The convent of Santa Clara stands as one of the cultural treasures preserved by the town of La Laguna, a living testament to the history of Aguere. Currently, it is undergoing an intervention aimed at restoring the roofs of the mullioned windows or viewpoints, designed in the Mudejar style, alongside the church, which includes its main chapel and has been designated a Site of Cultural Interest (BIC). The deterioration in the waterproofing of these roofs has led to significant slipping of the tiles, creating a risk of them falling onto the public road or into the convent’s cloister. Additionally, the eaves of the church nave have been cracking, and “water has started to infiltrate the coffered ceilings,” leading to specific issues within the structure, explains Alejandro Beautell, the architect who prepared the project and is overseeing the construction work.
The overall budget for the project, which encompasses drafting, construction management, and the execution of the works, is approximately 450,000 euros, fully financed by the Cabildo through a direct grant to the convent of Santa Clara. “Given the significance of this temple and the safety risks associated with potential collapses and water seepage during rainy periods,” remarks Isabel de Esteban, the island’s director of Historical Heritage.
The restoration will not extend to the roof of the convent’s specific area, as its most recent refurbishment occurred more recently. In contrast, the last waterproofing of the church and mullioned roofs was approximately 30 years ago, necessitating new action due to their lifecycle and the issues identified. According to the architect, the existing internal pathologies “are specific and easily rectifiable,” manifesting as damp patches resulting from water leaks in the beams of the church’s coffered ceiling or in the bedroom of the Casa Doña Olaya, among other examples, or as damage to the walls. “Thankfully, these issues haven’t spread yet; they are still in the early stages. However, if they start affecting the roof of the main altar, it would be too late, since restoration is costly and can lead to a loss of historical value,” Beautell cautions.
With winter approaching and anticipating the rains typical of the lagoon’s weather, it was deemed imperative to take action now to prevent exacerbating the issues that could impact the coffered ceiling or the building’s structure, as a matter of safety. “It could be dangerous; the height is considerable, and the roofs are sloped enough that tiles might fall” onto the public road, the architect states.
It is also worth recalling that in 2013, the roof sustained damage from a lightning strike, necessitating emergency repairs at that time.
The intervention is divided into two phases. The initial phase occurred last summer, involving the installation of safety measures on the site as a precaution against falling tiles, as Alejandro Beautell explains. The roofs “were shielded with plastic and nets, and fencing and protective barriers were erected at the entrances.”
The second phase commenced this week with the restoration work, anticipated to last around seven months and described as “a straightforward operation, as it pertains to coverage rather than affecting the structure itself.” He elaborates that scaffolding will be installed incrementally, followed by the removal of the current roofing tiles (which will be salvaged for reuse) and the old waterproofing, thorough cleaning and assessment of the wooden structural elements, installation of thermal insulation and waterproofing sheets, and finally, re-tile the roofs, concluding with both interior and exterior painting of the temple, according to information provided by the Cabildo regarding the project. During the works, all interior items likely to incur damage will be safeguarded or relocated.
Furthermore, the roofs are currently covered with plastic in anticipation of rain; during the course of the work, these covers will be dismounted and replaced if it rains, “and certain areas have been designated a cover to ensure we can progress even if there are several consecutive rainy days,” Beautell highlights.
As stated by the insular director of Historical Heritage, “the convent reached out to us, and during a visit, Sister Pilar detailed the condition of the temple and the issues it faces, inquiring about potential funding measures, as they lack the resources to address it,” prompting the issue to be raised before the Government Council, leading to the approval of this grant.
“Since the outset, the Chapter has continuously supported this establishment,” affirms the abbess of the monastery, Sister María Pilar Climent, conveying deep appreciation from the nuns. “We are exceedingly thankful and aware that our response to this generosity—belonging to everyone and to our community—comes with responsibility. Hence, we diligently maintain our day-to-day operations, keeping the museum open, organising activities to promote it, and undertaking our internal tasks, including preparing for masses and now also focusing on sublimation, confectionery, and embroidery,” Sister Pilar explains.
Alongside the daily efforts to manage the building, they continue “to preserve this heritage, which is a shared asset. Because if an asset receives investment but remains closed, without use, it is essentially lost,” she remarks. “Yet, the roof situation had become overwhelming,” she admits, which is why they reached out for assistance from the Cabildo.
Since 1978, this property has been recognised as a Monument declared a Site of Cultural Interest. The arrival of the Poor Clares in the Canary Islands dates back to 1547 when ten nuns appeared in La Laguna. Following an agreement between the Chapter and the Franciscans, signed in 1546, the nuns occupied the friars’ monastery of San Miguel de las Victorias, though after 30 years, they were compelled to seek alternative accommodation.
In 1575, Olalla Fonte del Castillo became a patron of the order, pledging to construct a convent and church for the Poor Clares, and on December 21, 1577, they took possession of it. A fire in 1697 considerably damaged the building, which was subsequently reconstructed and reopened for worship in 1700. Thus, the convent in its present form dates back to the 18th century.
Sister María Pilar recounts, “About 40 years ago, this monastery was in ruins, with only 4-5 sisters remaining.” “We sought assistance from sisters in the Peninsula – she continues – and over several years, some from Extremadura and Andalusia came to help. Then, between 1987 and 1988, sisters from Astudillo (Palencia) recognised the need and responded, discovering the ruins. The early days were challenging; those sisters slept in what are now the museum rooms, using plastic since the roof had mostly vanished, demonstrating their perseverance amidst the ruins.”
Since then, with the aid of the Cabildo, the Government, and the Ministry of Public Works, significant renovation work has been carried out in successive phases. The most recent, between 2010 and 2012, included the monastery’s museum of sacred art, which opened its doors in 2013.
“Our expressions of gratitude towards the Cabildo and the Government of the Canary Islands. The senior sisters have shared: This has been a miracle. A tangible, material, and spiritual miracle, as the community is flourishing and we now number 12 sisters,” states Sister María Pilar Climent, who concludes by inviting the public to discover the convent and its contributions, asserting that “what is unknown cannot be cherished. If we neglect to value our own heritage, we shall not care for it.”
