The Church of San Francisco is a Catholic basilica that stands in the middle of the historic center of Quito, in front of the homonymous square. This architectural complex is the largest within the historic centers of America and is known as "the Escorial of the New World". The church is considered a jewel of continental architecture due to its mixture of styles that were combined over more than 150 years of construction.

The complex occupies an area of three and a half hectares, in which thirteen cloisters were built (six of great magnitude), three churches, a large Atrium, and approximately forty thousand square meters of buildings. At present, various activities are carried out in the complex, both conventual and religious, as well as public activities in the areas of health, education, communication and others of a popular nature.

Inside the church there are more than 3,500 works of colonial art, many of which are from the Escuela Quiteña, which was born precisely in this place. In addition, the complex has a Franciscan library, which in the seventeenth century was considered the best in the Viceroyalty of Peru.

The architectural complex is preceded by the Plaza de San Francisco, which historically served to supply water to the city and has been a space for markets, military and political rallies, and social gatherings. The concave-convex staircase that connects the square with the Atrium, highlighting the mannerist-baroque façade of the church, is of great architectural importance in America.

In pre-Hispanic Quito, the grounds of the current Convent of San Francisco were occupied by the royal palace of the Inca Huayna Capac. During the Spanish invasion, the indigenous general Rumiñahui ordered the destruction of the city, and the palace was buried under rubble. The construction of the church and convent began around 1536, two years after the founding of the city, with the completion of a provisional temple that stood until 1550. The construction of the current building began on that date and was completed around 1680, being officially inaugurated in 1705.

With the support of the European Franciscan congregation, the Belgian clergymen Jodoco Ricke and Pedro Gosseal arrived in Quito in 1534 and acquired land on the southwest side of the Plaza Mayor, where the seats of the chiefs of the imperial troops used to be. This place had great historical and strategic value for the indigenous people that the Franciscans wanted to evangelize. Archaeological studies carried out between 1983 and 1990 found ceramic pieces from the Inca, Caranqui and Panzalean cultures under the temple, the cloisters, the atrium and the plaza, reinforcing the thesis that the site was an important cultural center.

The Cabildo of the new town of San Francisco de Quito initially assigned two blocks of land to the Franciscans, but in 1538, after successive allotments, the area reached more than three hectares. During this time, Friar Jodoco Ricke requested land for the Yanacona Indians and other spaces for the convent, extending the site to the north.

The construction of the church and convent began with a fifteen-year phase, between 1535 and the mid-1650s. During this period, several cloisters were built adjacent to the main one. The original plans for the complex are unknown, but it is accepted that they were sent from Spain, and Cantuña was the one who directed the construction according to a topographical study by Ricke and Gosseal. Other architects, such as Fray Antonio Rodríguez, also participated in the work, contributing to the construction of part of the convent and the temple of the Monastery of Santa Clara.

The second stage of construction, which lasted from 1651 to 1755, focused on internal ornamentation and minor architectural complements, reflecting the rise of the Franciscan Order. However, the earthquake of 1755 destroyed the Mudejar coffered ceiling of the main nave. In the third stage, between 1756 and 1809, the convent underwent reconstructions due to earthquakes. During this time, the interior of the church was aesthetically redefined, with the installation of a baroque coffered ceiling in the central nave. The fourth stage, between 1810 and 1894, was marked by the institutional crisis of the Order, which caused the extirpation of spaces within the convent, although the areas that remained under Franciscan control preserved the traditional forms.

From 1895 to 1960, the convent experienced the modernization of its infrastructure, with the implementation of new urban services such as electricity, drinking water and sewage. In addition, spaces were readapted for new uses, such as a museum, printing press, theater and educational establishment, which made the convent more and more public.

The architectural environment of the church reflects the classical typology of medieval monasteries. The spatial distribution starts from the church, which is the central axis, and from there open the cloistered galleries that house the cells, the refectory, the chapter house, the cellar and the parlor. The final design is a square courtyard with four galleries, each intended for specific functions. Although a gallery was not assigned to the chapter house, key rooms, such as the refectory and the dormitory, were preserved. According to Fray Fernando de Cozar, the cloister also housed the Sala De Profundis, the library and the art and theology classrooms.

The convent recreated a self-sufficient microcosm, similar to medieval monasteries, with rooms for health, education, trades, vegetable garden and even a prison to maintain convent discipline. In the Cloister of Services were the kitchen, the infirmary and the apothecary.

The architectural ensemble of San Francisco was deeply linked to its urban environment. Three spaces defined its relationship with the outside world: the square, the Atrium and the church and chapels. The plaza, an urban space that connected religious and civilians through various activities, the Atrium, which had sacred functions and was a burial place during the 16th and 17th centuries, and the church and chapels, which were places of worship. The staircase that connects the Atrium with the church, designed in a concave-convex shape, is of great architectural importance.

The style of the church of San Francisco reflects an architectural evolution influenced by various artistic movements. The façade presents mannerist elements, marking the first presence of this style in South America. The interior combines Mudejar and Baroque styles, with gilded details that give it a unique splendor. The coffered ceilings of the naves show Moorish influences, and the altarpieces are profusely decorated with images and cherubs. The complex is completed by the convent, which stands out for the beauty of its main cloister, arranged around a large courtyard with two superimposed galleries.