Hispanic Guatemalan

architecture

Guatemalan Between 1527 and 1821, a large number of

hispanic works of religious art were built, since

they were the center of the dissemination
religious art, of Catholic doctrine in the region. The
works were made in the artistic style that

Tradiciones de Guatemala
architectural prevailed at the time and that was
introduced by the patterns determined by
typologies the patrons of art, especially religious
people and priests. The builders resorted to
Anibal Chajón Flores books with engravings to acquire models
to follow in their buildings, which
determined their affiliation to the styles
that were used in that period of time,
namely: Renaissance, Mannerism,
Baroque and Neoclassical. Although these
styles were manifested almost exclusively
Summary
in the design of facades and decorative
resources. 75
From 1527 to the present, the region of
present-day Guatemala has been the scene
During the 19th and 20th centuries, art
of expressions of Catholic art that
historians classified most of the works as
demonstrate the evolution and adaptation
Baroque, since the constructions that had
of external patterns that have been
survived until then were built at the end of
incorporated into local culture. Despite
the 17th century and during the 18th
natural disasters, such as earthquakes,
century, when the Baroque was at its peak
floods and fires, and human destructive
in use in Spain and New Spain (Mexico).
action, including wars, abandonment and
However, not all the works correspond to
looting, numerous samples of Guatemalan
the criteria that motivated the development
Hispanic art (1527-1821) are preserved
of the Baroque, in addition to the fact that
that have not been addressed through a
the sponsors could well establish specific
typology that allows us to describe its
requirements on the works, based on the
characteristics and, thereby, value the
engravings published and accessible in the
tangible legacy of centuries of artistic
Guatemalan Hispanic environment.
contributions. This is a proposal of
Therefore, based on the supports of the
typologies that includes 130 works, in the
works, columns and pilasters, the
22 departments of the country, made with
following classification¹ is proposed to
the purpose of exalting local values.
determine the style of the works, many of
which are found in really transition
between one style and another, whether
 due to the taste of the sponsor, the builder
or due to later modifications.

This list presents the observation carried

out in 130 temples distributed throughout
the country. Although, indeed, many of
them present baroque features, there are
Renaissance, Mannerist, final stage of the
baroque (Ultra-baroque) and neoclassical
characteristics (these predominated in the
19th century and were included although
several were already built). in the
independent period).

Santa Catarina Mita, Jutiapa.

Note: the pictures are by the author. Mannerism: Niche window in the
boarding of the first body. Double niche
between the second body and the finish.
Temples built under the Baroque: Movement of mural mass in
76 administration of the secular clergy columns and in the five streets to highlight
the center. Increased elevation in the
niches to highlight the center.
Centro de Estudios Folklóricos

Asunción Mita, Jutiapa.

Mannerism: Second body, excessively
low, with boards; recessed arc.
Baroque: Movement of mural mass to
highlight the center and in the columns
that limit the side streets.

¹ The classification proposed by ÁVALOS,

Gustavo is taken as a basis: The Guatemalan
altarpiece, form and expression. Tredex Editores, San Cristóbal Jutiapa.
Mexico, 1988, although the classification of this Neoclassical: Overlapping orders.
article is the author's consideration.
 Tradiciones de Guatemala
San Cristóbal Comapa, Jutiapa. Parish temple, Chiquimula. Work of
Neoclassical: Tuscan order. Manuel de Porres.
Ultra baroque: Serlian balustraded pilaster.
Double boarding in the first body. 77

Temple of Santísima Trinidad or San

Camotán, Chiquimula.
Nicolás, Chiquimula, Iglesia Vieja.
Ultra baroque: Cushioned columns.
Mannerism: recessed arc.
Cushioned bases for images of saints.
Baroque: Movement of mural mass to
Octagonal window. Flared arch.
highlight the center and the columns.
 Sanctuary, Esquipulas, work of Felipe de
Porres.
Calvario, Chiquimula. Baroque: movement of mural mass,
Neoclassical: Tuscan pilasters. polylobed arch, scrollwork, grooves to
achieve chiaroscuro.
78 Neoclassical: Composite order.
Centro de Estudios Folklóricos

Santiago Esquipulas, Esquipulas.

