The Conventual Church of St. Bonaventure is located in La Villa de Betancuria, in the place where the ancient convent of Saint Buenaventura was located. This church is included in the Betancuria historical whole, in 1979.

Historical news: Foundation of the Franciscan convent was authorized by a Papal Bull of Pope Benedict XIII in the year 1416, Pedro de Pernia and Fray Juan de Baeza empowered for its edification. However, the completion of the construction was delayed since in the year 1423 fray Juan de Baeza obtained new Bull of Martin V, which granted indulgences to the faithful who help with their alms to the factory of the convent.

With the arrival at the island of fray Diego de San Nicolás, later San Diego de Alcalá, the monastery received a strong boost and subsequently made 1454-55, was extended by desire of the Lords of the island, Diego García de Herrera and Inés Peraza, who in the 15th century established their residence in the town, where he died first, in 1485 being buried in the convent of Saint Buenaventura.

In the 17TH century it was rebuilt and expanded the conventual Church, whose walls are still preserved, while the convent only survive remains of the foundations.

Description: It is a simple, masonry, stonework in the stands and Temple openings. It is a Mudejar work with classical elements. It is presenting on latin cross, with double arm and head flat by the presence of two sacristies after cruisers and communicated with them. Access to the temple is through two doors, one located at the foot of the same and the other on the side of the epistle, both made in masonry, with semicircular arches, one of which slightly pointed inwards. The walls are several windows, standing on the right side by their decoration features. The triumphal arch is semicircular, to which communicate with the arms of the temple, although the brackets are different, in some cases it’s pillars with half attached columns, which are capitals and shafts pseudo-dorics and ionic, while there are other pillars with sheaves on reeding of souvenir Gothic, although belonging also to the great reform and expansion of the 17TH century.

Altarpieces niche: unique embellishments that are still are two small niches of carved stone altarpieces. The altarpiece in the side chapel of the Gospel, is formed by a niche crowned by a scallop between two pilasters in which are inlaid half columns; a developed broken entablature gives access to the triangular pediment which is crowned at their corners by incense and a cross. The altarpiece of the epistle side presents the same elements as the previous one, with the exception of using half columns worm splined shaft. Both altarpieces were polychromed, but today barely be seen rest of old paint that covered them.

The Church of Santa María de Betancuria is located in the Centre of the historical helmet of the Villa of santa María de Betancuria. This church is included in the historical complex of Betancuria, in 1979.

Historical news: at the beginning of the 15th century conquistadors built a simple oratory where to meet the religious precepts; this first chapel was replaced toward the year 1410 by the new temple, ordered to be built by the Conqueror Jean de Bethencorurt, commissioning works of Jean le Macon. This church was built according to the guidelines of the French Gothic style of the 15th century. In 1593 it was destroyed by Berber pirates, led by the Xaban arráez, who razed the town.

Works for the reconstruction of the temple began in the 16th century, and does not end until the last decade of the 17TH, as reflected in the registration of the tower that says: “this work / was done / 91 year being / Butler of / manufactures the captain / Ruis did it / master Parraga”. The result of these works is the Church that today we can see that there are Gothic, Mudejar, Renaissance and Baroque elements.

Description: It is a building of three naves with the presbytery and chapels headers of the aisles in the same plane. The square Tower is attached to the wall of the letter by the foot of the temple; towards the middle of this side opens the main doorway, in clear stone carved in arch, with split pediment decorated with vegetable motifs that come out of vases and covers the door jambs.

In both side walls open windows in Arch of clear stone. On the wall of the epistle, at the height of the arc that separates the nave of the Chapel and the front wall, are two buttresses. The sacristy is attached to the wall of the nave of the Gospel by the part of the header and a buttress that stands out at the height of the main arch. Both the tower and the front of the ship on the right Windows Open arched mixtilineos and ogee. The corners of the tower and Church are worked with stone ashlars.

