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The balconies of Lima are a cultural heritage built during the Spanish colonial regime and the Republic of Peru. Many of the structures, built in the late 17th and 18th centuries, are located in the historical center of Lima. They were adapted for ceremonial purposes and have influenced the lives of many Peruvian scholars such as the 19th century writer Ricardo Palma.

Colonial Architecture in Lima
Colonial architecture in the Viceroyalty of Peru developed in the 16th to the 19th century, when the Latin American nation was conquered by the Spaniards (Donnahue-Wallace). The Renaissance and Baroque styles emerged as a result of European influence.

The Baroque architecture of this period, characterized by exuberance and heavy ornamentation, is prevalent. In the 18th century, the Rococo style permeated in Lima, as a result of French influence. This style embraced ornamentation and playful themes.

The Arabs also influenced Peruvian architecture. However, this was lost when modern styles were adopted in Lima (Smith and Bley).

Construction
Balconies in Lima were built in the Renaissance, Baroque, Neo-Baroque and Neoclassical styles and had Mediterranean, Middle Eastern, Moorish, Andalusian and Caribbean influences (Fishburn). Balconies of the 15th-17th century are noted for their openness, while balconies built after that period are more closed.

The main features of the balconies are its lattice, still and baluster. Non-rounded balconies were introduced in Spain in the 18th century. Seville tiles and mosaics are used in the construction of the balconies.

Social Function
Balconies are known to merge the interior and exterior spaces, a feature borrowed from Islamic architecture. The balconies in Lima have been compared to “streets in the sky”, a link between private homes and Limeño streets. Antonio de la Calancha and Juan Meléndez first used the term, writing, “They are so many and too large that they seem to be streets on the air” (Smith and Bley).

Wooden balconies in Lima called miradors were inherited from Moorish traditions, as the Moors occupied Southern Spain (Donnahue-Wallace). The term mirar in Spanish translates to “to look”, indicating that the balconies give the residents an extensive view of the scenery (Bloom and Blair). The wooden balconies projecting at upper levels also allow for privacy and air circulation, an essential feature for buildings in warmer countries (Bloom and Blair).

Although the balconies were originally built to shield women of nobility from voyeuristic gazes, they were also sites of amorous encounters. Historian Charles Walker has interpreted the balconies as a manifestation of social power dynamics, as they illustrate the distinction between individuals of different classes (Smith and Bley).

Impact of earthquakes
The earthquakes of 1655, 1687, 1746 and 1940 destroyed many of the old colonial structures in Lima designed by Francisco Pizarro (Smith and Bley). The occurrence of the earthquakes gave rise to closed or “box” balconies which are sturdy. This trend changed during the Republican period, after the war of independence. Bruno Roselli, a Florentine art history professor, was known as the defender of balconies in Lima. After the earthquake of 1940, Roselli endeavored to salvage numerous balconies, many of which were of the 17th and 18th century styles.

During the 1980s, when the balconies’ future was of pressing concern, the question of their ‘historic’ quality emerged. In Memoria y utopia de la vieja Lima, the balconies were seen as essential for the preservation of Lima’s historic core (Fishburn).

Adopt a Balcony
In order to retain its conservation, the Municipality of Lima has invited individuals and companies to adopt a balcony in order to maintain them as if they were new. The restoration of Lima’s balconies were spearheaded by Alberto Andrade, mayor from 1996 to 2002. His Adopt a Balcony program saw various foreign embassies, companies and individuals partaking in preserving the balconies. His efforts have been crucial in Lima regaining its reputation as a City of Balconies, a term first coined by architect Adolfo Vargas (Elton). The abundance of these balconies adds to the particular harmony and originality to this part of the city.

In popular culture
Mario Vargas Llosa’s play, The Madmen of the Balconies, is centered around the balconies. Its protagonist, Aldo Brunelli attempts to salvage the balconies from being destroyed (Llosa). Brunelli’s name is an amalgamation of that of Bruno Roselli, a Florentine professor of art history. Evelyn Fishburn has noted that the play provides a good overview of the defenders of history and those who push for modernism.

The City of Balconies is the setting to Jim Crace's novel Six, published by Viking in 2003. The city is imaginary and reminiscent of South America.