Renaissance: perfect grid.
Mannerism: pediment between arches. Santiago Jocotán. Chiquimula.
Baroque: Movement of wall mass in
columns. Suppression of the entablature
between the first and second bodies.
 Tradiciones de Guatemala
79
 San Agustín Acasaguastlán, El Progreso. San Luis Jilotepeque, Jalapa.
Renaissance: perfect grid. Mannerism: Small niche window. Sunken
Plateresque decoration in ataurique. arch.
Mannerism: Three niches on the second Baroque: Movement of mural mass to
highlight the center, the niches and the
80 body central street.
columns.
Centro de Estudios Folklóricos

San Cristóbal Acasaguastlán, El Progreso. San Pedro Pinula, Jalapa.

Renaissance: Perfect grid. Baroque: phytomorphic decoration on
Mannerism: Corbels on the podium under pilasters. phytomorphic wall painting.
the columns. Sunken arch. Neoclassical: Capitals inspired by the
Baroque: Ataurique made in the 18th Ionic order.
century.
 Tradiciones de Guatemala
Monjas Hacienda, Jalapa. Temple of Nuestra Señora del Carmen,
Mannerism: Double belfry. Jalapa.
Baroque: Open pediment. Neoclassical: Tuscan order.

81

Parish temple (now cathedral), Jalapa. San Pedro Zacapa, Zacapa.

Mannerist: second and third bodies Baroque: Flow of a sinuous plan at the
disproportionate to the first. entrance. Niche window that interrupts the
Neoclassical: Tuscan order. entablature.
Neoclassical: Suppression of decoration in
ataurique, Tuscan pilasters.
 Hacienda de Candelaria, Río Hondo, Don García (La Democracia), Escuintla.
Zacapa. Mannerist: colossal columns, with double
Renaissance: Perfect grid. capitals. Second body disproportionate to
Baroque: Trilobed arch. Sinuous ailerons. the first.
82
Centro de Estudios Folklóricos

Concepción Escuintla, Escuintla. Santa Rosa de Lima, Santa Rosa.

Mannerism: Sunken arch, niches in the Altered.
second body of the central street.
Baroque: Mural mass movement. posterior
helical decoration on columns and
ataurique.
 Tradiciones de Guatemala
Ascensión de Nuestro Señor Guazacapán, Nuestra Señora de los Dolores, Petén.
Santa Rosa. No style, reticular structure.
Altered.

83

Nuestra Señora de los Remedios, Petén. Chapel, Castillo de San Felipe, Izabal.
Altered. No style, altered.
Baroque: octagonal window.
 Temples built in
towns administered by the
order of Preachers

San Juan Chamelco, Alta Verapaz.

Renaissance: Plateresque decoration.
84 San Pedro Carchá, Alta Verapáz.
Neoclassical: Tuscan pilasters.
Mannerism: Double door. Window on
column, bodies at unequal height.
Centro de Estudios Folklóricos

Santa Cruz Verapaz, Alta Verapaz.

Santo Domingo Cobán, Alta Verapáz.
Mannerism: Duplicity of streets in the
Renaissance: Plateresque decoration.
second body.
tritostyle piles.
Baroque: Movement of mural mass in the
Mannerism. Segmented pilasters. Part-
auction.
light, double color.
 Tradiciones de Guatemala
Santa María Tactic, parish church, Alta San Cristóbal Verapaz, Alta Verapaz.
Verapaz, work of Manuel Sierra and Renaissance: plateresque decoration.
Manuel Luch, approved by Bernardo Mannerism: bodies of unequal height.
Ramírez.
Baroque: ataurique.
Ultrabaroque: Banded pilasters.
85

Calvario, Tactic, Alta Verapaz. Calvario de San Cristóbal Verapaz, Alta

Neoclassical: Capitals inspired by the Verapaz.
Ionic order, decoration to show voussoirs Neoclassical: Tuscan columns.
and keystone.
 San Pablo Rabinal, Baja Verapaz. Santiago Cubulco, Baja Verapaz.
Mannerism: segmented pilasters, five Mannerism: bodies progressively lower in
niches in each street of the first body, height, three triangle niches in streets of
window that interrupts the pediment. the first body, small niche window, five
niches in the third body.
86
Centro de Estudios Folklóricos

Calvario, Rabinal, Baja verapaz. Santa Cruz El Chol, Baja Verapaz.