Interior: The Church is covered with armor Mudéjar in trough and octagonal, highlighting the cover of the sacristy, which is accessed through a door open on the left side of the main Chapel; the coffered ceiling of this room is a Moorish structure, divided into coffers decorated Renaissance based on vegetation and rosettes, gilded and polychrome.
The first plant of the Bell Tower is covered by a spherical vault of eight gallons, whose nerves rest on semiconical brackets. The interior of the temple division is made by semicircular arches, supported on columns pointed, and is pointed to the main Arch of the chancel.

In the interior of the temple stands out:

Choir: It is situated at the foot of the main nave, is made of carved and polychromed wood. Stalls is located in the lower part. It has a upper railed, with a sort of central rostrum decorated the formwork panels with paintings.

Pulpit: Made of wood, with panels that are the symbols of the Eucharist and the Apostles.

Floor: The floor of the Church is covered with slabs of stone with intersections of slats of wood between the slabs.

Altarpiece:

It was made between 1684 and 1718 by master Francisco Hernández and Golden in 1718; It is of Baroque style, of wood, lavishly decorated and polychrome with vegetable motifs.

A central body has divided into three aisles separated by paired columns; they open niches where are images; in the left San Pedro, of wood carved and polychrome, round lump of the 18th century; right San Antonio de Padua, carved in wood, round and polychrome bundle; and in the central niche, of larger size, the sculpture of our Lady de la Concepción, carved and polychromed wood.

In the predella paintings are represented with the busts of the Apostles and fathers of the Church and in the Bank, on both sides of the table of the altar, there are two landscape paintings.

In the attic is located in the central part, a crucified of bulk round, carved in wood and polychrome, flanked on both sides by volutes with fruits and rocaille décor.

Altarpiece of San Buenaventura:

It is located at the head of the ship of the epistle; it is polychrome masonry. It opens in its central part a square niche where is home to the Saint, patron saint of the island. The decoration is based on polychrome that mimic columns, friezes and a pediment topped the altarpiece, wreaths, etc., on a white background, which include blue, red and yellow tones imitating a marble. The image of San Buenaventura is a sculpture of limelight, carrying in his right hand the staff or cane.

Altarpiece of the sacred heart of Jesus:

Masonry, located in the wall of the epistle, it is polychrome geometric and vegetal motifs in shades of red, blue, green and yellow on a white background, with a central niche where takes the image of round bulk of the sacred heart of Jesus.

Altarpiece of Christ tied to a column:

It is masonry, a body divided into three aisles separated by columns. In every street opens a niche that houses two separate images. The attic is flanked by pinnacles. The whole set is polychromatic in shades of blue, pink and yellow on a white background with geometric and vegetal motifs. In the niche left is San Francisco, round sculpture, made in plaster, dressed in the habit of the order, wrapped with cord, portal the crucifix and carries printed the wounds in his hands. The image of San Juan Bautista, from the 18th century, round, carved in wood, polychromed and gilded is located in the right niche. It is placed on stand, dressed in short tunic and carries in his left hand book and the divine lamb. The image of Christ tied to the end of the 17TH century column is located in the central niche. It represents the derision of Christ, tethering, with furrowing body sores and blood. The sculpture is of round bulk, wood carved and polychrome, with serene and calm attitude.

Altarpiece of souls:

It is masonry, located at the foot of the ship of the epistle. At the top is the las Animas Santísimas box, made oil on canvas and with a wooden frame, characteristic of this kind of pictures, painted black and plant decoration in gold. The picture is from the 18th century. In it are seen, arranged in horizontal plane, hell in the lower part, represented by a monster with the damned in his mouth; Purgatory where doomed the surrounded by Saints, including Santo Domingo, San Francisco, San Lorenzo, San Pedro, etc.; San Miguel Arcángel is at the level of central, carrying the scales for weighing souls, and surrounded by a Court of Saints on both sides; the glory, in the upper part, is represented by the Holy Trinity.

The lower body of the retable is divided into three aisles separated by pilasters, the side decorated with reliefs and polychrome. In the Middle opens a niche where is accomodated the Lord of great power or image of the humility and patience, of the 18th century, round, where Jesus appears sitting and thoughtful attitude.

