The plan of the cathedral was drawn up by Juan Bautista Stiehle (1829-1899) — a German-born friar who arrived in Cuenca from Alsace in 1873 — on suggestions made by Bishop León Garrido.

The cathedral is surmounted by three giant domes covered by striking blue and white glazed tile from Czechoslovakia.

The materials used in its construction are simple and easily accessible, such as: stones and sand bordering the city, wood, brick and the warmth of the first ovens of the Spanish Crown.

[3] On December 6, 1872, 40 varas of land were assigned for the creation of the Cathedral between the contemporary streets Mariscal Sucre, Simón Bolívar, Benigno Malo and Padre Aguirre.

In 1874 the Bishopric of Cuenca received the communiqué of Pope Pius IX, approving the construction and an allocation of 500 pesos were sent.

[3] Below are the most important events: Miguel Leon Garrido, who was the ninth Bishop of Cuenca, began construction on October 2, 1885, ordering the opening of the foundations.

Brother Juan directed the excavation works for these foundations since that same month, although the definitive plans for the cathedral were not completed.

[3] To obtain more income for the construction, the Cathedral Chapter ordered on February 18, 1887, that 10% of the rent of each canon would be destined for this purpose.

From 1942 to 1950 the ornamentation of great paste the cathedral was made, but there were problems for the construction of the greater dome that would present a more resistant structure, and later it would be counted on tiles brought from Czechoslovakia.

[3] On November 13, 1954, the first public act took place inside the cathedral that was not finished yet; the episcopal consecration of Manuel Serrano Abad was celebrated.

Bishop Serrano got in Europe the Christ, made by the Spanish sculptor Rafael Planas, the bronze Tabernacle for the high altar and the statue of Santa Ana.

On May 22, 1967, the bronze statue of Santa Ana Patron of Cuenca was placed in the front of the cathedral and six days later the Cathedral of Cuenca is consecrated to the Immaculate Virgin Mary in the 4th National Eucharistic Congress in the presence of the Pontifical Delegate Cardinal Julio Dophër, archbishop of Munich.

[3] With the death of the last three canons: Adolfo Polo, Néstor Durán and Miguel Cordero the Ecclesiastical Chapter of Cuenca disappeared, leaving the Cathedral unfinished.

Without the expected results, in 1981 Monseñor Alberto Luna Tomar was appointed as the new Archbishop of Cuenca, who would dedicate his work to carry social jobs.

The main function of these structures is the free circulation, because there are ceremonies with a high concurrence, these spaces are occupied by the faithfuls, increasing the total capacity of congregation on the cathedral.

On the pedestal rises a niche crowned by a semicircular arch, which shows an integration of the altar with the architecture of the temple.

Above these rises an arcade that holds three recessed arches, forming a niche that houses the sculptural set that represents the Holy Trinity.

This altar has a different style from the rest, as it mixes Gothic and Baroque elements (ogival arches, Solomonic columns, curved lines, etc.).

The altar as such, is formed by two semicircular arches joined with recessed columns, seated on a regular volume that serves as a base.

It is located on the south side of the High Altar, which is a wide space and divided in the center by a vain in the shape of an arch.

Finally, it is complemented by a somewhat dark colored Christ, made in Spain, and acquired by Monsignor Manuel de Jesus Serrano Abad, in 1963.

This baldachin has an approximate height of twenty meters, crowned by two sculptures of triumphant angels on the sides of the arch and in the center with a cross.

These tents are leased, and the funds obtained are used to support the nuns, who do maintenance work at the cathedral, while on the upper part there are two departments, one on each side of the apse.

The cemetery of the cathedral is located below the central nave and has three entrances: one through Calle Aguirre, another through the Sacristy and a third is in Mariscal Sucre Street.

The own Gil Ramírez Dávalos, Commissioner of the Marquis of Cañete, Hurtado de Mendoza, made it consign in the text that was described in the interpretation of the primitive plan of our city.

This small street is located in the heart of the city and its Historical Center, between two buildings of great importance: The Cathedral of the Immaculate Conception and the old Seminary called San Luis.

[3] The construction of the cathedral was made based on the original plans, these were designed and drawn by Brother Juan, with small changes that occurred in the building process.

The direction of the construction of the cathedral was in charge of priests and executed by Cuenca artisans and the people in general through the mingas.

In addition to the detailed technical specifications in the construction plans, popular knowledge is added as an artisan way of building, with a common sense and a logic acquired by experience, skill and expertise of the workers.

Additionally, every six months there is general cleaning work carried out on the roofs, as large amounts of garbage accumulate (plastic, paper, earth, vegetables, etc.)