Mannerism: podiums at different distances Baroque: Flared ogee arch, movement of
from each other, symmetrical with respect wall mass in columns, niches and
to the entrance. Alterations in the rest of entablatures. Octagonal mixtilinear
the elevation. window.
 Tradiciones de Guatemala
Salamá, Baja Verapaz. Temple of Hacienda de San Jerónimo,
Renaissance: perfect grid, plateresque Baja Verapaz.
decoration. Renaissance: perfect grid.
Mannerism: three panels in the second Mannerism: lintel under arch.
body of the central street. 87

Calvario, Salamá, Baja Verapaz. Temple of Hacienda San Miguel Chicaj,

Neoclassical: fluted shafts. Baja Verapaz.
Mannerism: niche on coral window,
topped with double niche.
 Calvario, San Miguel Chicaj, Baja Santa María Nebaj, Quiché.
Verapaz. Neoclassical: Tuscan order.
Neoclassical: Tuscan columns.

88
Centro de Estudios Folklóricos

Santa María Cunén, Quiché. Santo Domingo Sacapulas, Quiché.

Mannerism: Four entablatures. Baroque: movement of mural mass in
Baroque: octagonal windows. columns and entablatures, rupture of
Neoclassical: Tuscan columns. horizontal line in the first body
entablature.
 Tradiciones de Guatemala
San Miguel Uspantán, Quiché. Santa María Joyabaj. Quiche.
Renaissance: podium and arch cassettes. Mannerism: Colossal columns. Niches
Mannerism: colossal order. without ashlars. Triple niche in the second
Baroque: break of horizontal line in side central street body, decorated with arches
streets. over the entablature. Niches on the
columns at the top level.
89

Santo Tomás Chichicastenango, Quiché. San Pedro Jocopilas, Quiché.

Renaissance: fluted columns. Baroque: Solomonic columns.
Manierismo: segundo cuerpo concebido
como friso, ventanas circulares en las tres
calles.
 Santa Cruz del Quiché, Quiché. Temple of Hacienda de Chinique, Quiché.
Mannerism: Triple niche in the third body, Neoclassical: Corinthian order.
progressive decrease in the height of the
bodies.
90 Baroque: Break of the horizontal line in
the first body with the entrance pediment,
circular window.
Centro de Estudios Folklóricos

Espíritu Santo, Zacualpa, Quiché.

Mannerism: triple niche in central street,
Temple of Hacienda de Chiché, Quiché.
second and third bodies, column on niche
Neoclassical: Ionic order.
at the level of the third body.
 Tradiciones de Guatemala
Santo Domingo Xenacoj, Sacatepéquez. San Juan Amatitlán, Guatemala.
Mannerism: colossal coulmnas, niche in Baroque: Helical shafts, horizontal line
entablature, circular window. break in entablature for niche window.
Neoclassical: decoration imitating ashlars.

91

Antigua Santa Cruz Chinautla, Guatemala. Calvario, Amatitlán, Guatemala.

Neoclassical: Tuscan order. Neoclassical: Tuscan order.
Historicist interior: three-lobed and
pointed arches.
 San Cristóbal Amatitlán, Palín, Escuintla. Old temple of Concepción Petapa,
Renaissance: perfect grid, plateresque Guatemala. Renaissance: Perfect grid,
decoration. Tuscan order.
Baroque: Ataurique in arches.

92
Centro de Estudios Folklóricos

Villa Nueva de la Concepción Petapa, Old temple of Santa Inés Petapa,

Guatemala (when the Dominicans no Guatemala. Renaissance: Perfect grid,
longer administered the region). Tuscan order.
Neoclassic: Doric order.
 Tradiciones de Guatemala
Ancient temple of San Miguel Petapa, San Raimundo, Guatemala.
Guatemala. Baroque: columns with a mixtilinear plan,
Renaissance: perfect grid, perfect order. horizontal line break in the two bodies,
octagonal window, ataurique.
Ultra-baroque: pilasters on corbels in the
second body of the central street. 93

Ancient temple of San Miguel Petapa, Kaqchikel Temple, Asunción

Guatemala. Jocotenango, Sacatepéquez.
Neoclassical: Tuscan columns. Baroque: Solomonic columns, break of
horizontal line, octagonal window.
 Temples built under the
administration of the Order
of the Friars Minor

K’iche’ Temple, Asunción Jocotenango,

San Juan Olintepeque, Quetzaltenango.
94 Sacatepéquez.
Baroque: polylobed arch.
Baroque: Convex frieze, scrolls, blunt
pediment. Neoclassical: Ionic order, grotesques.
Centro de Estudios Folklóricos

Mixco. San Jacinto, Salcajá, Quetzaltenango.