Alterpiece of our Lady of Carmen:

Located in the wall of the Gospel, is masonry, with central niche flanked by pilasters and attic trimmed in curves and bends; it is polychromed with geometric motifs on a white background, dominated by the red, blue and yellow tones. The image of our Lady of Carmen is candlestick, with natural hair, the Virgin holds the scapular in the left hand and on the right of the child, holding the scapular in one hand and in the other the terrestrial sphere.

Altarpiece of San Diego:

Located next to the feet of the ship of the Gospel; It is masonry, with a central body with three aisles separated by columns, in which niches open and at the top is the attic, of great development. The polychromy is in shades of blue, yellow and red on a white background. In every niche is home an image, left Santa Clara of Assisi, dressed in the Brown habit with cord of the order and carrying the ciborium with the Blessed Sacrament. In the right niche, there is an image of round lump of Santa Catalina, performed to 1716, carved in wood and polychrome, with a book in his right hand, symbol of wisdom. San Diego is located in the central niche is round bulk, dressed in the habit of the lay brother of the Franciscan order and embraced the cross.

Altarpiece of the Immaculate Conception:

It is of Baroque style, located in the header of the Gospel ship, made in stone, polychrome and gilt. It has a central niche are welcome where the image of the Immaculate Conception, of round bulk, wooden polychrome and stewed. In a small niche that opens in the top entablature, which separates the body from the altarpiece of the attic, a small polychrome woodcarving of San Sebastián is located.

Sculptural images: In this church, as well as the images that are venerated in various altarpieces, there are others, highlighting:

Our Lady of Dolores. Candlesticked, carved and polychromed wood sculpture. The Virgin appears mourning, with the hands crossed over the chest, face of great sadness and baroque features. It is placed on a throne on the left side of the Church.

Christ preacher. Image of candlestick,with purple dress and outstretched hands. It is located in a unit in the rear of the right side of the temple.

Virgin of the Rosary. Image of limelight, carved in wood, painted and natural hair, wearing the Rosary. It is located in the same unit as the previous.

Nazareno. It is also a candleholder, trace Baroque carved and polychromed wood and natural hair, carrying a large cross. The image is located in a small room that is located to the right of the chancel.

Paintings: In the sacristy of the Church are some large pictorial works. It is the picture of the ship of the Lord, made in 1730 by master Nicolás Medina, and two large paintings that represent a series of scenes from the life of Jesus and the Virgin Mary, in the 18th century.

The Hermitage of San Diego is located in the Villa de Betancuria, next to the remains of the ancient Church of the Franciscan convent of San Buenaventura, in the northern part of the town. This Chapel is included in the historic of Betancuria, in 1979.

Historical news: published information about this temple is not very abundant. The building that is today preserved rose most in the second half of the 17TH century, period in which several buildings of the Villa, was rebuilt after the Berber incursion of 1593, which ravaged and burned the main buildings of the place. The Hermitage was erected in the place where is a small cave where, according to tradition, San Diego prayed during his stay in Betancuria between 1441 and 1449.

Description: It is a building of two ships covered four waters and Texas, as well as the sacristy, which is attached to the top of the wall of the epistle. The main door, made of clear stone and Arch, is at the foot of the Gospel ship. The temple has other two entrances open on the south wall, one with semicircular arch and the other with pointed arch, both separated by a small bracket that sticks out at the height of the main arch. On top of it opens a hole that possibly served as a Bell Tower. On the wall of the Gospel also opens two windows flare, in clear stone. The cave where prayed san Diego is at the head of the ship of the Gospel.

Interior: The Hermitage has two naves separated by pillars which start arches that hold the covers.
The Gospel ship: has a simple deck wood, paired strap decorated with tracery. The pillar closest to the foot of the temple’s stone red, just like the arches that divide both ships; Conversely, the pillar that separates the nave from the chancel consists of large plinths with decoration in caissons, of them start columns, bulbous at the bottom and turned at the top, with capitals of acanthus leaves, on which support lots of classical entablature. The triumphal arch is also and is painted white. At the head of the main Chapel is access to the Holy cave, with clear stone depressed arch decorated with a carved lace, symbol of the Franciscans.

