In the city of Culiacan, in the antique plaza of weapons, is located the cathedral of Our Lady of the Rosario (Nuestra Señora del Rosario). Built to replace the primitive parish of the old villa of Culiacan, and according to the vision of the sixth bishop Dr. Lázaro de la Garza and Ballesteros, this temple was already insufficient for the needs that the Episcopal headquarters required.
This is how the construction work begins, placing the first stone on May 22, 1842.
This is how the construction work begins, placing the first stone on May 22, 1842. Being the walls raised a little less than two meters of height; the work is interrupted, since Dr. of the Garza leaves the position of bishop, to deal with the Archbishopric of Mexico. In 1855, under the sponsorship of Dr. Pedro Loza and Pardavé, the work is resumed, with the participation of the Br. Miguel Lacarra, in that time parish priest in Imala. The work is interrupted again after the promulgation of the reform laws, and continued later by the bishop José de Jesus Uriarce and Pérez, finishing the project in 1855, shortly before his death.
The Cathedral of Our Lady of the Rosario is built out of brick and stones.
Shows and architectural plant that followed the parochial temple model, with a Latin cross ship, covered by artist vaults and on the cruise, an ellipsoidal dome resting on an octagonal drum. The west facade shows the main gate resolved under a very sensitive scheme, with an entry in stonework formed by a half-pointed arch that rests on Ionic pilasters; these are of shaft, split into sections boxed and enriched with floral motives. The arch is decorated with vases also boxed and loved by flowers, closing in a key marked with the anagram of Maria. This income is framed within two pairs of simple pilasters, those that sustain a poster adorned with vegetable guides, which to the letter says “EL EXMO. SR. DR. D. LÁZARO DE LA GARZA Y BALLESTEROS PRINCIPIO ESTE TEMPLO EL 22 DE MAYO DE 1842”.
And on this are two chorale windows, half tip and enriched with foliage and decoration. This simple front façade finishes off the body of the clock, in a semicircular way interrupted in two elliptical cuts and enriched by a cornice adorned with foliage and topped by a bronze sculpture of the Archangel Michael.
The face of the clock is surrounded by a sober garlands crown. Enhancing the façade, two slender towers of three bodies each one, the two lower bodies are quadrangular.
The face of the clock is surrounded by a sober garlands crown. Enhancing the façade, two slender towers of three bodies each one, the two lower bodies are quadrangular, open by semicircular arches and cornices enriched with gothic ornaments and pillars in the corners. The third body is octagonal and on it rests a dome of drum with elliptical glasses and a vaulted gallon. The accesses of the lateral facades are semicircular arches, framed inside simple gates of neoclassic cut, where two Tuscan columns support an entablature on which rests a triangular facade, all adorned with ornaments of a vegetable type. In the entablature of the gate facing south there is a sign that says “EN 1855 CONTINUÓ EL IMO. S.O.O. PEDRO LOZA”, meanwhile in the north one can be read it “EL EXMO. SR. D. JOSÉ DE JESÚS URJARTE TERMINO ESTE TEMPLO EL AÑO DE 1885”.
From the interior of the cathedral temple stands out the neoclassical ornamentation of the facades, with large built-in pilasters and sober entablatures exalted with stones and sculpture, which make a sensible contrast with the exquisite neo-gothic altarpieces that are in the chapels of the cruise ship. In addition to the remarkable scenes represented in the scallop that sustains the structure of the dome; there four figures in high relief polychromes personify the four evangelists. The current main altarpiece is an addition that was placed in 1956, replacing the original eclectic deck that exalted the presbytery. Thus, among other alterations and unfortunate adaptations that the cathedral building has suffered, the one that has caused major controversy, it is the one that in pernicious action removed the incomparable neo- gothic pulpit, magnificent wood carving complement the capacity for historical delight of the property.
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How this virtual tour was made
The equipment used to make this virtual tour is the following:
- DJI Phantom 3 Professional Quadcopter
- Phantom 3 4K Camera
- 3 - Axis Gimbal
- Nikon D800 Camera
- Sigma 8 mm fisheye lens
- Nodal Ninja Ball Joint NN4
- Manfrotto Tripod 190
- Remote trigger
The processing software of this image was:
- Lightroom to process RAW files
- PTGui to perform the stitching of the image
- Photoshop for general and local adjustments
- PanoTour Pro for the virtual tour generation
What you really need is for your camera to allow manual shooting by adjusting the exposure time to differentiate exposure from the shots, but you can do this by performing the adjustment at each shot and then shooting.
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Universidad Autónoma de Sinaloa
Traducción al idioma inglés realizada por la Universidad Autónoma de Sinaloa a través del Centro de Estudio de Idiomas Culiacán. English language translation made by Universidad Autónoma de Sinaloa through the collaboration of Centro de Estudio de Idiomas Culiacán