The quincha served to lighten the weight, to make the structure more flexible and to increase the resistance to the earthquakes, so frequent in this region.

Because the earthquakes of 1687 and 1746 the set necessitated further modifications, such as the reconstruction of the tower, the main portal of the church and part of the convent, which included changes in the distribution of the cloisters, which is currently can appreciate.

The present bell tower was conceived and designed by the Viceroy Manuel d'Amat i de Junyent in 1766 in the Rococo style, being in the bottom of octagonal form.

The main nave has an additional entrance to the feet preceded by the narthex (space where religious instruction was given to the natives or those who were not baptized), on which is the high choir of the church.

In the lower part of the altar there is a sculpture of St. Rose of Lima, made by the Maltese artist Melchor Caffá in 1669, on behalf of the Pope Clement IX to give it to the Dominican fathers for his beatification.

In neoclassical style, it conserves in its main niche the effigy of this invocation "que fue la primera de este Reyno" (that she was the first one of this Kingdom).

It is called the Chapter House because all the friars were gathered by chapters in order to choose their authorities and solve their problems, the room was made in the 17th century, in Baroque style by the Friar Diego Maroto member of the Order, architect born in Camarena (current province of Toledo, Spain).

Its existing tribune or chatedra is used in the 17th century to dictate classes or support thesis, made in the baroque style, has solomonic columns, presents a painting of St. Thomas Aquinas, to the front is a small reredos where the Christ of the agony is venerated, before which Martin de Porres was ecstatic and embraced to whom it was seen.

The most noteworthy feature of this room is its artesonado ceilings dated to 1580, made of three thousand pieces held together by pressure without the use of nails.

Composed of four galleries, decorated with Sevillian azulejos dating from 1604 and 1606;[3] the paintings that present passages of the life of Saint Dominic, founder of the Dominican order, were contracted in 1608 by the provincial superior of the Order of Saint Dominic in Peru with the Sevillians Miguel Güelles, disciple of Juan de Uceda and his collaborator, Domingo Carro.

These galleries have artesonado ceilings carved of oak from Panama; the cloister also features a bronze home stoup, ordered to be built by the Dominicans, very famous for being where St. Martin de Porres, according to the writer Ricardo Palma, washed the bread of blond sugar turning it into white.

It has an altar where its effigy is venerated, having to its sides to Saint Dominic and St. Francis of Assisi and in the superior part the Virgin of the Rosary.

On a memorial plaque it reads: "Hago donación de mi cuerpo a mis hermanos Dominicos" (I make a donation of my body to my Dominican brothers).

One hundred and twenty-five years later, the college retains its original location: Pasaje Rinconada de Santo Domingo 209, and still has a direct access from its main courtyard to the convent.

In the Jirón Camaná, the street parallel to the Pasaje Rinconada de Santo Domingo, are located the facilities of the Post Office of Lima and the Iglesia Santo Domingo, in turn, in the calle Conde de Superunda, behind the college, is what was the Post and Telegraphs Office of Lima, now Museum of Gastronomy.

The cloisters of the Convento de Santo Domingo, which are separated from the college only by a door, have a close relationship with the history of Education in Peru.

Several decades ago there was a parking car in front of the school; but later, the frontis was invaded by merchants that would form in that place the commercial center Polvos Azules.

Another recent change in the infrastructure surrounding the college was the construction of the Rayitos de Sol Bridge, during the management of former mayor Luis Castañeda Lossio.

This bridge connects to the Chabuca Granda mall with the Santa Rosa whereabouts on the Vía de Evitamiento road.

[5] It has since sported a republican appearance, with boxed balconies and, since 1984, a small bronze monument by Humberto Hoyos Guevara dedicated to the shoeshiners that are commonly found there.