Neoclassical: Tuscan order. Baroque: movement of mural mass,
scrolls, ataurique.
 Tradiciones de Guatemala
Espíritu Santo Almolonga,
San Luis Salcajá, Quetzaltenango. Quetzaltenango.
Neoclassical: Tuscan order. Ultra-baroque: cushioned pilasters,
polygonal variant. 95

Calvario, Salcajá, Quetzaltenango. Asunción de Chantel, Quetzaltenango.

Neoclassical: Tuscan Order. Neoclassical: Corinthian order (altered
with historicist decoration: pointed arches,
ashlars and coffered ceilings).
 Espíritu Santo Quetzaltenango, Santa Catalina Zunil, Quetzaltenango.
Quetzaltenango. Baroque: Solomonic column. Break of
Ultrabaroque: cushioned pilasters, horizontal line in entablature first body,
ataurique.
96 ataurique.
Centro de Estudios Folklóricos

Calvario, Quetzaltenango. San Andrés Xecul, Totonicapán.

Neoclassical: Doric and Ionic order Baroque: Solomonic column, octagonal
superimposed. window.
 Tradiciones de Guatemala
San Cristóbal Totonicapán, Totonicapán. Santa María Chiquimula, Totonicapán.
Renaissance: perfect grid. Renaissance: walled atrium.
Mannerism: niche over window. Ultra baroque: columns and cushioned
Baroque: ataurique in central street second pinnacles.
body. 97

Santiago Momostenango, Totonicapán.

San Francisco El Alto, Totonicapán.
Neoclassical: compound order.
Baroque: mural mass movement, open
pediments, octagonal window, blunt
pediment.
Ultra baroque: cushioned pilasters.
 San Miguel Totonicapán, Totonicapán. San Juan Bautista Nahualá, Sololá (when
Baroque: bulbous base in columns of the the Franciscans no longer administered the
first body. region).
Neoclassical: Doric order. Neoclassical: Ionic order.

98
Centro de Estudios Folklóricos

Concepción, Sololá.
Renaissance: plateresque decoration. San Francisco Panajachel, Sololá.
Baroque: mural mass movement, open Mannerism: niches without ashlars,
pediments and scrolls. disproportion of the third body, columns
on niches, from corbels, in the third body.
 Tradiciones de Guatemala
San Andrés Semetabaj, Sololá. San José Chacayá, Sololá.
Mannerism: recessed arch, window takes Baroque: decorative elements instead of
the place of image in niche. Baroque: capitals.
Solomonic columns, volute and open Neoclassical: Tuscan columns.
pediments, octagonal window. 99

San Antonio Palopó, Sololá. San Lucas Tolimán, Sololá.

Renaissance: perfect grid. Mannerism: recessed arch.
Baroque: octagonal window. Baroque: movement of mural mass in
columns.
 San Pablo La Laguna, Sololá. Santa Catarina Palopó, Sololá.
Mannerism: niches without borders. Baroque: octagonal window.
Baroque: break of the horizontal line of the Neoclassical: fluted pilasters.
first body with the entrance door and in the
100 third body with the niche window.
Centro de Estudios Folklóricos

San Pedro La Laguna, Sololá. Santa Cruz La Laguna, Sololá.

