In the Plaza there since the eighteenth century one of the buildings of major Religious Havana. This is the Cathedral. It was in 1748 when the foundation stone was laid for what would become the oratory of the sons of St. Ignatius of the Jesuit Order, which later became the Cathedral of Havana. In advance of the Jesuits had managed to build a church in this place. On 24 October 1704 the attorney general of Havana, Luis Gonzalo de Carvajal, had opposed the request, but years later, by Royal Decree of 19 December 1721, the Jesuits obtained permission to 5 April 1727 specify them exactly where they could build the church and the convent.
In 1767 when he had finished school, but not the church, the Jesuits were expelled to Spain. In 1772, given the dilapidated state of the building of the main parish, the Spanish authorities decided to move it temporarily to the oratory of San Felipe de Neri, and December 9, 1777 he moved to the church of the Jesuits. In 1778 by order of Bishop Philip José de Tres Palacios work began to transform the hitherto oratory of San Ignacio in the Havana Cathedral dedicated to the Immaculate Conception, whose image stands at the altar. Subsequently, between 1802 and 1832, during the prelacy of Bishop Juan José Díaz de Espada y Fernández de Landa, other important reforms were made to the building.
According to detailed by Emilio Roig de Leuchsenring then removed all the things that were considered in bad taste in ornaments, statues and altars, and were replaced by oil paintings were copies of original masters. These paintings were painted by the French artist Jean-Baptiste and Vermay, together with his disciples.
The temple of the cathedral is a rectangle of 34 by 36 meters, divided internally by thick pillars into three naves and eight interior side Catedralcapillas. The floor is tiled of black and white marble. Its chapels highlights the very old Our Lady of Loreto, consecrated by Bishop Morell de Santa Cruz in 1755, ie before transforming into a cathedral chapel, and the call of the Tabernacle, with separate entrance.
The works of sculpture and metalwork of the High Altar, in rich marble and metals, are almost all Italian artist Bianchini, executed in Rome in 1820, under the direction of the famous Spanish sculptor Antonio Sola. After the altar are preserved three original fresh Perovani illustrious Italian painter. In the cathedral there are also several tombs including that of Don Apolinar Serrano, who was bishop of Havana. Also among the relics of the Cathedral highlights several shrines or custodians of great importance and merits, as donated by Bishop Morell de Santa Cruz, as well as a collection of oil portraits of the bishops of dioceses habanera and a very small box represents the Pope celebrated a Mass before the emperor and large ecclesiastical dignitaries. He was allegedly painted in Rome in 1478. The façade of the Cathedral Stoned faces the street. It is a place of worship and meditation.
It is the second half of the eighteenth century Baroque style, with two towers placed one on each side of the central structure, its bright orange dome view from nearby buildings are below the height of those towers.
Account Cathedral with its lofty fortitude sober architectural work in the interior of the dome that houses the dome and falls on the altar, in the dim lighting in the clear glass lamps and pictures of St. Christopher, patron saint of the city.
Lining the square where stands the imposing Cathedral, other buildings such as: Convention Lombillo, the Marquis de Arcos, the Counts of Peñalver and Conde de Casa Bayona, where is now the Museo de Arte Colonial. This home was built in 1720 by Luis Chacon who ruled Cuba and is distinguished from all others by lack of portals.
On one side of the Cathedral Square can be seen in the Callejon del Chorro where the memorial stone on the site until they reached the ditch Real, first hydraulic work built in Havana and in Cuba, for the supply of water to the residents of the city.