Ermita de los Dolores part 2

The Founding Act made the decision not to erect a shrine in honor of Dolores, but hold a yearly festival on the Friday after Easter.    There are no documents that state the date of manufacture of the chapel of Los Dolores, but in 1791, they served Luis Betancor Lemes. Probably the appearance of the Virgen de Los Dolores to pastora Juana Rafaela girls may be related, as reflected in the oral tradition, in breach of the neighborhood to build the chapel.

The wooden cross marks the place where the volcano stood. It is known that in the procession from the chapel of San Roque in Tinajo to Guiguan in Mancha Blanca, a participant who was carrying a wooden cross of tea came to the edge of the lava-olds in it.

In 1999, some people in nearby Tinajo took the initiative to return the lava outcrop on which there is the Cross, the original appearance, and carried out cleaning.  In this task, they found the base of the old Cross of tea.

This cross still exists today which in turn carries the former, being frequented by people that come in to pray by the Holy Rosary. It incorporates the tradition that once the riveted cross, diverted the lava flow to cover emissions above coladas and then stopped.   The cross is wood tea, measuring 2.70m high and 1.70m arms.  She is stuck on the old Cross measuring 1m high and 0.41m arms. In the middle of it, the date 16.IV.1736 is engraved.
In the same documentary source, the records of a nine year old girl, daughter of Juan Antonio Acosta and Rita, a resident and neighbor of white spots, called Juana Rafaela, in 1774 took care of goats on the slopes of the caldera Guiguan and there appeared to her a woman dressed in black who told her to remind the neighbourhood and her parents who had made the promise to build a chapel in the place indicated.

Faced with disbelief from her parents that this had happened “the lady dressed in black,” the Virgin appeared to her a second time, leaving a sharp silhouette on the shoulder of one of her hands, as witness of the veracity of their occurrence.
Reported by the parents of Juan Rafael and the people witnessing the event, the ecclesiastical authorities of the village took part in the appearance. During the interview between the parent and Juana Rafaela, with churches, they recognized the image of the Virgen de La Dolorosa as the figure of the person appearing.   The shrine or sanctuary of White Spot is rooted in the promise made to the Virgin group which is primarily in the  Tinajo neighborhood.

Construction of the primitive Book of Plant and documents relating to the Virgin Mary were burned in the early twentieth century in the archives of the parish church of Teguise, where they were deposited in 1795.   It is as valid approximation made of the dates of commencement, completion and opening of the shrine for worship. It is estimated that the construction lasted for ten years from the appearance of the Virgin to Juan Rafael in 1774 and was opened for worship between 1781 and 1785.
There are several documents that show that the neighborhood contained the chapel in their testamentary dispositions to be held after Masses for the deceased person.  Originally, the building had a nave and used in the construction of their roofs “volcanic slabs, very heavy.”

Due to the spatial isolation of the chapel, it was left unprotected and as a consequence there were several burglaries. For the last 7 years a family has lived in it to save the sanctuary.  The roof bore two abutments that were constructed on each side of the building. These works were made by Antonio Armas, who charged 170 reais a place to move from Arrecife.
During the pastoral visit of Bishop Buenaventura Codina on November 14^th 1849, they identified the poor maintenance of the building so it commissioned a report. A year later they ordered the closure of the building, temporarily moving the image and all objects of value to the church of San Roque in Tinajo.

This resulted in the creation of a committee of the neighborhood, through public subscriptions they raised money for the restoration of the chapel.   The works by Francisco Frias is the current configuration of the chapel, which is characterized by the absence of a clear Mudejar influence, the presence of buttresses and ovals.
The main entrance is located on the front part of a half point arch on pilasters of black volcanic stone. On it there is a framed eye of the same material that illuminates the interior as well as being decorative.

The central hastial has curved front ends and there is a steeple made of two holes with pointed arches and a triangular pediment of a classic, which crowns the steeple.  In the middle there is a skylight surrounded by arched windows with trilobulados compounds.  There is a step cover rising in its center and a pinnacle in the central part which has a similar ball in the east court registry.

The facade of the chapel is classic due to the half point arch at the entrance and the triangular pediment that crowns the belfry. Among the highlights of the presbyterate dome, are the flashlight with trilobulados voids formed by arches that are in the Gothic style.   In addition to these features that are a novelty among the temples of the island, some like the building to respond to a single plant that will be used for building materials in the environment.

Regarding the nature of the ethnographic shrine, there is a significant religious devotion and fervour to the shrine and the popular image of Los Dolores. Devotion to the Blessed Virgin Mary in her advocation of universal and local Los Dolores de Los Volcanes is one that is most widely practiced more celebrating two holidays a year. September 15^th is the most celebrated important day of Nuestra Senora de Los Dolores, and on July 31^st, the day ended the volcanic eruptions of 1824 by a miracle of the Blessed Virgin, the celebration is known as the Fiesta del Fuego.
This devotion begins on July 31^st 1824, when at sunset, the volcano Cleric Duarte began to erupt and the affected people went in procession to draw the image of the Virgen de los Dolores Vegueta toward the path of Guiguan. Some people tried to prevent this Tinajo procession for fear that the image might suffer some mishap.

Three wealthy men were responsible from Tiagua for the possible deterioration of the image, so the committee continued to the Camino Viejo, to place the image in front of the volcano, which unexpectedly was replaced by a column wash of thick expulsion of smoke and salt water before becoming idle.