Churches in the Spanish New World were influenced by the Baroque style, as this was promoted by the Roman Catholic leadership, who’d promulgated at the Council of Trent that the arts should demonstrate religious themes in a straightforward, emotional manner. This was all discussed in our main text, Art of Colonial Latin America”(London: Phaidon, 2005) by Gauvin Alexander Bailey. Also, the papacy viewed the drama of Baroque architecture as a mode of demonstrating and expressing power, control, and grandeur. Thus, architects of Spain, Mexico, and South America combined Baroque ideals with lavish sculptures and heavy contrast between lights and darks. This trend was entitled the Churrigueresque, named after a Spanish family of sculptors and architects and was utilized throughout the mid-1700s, and a good deal later on.
In colonial South American, many of the Baroque achievements of architecture weren’t constructed until the 18th century. These particular Baroque works are especially complicated, sometimes even paradoxical. The purpose of such is to engender sensory and emotional lability. Specific characteristics that come to mind when speaking of Baroque art include unrestrained movement, emotionalism, sensuality, eloquence, and elegance.
In Baroque architecture, in the Latin American colonial churches, one often sees domes, colonnades, and chiaroscuro color effects. Staircases are frequently massive and often lead to what is called a state compartment, like a throne room, very rich in color and décor. Also, the mixture of the indigenous and Spanish together provided a rich and varied expression in this Baroque architecture. Decorative stucco was also characteristic of this style. An example is the 17th century Jesuit shrine on the Plaza de Armas in Cusco.
Going north, the opulent and wealthy Mexico came up with some spectacular architecture called the Mexican Churrigueresque. A sampling of this approach must include the art of Lorenzo Rodrigues, who painted Mexico City’s Sagrario Metropolitano. Still, other works using this technique are located in rural mining towns. An example would be the Sanctuary at Octalan, which is covered in scarlet tiling, contrasted strongly with flanking ornamental art. Next, in Puebla, Mexico, awaits gray stone and hand-painted ceramics in the form of approximately fifty churches, whose interiors are resplendent with gold leaf.
Baroque churches in Peru are especially ornate and even ostentatious, considering such as the monastery of San Francisco at Lima. As for other Latin American city churches, one can witness the impact of the Baroque in Cordoba, Potosi, and LaPaz. Next, the late Baroque Church of Our Lady of La Merced in Lima and the Church of La Compañia in Quito possess altarpieces inlaid with carving and sculpture. Other similar architecture would include the Cathedral of Morelia Michoacan in Mexico.
In Portugal and Brazil, the Spanish influence is more somber, coming from 17th century Italy, under the forceful influences of Bernini and Juvarra. In addition, the initial baroque church in Portugal is known as the Church of Santa Engrácia.
So, at mid-mark of the 18th century, Portuguese architects were employing the Italian baroque style concerning granite plasticity. The standout here is the Braga, whose buildings truly demonstrate nearly every significant aspect of the Portuguese Baroque design. Here one can view varying rooflines, and unusually shaped windows, as well as multichromatic ornamental work. Moreover, the Brazilians also experimented with form and ornamental plasticity. The Mariana and the Rosario churches at Ouro Preto are examples of such. Then, at Recife, Sao Pedro dos Clerigos, the traditional stucco facade is highlighted by an elaboration of gable between the turrets.
Now, even after the Baroque fashion was no longer in vogue, over in Europe, that particular style of architecture was employed for a while by Aleijadinho in Brazil. For example, the church of Bom Jesus de Matosinhos at Congonhas is noteworthy because of its outstanding ornamental detail and rich silhouette. Furthermore, at the behest of São Francisco de Assis, the architect had built a conglomerate of curved towers and gables. Another Portuguese architect, Antunes, also produced churches in which there is an interior rectangular space, still with the corners curving around. Several churches were built like this in Portugal and Brazil. Thus the baroque Portuguese design was promulgated. Finally, the materials for such churches were frequently imported by the mother country, already prefabricated.