent the Immaculate Heart of Mary. Two Solomonic columns rise from acanthus leaf bases, supporting a canopy crowned with a monstrance and a painting of two doves, symbolizing the Presentation of Jesus (Luke 2:22-24). The image in the niche depicts Our Lady of Sorrows, though the altar may have originally been dedicated to Our Lady of Candelaria.
Altar of St. Joseph of Arimathea
Third is the Altar of St. Joseph of Arimathea (Altar de San José de Arimatea), attributed to Sebastián of the Popayán school. Two columns with acanthus leaf capitals flank the niche, while the canopy features a monogram of the Virgin Mary on a blue background. The monstrance at the top contains a Christogram, meaning “Jesus, Savior of Men”. The niche houses a 17th-century carving of St. Joseph made in Quito. In 2005, it was moved from the sacristy to this altar and incorporated into Holy Week processions.
Altar of the Holy Christ of the Transfer
Continuing along is the Altar of the Holy Christ of the Transfer (Altar del Santo Cristo del Traslado). Acanthus leaf bases support two Solomonic columns. The canopy is shaped like an arched curtain and is topped by a monstrance featuring a representation of the Sacred Heart of Jesus, surrounded by the Crown of Thorns. An image of the Holy Christ of the Transfer used during Holy Week processions adorns the niche. It was made in Ibarra, Ecuador, by Alcides Montesdeoca in the 21st century.
Altar of St. Nicodemus
The fifth and final altar on the south side is the Altar of St. Nicodemus (Altar de San Nicodemo). Its base features gilded Baroque symbols, and Solomonic columns flank the niche. The semicircular canopy is topped by a monstrance containing the monogram of the Virgin Mary. A 17th-century carving of St. Nicodemus, made in Quito, adorns the niche. It was moved from the sacristy to this altar in 2005 and incorporated into Holy Week processions. The carving was temporarily removed at the time of my last visit.
