century, the convent underwent a series of repairs and decorations that ended up turning it into a marvel of art in the colonial era. Its construction was not very solid at that time, so in 1614, the architect and major worker of the convent, Friar Miguel de Huerta, noticed that the pillars of the building had poor foundations and were placed on gravel. On February 4, 1655, an earthquake occurred in Lima that brought down the Franciscan Convent, destroying its artistic riches and collapsing the entire effort of a century. Francisco de Borja, general commissioner of the Order, was the one who contracted the services of the Portuguese architect Constantino de Vasconcellos, who drew up the plans, and the Liman master builder, Manuel Escobar, to commission them to build a new convent on the same site. And so it happened that the first stone was laid by the then-viceroy, Luis Enríquez de Guzmán, Count of Alba de Liste, on May 8, 1657, and then in 1669, the new general commissioner of the order, Friar Luis de Cervela, who managed to complete it. The new convent was inaugurated with great pomp on October 3, 1672, with repairs inside the convent continuing until 1729. Inside today, the convent has attractions that will be described, together with its courtyards and gardens, which are surrounded by arcades with Sevillian azulejos plinths by the Hernando de Valladares workshop. According to the traditions written by Ricardo Palma, these azulejos were placed by Alonso Godínez, a native of Guadalajara, Spain, who had been sentenced to hang for having killed his wife, the same as being confessed by the guardian of the Basilica of San Francisco the same day of his execution, he communicated this ability to him. Without wasting time, the confessor immediately went to the Government Palace to request Godínez's pardon, which he obtained on the condition that he would wear the habit of a lay brother and never again set foot outside the convent door. These Sevillian azulejos, brought directly from Seville, were donated by people like the famous Catalina Huanca, who was Francisco Pizarro's goddaughter, who went from Huancayo to Lima with 50 packhorses loaded with gold and silver. On the other hand, the large amount of cedarwood, with which the different works of art presented by the convent were made, was sold by Pedro Jiménez Menacho, who was a wood importer, who received