Located on the eastern limit of the Plaza Mayor, at the second block of the Jirón Carabaya,[c] it is part of the Historic Centre of Lima.

After the disputes between Diego de Almagro and Pizarro, and after having established the Viceroyalty of Peru, Pope Paul III, taking into account the growth of the city of Lima, issued a bull on 14 May 1541[4] creating the Diocese of Lima and raising the small church to the category of cathedral which began to be built in 1542 during the government of Cristóbal Vaca de Castro.

On 8 October 1549, the Cabildo of Lima discussed that it would be convenient for the cathedral to have a clock and decreed that one be purchased that had been brought from Spain at the time.

When Viceroy Martín Enríquez de Almanza arrived, in 1581, being Archbishop of Lima Toribio de Mogrovejo, arranged for a new cathedral to be built and in 1585 the Trujilloan architect Francisco Becerra, who had made plans for several buildings in Mexico and Quito, was called from Cusco, where, at the time, he was working, and was in charge of the construction of the third cathedral.

The definitive layout of the cathedral, made by Becerra, resulted in a Renaissance-style church, with a wide floor plan and 3 large naves and two side chapels.

This last one was the immediate precedent of the two Peruvian cathedrals.In 1602, the church was still "an old shack-type, covered with straw with much indecency" according to a letter that Philip III of Spain sent to Archbishop Toribio de Mogrovejo in which he urged him to hurry up with the construction work.

The final plan was designed immediately after the 1606 earthquake, although another in 1609 threatened to destroy the entire building, damaging the vaults of the built part.

Discussions were held on the best means of defense against seismic movements: the Chief Architect, Juan Martínez de Arrona, supported the idea of brick vaults, but several members of the Cabildo or Municipal Council considered that it would be better to cover the cathedral with wood.

The existing building is a reconstruction, which, by order of the Viceroy José Antonio Manso de Velasco, undertook -following the old plans- the Jesuit Juan Rher (born in Prague).

Rher took full advantage of the use of wood and quincha in the ribbed vaults, rebuilt the Renaissance stone doorway and advanced the work quite a bit, leaving the bell towers unfinished for a long time.

Between the years 1794 and 1797 the current bell towers of the cathedral, which remained unfinished, were rebuilt being finished by the Presbyter Matías Maestro.

The earthquake of 1940 caused damage to the cathedral and for this reason a restoration work was undertaken whose direction was entrusted to Emilio Harth Terré.

Underscoring this legend are several facts: Since 1991, the cathedral has been included as a UNESCO World Heritage Site as it is in the Historic Center of Lima and its visit is de rigueur at the time of tourism in Peru.

[citation needed] During the week, the cathedral offers tourists the religious site as a museum, which preserves notable artistic works from colonial times.

Its tall towers with slate spires are Neoclassical with stylistic influences from El Escorial School and Northern Europe.

The ceiling is supported by Gothic ribbed vaults that recreate a starry sky, which are made of wood and stucco to relieve the weight on the walls and prevent them from collapsing in the event of an earthquake.

The inscription read: Here is the head of the Lord Marquis Don Francisco Pizarro, who discovered and won the kingdoms of Peru and placed in the Royal Crown of Castile.

Archaeologists, anthropologists, pathologists, radiologists, chemists, and historians joined forces to obtain data and details related to Pizarro's hectic political and military life.

Numerous objects of religious art are exhibited here, his heritage and donated by the family to the cathedral; besides some of his episcopal ornaments and jewels.

Moving on to the Sacristy, we see the large chest of drawers the work of the Basque Juan Martínez de Arrona, with wooden panels decorated with images of Christ, the twelve apostles, Saint Joseph and Saint John the Baptist; as well as the twelve articles of faith of the Apostles' Creed on each panel.

Vestments and ornaments used by Pope John Paul II on his two visits to Peru, sacred vessels that were his gifts to the Peruvian Church and some clothing of the former archbishops are also exhibited here.