Baroque: break in the horizontal line of the Neoclassical: fluted pilasters.
first body with the entrance door and in the
third body with the niche window.
 Tradiciones de Guatemala
San Juan Bautista Alotenango,
Santa Lucía Utatlán, Sololá. Sacatepéquez.
Neoclassical: inspired by the Doric order Baroque: mural mass movement on
(Nahualá version.) columns, octagonal window. Ultra
baroque: Serlian louvered pilasters in bell
towers. 101

Santiago Atitlán, Sololá. San Juan de Guatemala (del Obispo),

Mannerism: two-level portico. Sacatepéquez.
Mannerism: recessed arch, colossal
columns, frieze niches, circular windows.
 Santa María de Jesús, Sacatepéquez. Concepción, Ciudad Vieja, Sacatepéquez,
Renaissance: perfect grid, tritostyle work of Diego de Porres.
columns. Ultra baroque: Movement of wall mass,
102 Serlian balustraded pilasters, breaking of
the horizontal line in the first body.
Centro de Estudios Folklóricos

San Pedro Las Huertas, Sacatepéquez.

Renaissance: Perfect grid. San Miguel Escobar, Sacatepéquez.
Baroque: Mural mass movement. Mannerism: Colossal order.
decoration on shafts, helical, made in the Baroque: Solomonic columns, octagonal
18th century. window, horizontal line break.
Ultra baroque: Pilasters on corbels,
ataurique in bell tower
 Tradiciones de Guatemala
Santa Lucía Cotzumalguapa, Escuintla. San Juan Comalapa, Chimaltenango.
Renaissance: Perfect grid. Renaissance: perfect grid.
Baroque: Movement of wall mass in Baroque: mural mass movement, helical
columns, helical shafts, octagonal window decoration, ataurique, flared window with
from conventional. ogee arch.
103
Ultra baroque: Padded pilasters.

San Bernardino Patzún, Chimaltenango. San Francisco Tecpán Guatemala,

Renaissance: Perfect grid. Chimaltenango.
Baroque: Mural mass movement Baroque: movement of wall mass, helical
ataurique. shafts, ataurique on podium.
 San Felipe Retalhuleu.
San Bartolomé Mazatenango,
Neoclassical: Tuscan order.
Suchitepéquez.
Neoclassical: inspired by Tuscan order.

104
Centro de Estudios Folklóricos

Limpia Concepción de Samayac, San Martín Zapotitlán, Suchitepéquez.

Suchitepéquez. Baroque: Helical decoration on pilasters.
Mannerism: colossal order, Sunken arch. Neoclassical: inspired by Tuscan order.
Baroque: Solomonic columns.
Ultra baroque: padded pilasters.
 Tradiciones de Guatemala
San Pablo Jocopilas, Suchitepéquez. San Sebastián Retalhuleu, Retalhuleu.
Mannerism: Sunken arches in the three Neoclassical: Tuscan order.
streets, disproportionate bodies, third body
divided into panels.
105

Temple of Santa Lucía, San Sebastián Santa Cruz Muluá. Retalhuleu (town
Retalhuleu. established in the 19th century.)
Baroque: mural mass movement. Neoclassical: Tuscan order.
Neoclassical: Ionic order.
 Temples built under the
administration of the
order of Redemption of Captives

San Antonio Suchitepéquez,

106 Suchitepéquez.
Nuestra Señora de la Purificación
Aguacatán or San Martín Aguacatán
Neoclassical: inspiration in Tuscan order. (awakateka), Huehuetenango.
Neoclassical: columns inspired in the
Tuscan order.
Centro de Estudios Folklóricos

San Lorenzo Suchitepéquez. Aguacatán (chalchiteka).

Neoclassical: Corinthian order. Mannerism: niche flanked by pilasters.
Neoclassical: Tuscan pilasters.
 Tradiciones de Guatemala
Nuestra Señora de la Purificación
Río Blanco, Huehuetenango. Jacaltenango, Huehuetenango.
Neoclassic: Tuscan order. Neoclassical: pilasters inspired by the
Tuscan order.

107

Nuestra Señora de la Candelaria de

San Antonio Huista, Huehuetenango.
Chiantla, Huehuetenango.
Neoclassical: Corinthian order.
Neoclassical: Tuscan columns, compound
order, defined pediment.
 Santa Ana Huista, Huehuetenango. Asunción Colotenango, Huehuetenango.
Mannerism: bodies at unequal heights. Neoclassical: Tuscan order.
Baroque: break of horizontal line in niche
window, flared window, movement of wall
108 mass.
Centro de Estudios Folklóricos

San Ildefonso Ixtahuacán, San Juan Ostuncalco, