Cristo de Mayo

In the heart of Santiago, within the historic Iglesia de San Agustín, hangs a wooden crucifix whose gaze has fascinated Chileans for over 400 years. Known as the Cristo de Mayo or “Señor de los Temblores,” this simple carved figure is not just a religious icon — it is a talisman, a survivor, and, according to legend, a witness to one of Chile’s most notorious women: “La Quintrala,” who killed several of her servants and allegedly poisoned or executed rivals. 

Carved in 1613 by Pedro de Figueroa, the crucifix initially occupied a place of ordinary devotion. That changed on 13 May 1647, when a catastrophic earthquake shook Santiago. Buildings crumbled, the city’s streets were filled with dust and terror — yet the wall that held the Cristo de Mayo miraculously remained standing. The figure itself survived, though its crown of thorns slipped down to its neck, a detail the faithful saw as miraculous. From that day on, the crucifix acquired its enduring name and became the focus of an annual procession on the anniversary of the quake.

But the Cristo’s story does not end with nature’s fury. According to local legend, the figure was once connected to Catalina de los Ríos y Lisperguer, better known as “La Quintrala”. A 17th-century aristocrat, she was infamous for cruelty, wealth, scandal and murder — tales of her killing servants and abusing her power became the stuff of folklore. Some stories claim the crucifix once resided in her home, and that she was chastised by its gaze during acts of cruelty. Whether thrown out in frustration or honored after a vow, the legend links La Quintrala’s notorious life to the sacred image.

Today, the Cristo de Mayo stands as both artifact and legend. Visitors to the church in Santiago Centro can see the image of Christ with the crown of thorns at its neck — a subtle but potent reminder of the earthquake that spared it, the city that venerates it, and the dark aristocrat whose story it touched. Each year on 13 May, the figure is carried through Santiago’s streets, connecting past disaster, human drama, and faith in a single ritual.