Ship of the epistle: is divided into three chapels separated by arches of Red stone, two of which are located in the ship with niches on the wall open, worked in clear stonework, arches and altar of masonry tables; and another altar with the same characteristics table in the front. The sacristy is accessed from a door that opens in the wall of the epistle in clear stonework and depressed arch.

Pulpit: It is made of wood and is attached to the wall of the Gospel, next to the main arch.

Main arch: relies on classic stands, with large plinths that leave bulbous at the bottom, turned columns at the top and capitals of acanthus leaves, on which support lots of classical entablature.

Baptismal font: it is next to the pillar central, close to the main entrance, made clear stone.

Altarpiece: Inside the cave is a small polychromed and gilded wooden altarpiece. The top is a shell-shaped niche. The front of the altar is decorated with reliefs of wood, a coat of arms of the territorial Lords surrounded by vegetable decoration, and on top a frieze with an Angel carved and surrounded by vegetable decoration and fruit.

The Hermitage of Nuestra Señora de la Peña is located in the fertile plain of the river palms, Mt of Betancuria. This chapel was declared good of Cultural interest with category of monument in 1985.

Historical news: the chapel that today we can see was built in the 18th century by agreement of the residents of the island, they decided to build a new temple at its expense, undertaking the works in the year 1705 and 1716 because it had ended. Previously already existed in the Valley of Rio Palmas a chapel, also dedicated to the insular Patron Saint, the Virgen de la Peña, which was built in the 16th, today disappeared. June 30, 1716 the Bishop granted license for the blessing of the new temple and ceremony was held August 26, 1716, presided over by the beneficiary and vicar of the island D. Esteban González Socueva.

Description: Cover only ship four building water and tile; the sacristy, also to gable, is attached to the wall of the Gospel, with access from the street. By the side of the epistle is attached a recent construction with a flat roof. The corners of the head of the temple feature view dark stonework. The temple is accessible from two doors, a located towards the middle of the wall of the Gospel, with arch of half point and stone clear; and the main entrance, located at the foot of the temple.

Two windows open on both side walls. On the side of the epistle, at the height of the main arch, stands a buttress and at the top of the wall opens a door that gives onto a small balcony, equipped with ladder, which adjoins the choir Bell on the outside.

The main facade is classical, is made of clear stone, highlights the Arch of the doorway, flanked by two separate plinths decorated with caissons; over them relies pairs of columns, with the lower half of the slightly bulbous shaft and composite capitals; the pediment is classic, broken at the top by an oculus apex.

The façade is topped by two pinnacles flanking the belfry, placed in the center of the gable, formed by two bodies, also of stone, the lower two holes which accommodate two campaigns, and the superior of a slot, topped by a cross and flanked by scrolls.

Interior: The deck of the ship is shaped bowl, matched strap decorated with tracery. The presbytery has octagonal armor which combines mudejar decoration with the Baroque. The most notable elements within the temple are:

Altarpieces:

Altarpiece of Santa Lucia:

It is next to the wall of the epistle. It is a niche of polychrome and gilded wood altarpiece in shades of blue, red and green. The niche is flanked by columns of stipes on plinths, attic and all the altarpiece decorated with plant motifs.

Altarpiece of San Lorenzo:

It is a single body and street where a small central niche, flanked by wreaths of fruit hanging from ribbons attached to the part opens low the top entablature. Columns paired, decorated with vegetable motifs, that support to the auctioning of the altarpiece are placed on both sides and placed above plinths of the Bank of the altarpiece. At the top of the niche appears an Angel winged and the Bank, in the central part, a wreath of fruit with a face of angel, and date 1666. Both sides are the shields of the territorial Lords. Crown the altarpiece a small attic where it appears, in the central part, the Holy Spirit as a dove, and, to the sides, scrolls and fruits. Draws attention in this altarpiece the living colorful dominated by red, green, blue and gold tones.

Altarpiece:

It was made by master Joseph Ximenes, ending of Brown in 1769 by D. Bartolomé Antonio Montañes. In an inscription which is located on the Bank of the altarpiece stade Dorose this year from 1769 altarpiece as steward of this church Stª captain and Sergeant. Mr. D. Joseph de Zerpa humble slave and devout cordial of this Lady.

This altarpiece is Chinese rococo style and the type called “landscape altarpiece”; It has a mezzanine, attic and two bodies divided into three aisles separated by paired columns of stipes. In the central street of the first body is the niche intended to accomodate the image of our Lady of La Peña; it is surrounded by a molding with rich decoration of rockery. Other streets are paintings on canvas inside moldings that mimic niches; to the left is the image of the Immaculate Conception and to the right a representation of St. Joseph’s dream.

In the second part of the altarpiece, in the central part, is represented the baptism of Christ flanked by two angels. In the side streets are, left, San Pedro, and on the right San Pablo, both equipped with frames that mimic niches. In the central part of the attic, oval-shaped is represented the Holy Spirit surrounded by floral and snailed decoration. The altarpiece as a whole presents lavish decoration and a colorful rich dominated by red, yellow, blue, green and gold tones.

Choir: It is located on the front door, it is made of wood, with the entrance stairway attached to the wall of the epistle.

Pulpit: It is next to the main arch in the wall of the Gospel. It is made of wood and painted in light tones and baffle with Marian symbol.

Main arch: separates the chancel from the ship, made in clear stone. It relies on blustered columns of bulbous shaft at the bottom, Solomon at the top and composite capitals.

Holy water: to the right of the main entrance, in clear stone.

Confessional: Located to the right of the main door, under the choir, it is old wood, decorated with reliefs and polychrome in shades of red, blue and yellow, on a marbled white.

Sculptures:

Saint Lucia:

Image of limelight that is located in the altarpiece which owns. It has the head and hands carved in wood, highlighting the marked hieratic and frontality. A dish holder in the left hand the Palm of martyrdom and on the right with their attribute, the eyes.

Saint Lorenzo:

Palm and Grill holder small image of round bulk, in polychrome wood, dress with purple dalmatic and as attributes. It is located in the altarpiece of the Gospel side.

San Sebastian:

This image comes from the old chapel of San Sebastian of Vega de Rio Palmas, who disappeared into the year 1958. It is next to the wall of the epistle, next to the main arch. It is attached to a trunk by the hands and right foot, and pierced by arrows.

Our Lady of La Peña:

It is the image of the oldest Virgin in the Canary Islands. He is probably the image that the Norman conquerors in 1402 brought from France. It is a seated carving, round bulk, small size, with the boy on his knees, sculpted in alabaster and extraordinary beauty. Due to its characteristics it can be framed within the principles of the 15th century Gothic style. It is located on a golden pedestal, framed by a silver Sun and a Crescent Golden, and placed within the niche of the altar of the temple.

The Hermitage of Santa Inés is located on the back of Santa Inés, in the Valley of the same name, Mt of Betancuria. This chapel was declared a cultural interest well, with category of monument in 1993.

Historical news: The earliest references to this shrine date back to 1580. Possibly the first sanctuary would be smaller than the present and its movable enough scarce and poor, because of the relationship of objects stolen after the Berber RAID suffered in 1593 is clear the poverty of your ornament.

Up to the year 1615 your ceiling should be cake, when it is replaced with tile and also built the cross and calvary. In the year 1669 he was about to fall and began reconstruction, resulting in the building that today is preserved. Worked on the ceilings and doors Sebastian and Miguel García, carpenters with woods that brought Woods of the island of Tenerife. The alarife Julián Sánchez worked on the walls and cover of the Hermitage. Subsequently carried out other works; Thus in 1753 was the sacristy, the Bell Tower in 1788 and the Stirrup to 1792. The soil was paved with bricks between the years 1780 and 1789.

Description: The building is oriented from West to nascent, is single-nave and chancel lacks. The sacristy is attached to the south wall. The site is accessed by two doors topped arches of half point in stonework, head to feet and side on the North wall. The roof is gabled and Arabic tiles. Two Stirrups reinforced walls and a low stone bench runs along the entire perimeter of the building. The belfry, placed to the left of the main façade, is made of stonework view and surmounted by a pinnacle flanked by two volutes. Front main facade lies the calvary.

Interior: Cover is a weave of four skirts and trousers matched on Corbels with simple geometric. The Interior of the building include:

Pulpit: Made of wood, painted in oil on board where the evangelists and the church fathers, are represented on a red and gold background.

Holy water: in clear stone carved and attached to the wall.

Altarpiece: It is from the 18th century, in 1789, his workmanship was adjusted, and polychromed in the year 1793. It is of Baroque style and consists of a body divided into three aisles separated by stipes. In every street a niche opens. The attic is fairly developed and welcomes in its centre a crucified bulk round, carved in wood, and placed on a red background, surrounded by a three-lobed arch that mimics a niche. This area is surrounded by abundant floral and rocaille. The polychromy of the altarpiece is based on flowers in shades of red, blue and green on a white background. On the wall of the head of the temple, behind the altar, remains of polychromy are kept in dark tones that adorned the wall.

Paintings:

In the first years of existence the Hermitage did not have pictorial works; from 1605 there is already talk of the existence of some pictures and after this date are known references on a number of works that have not reached our days. Despite this Chapel surprised today by the large number of pictures that are inside, covering much of its walls. Four of these works are mentioned in an inventory of the year 1734 and rest in an inventory made in 1780. They are as follows:

Baptism of Christ. Work of great dimensions, oil on canvas. It lacks context, but at the edges the painting simulates a black frame with Golden drawings. The scene is surrounded by a landscape with architecture and predominantly blue and pink tones.

San Francisco Javier. The Holy is evangelizing the indigenous and the representation is similar to the previous one.

Virgen del Rosario and Santo Domingo. The Saint is represented with his iconographic attributes and the Virgin appears among clouds with child in arms.

St. Peter and St. Paul. Work whose execution is reminiscent of previous pictures, not only in the landscapes and colorful, but also in the representation of the faces, postures, etc.

Picture of souls. It is different from the rest of the pictures of souls in the island. It dominates in the upper level the Virgin of milk; in the middle are two angels who carry a legend; under this purgatory is located and on the bottom, inside a large Monster mouth, hell is developed. This box is located next to the pulpit, in the wall of the Gospel.

Santa dinner. It is an oil which was given to the Hermitage by residents of Los Llanos de la Concepción and the Valley of Santa Ines in the year 1758. It is located in the wall of the Gospel, next to the main altar and lacks context.

Assumption of the Virgin. It is an oil on canvas large format placed on the wall of the epistle. In the top center is the Virgin surrounded by clouds and accompanied by angels; in the lower level are the Apostles, next to the grave of which leave flowers. This picture was also donated by residents of Los Llanos de la Concepción and Valley of Santa Ines.

Piety. Oil on canvas, medium-sized and lacking in context. In the center appears the Virgin with the dagger in the chest and the son died in his arms. It is surrounded by scenes of angels carrying the symbols related to the passion of Christ. In the background is a landscape and the work is rather dark, with red and blue tones predominating.

Picture of San Gregorio. Canvas of small size, lacking context. The scene is represented in an interior. The Holy is celebrating mass facing an altarpiece depicting the Holy Trinity.

Picture of San Antonio. Small format work, placed on the wall of the Gospel over the pulpit. San Antonio de Padua and kneeling before him represents an open book, upon which is the child Jesus with Lily in his hand. The picture was a gift from the Butler of the Hermitage, the Deputy captain of grenadiers don Antonio Cabrera Brito in the year 1786.

Door of the sacristy. Access from the Hermitage to the sacristy is a wooden door to double sheet, painted with vegetable motifs surrounding fruit baskets, in red, blue and yellow tones on the background dominate them clear.

Sculptures:

St. John the Baptist. It is one of the images of San Juan most oldest in the island. It is small, located on simple bases, dress with tunic from skin, carries a fine cross in the right hand and on the left the lamb.

San Bartolomé. It is a sculpture of the 17TH century. The Apostle shows in his hand the knife with which skin his body, small silver coin which has the following inscription: San Bartolomé, year 1879. The image is made of wood and glued fabric. He is the patron of the place, whose feast is celebrated on August 24.

Santa Ines. Image of candlestick, with face and hands carved in wood, painted and natural hair. He is the patron of the place, and her feast is celebrated on January 21.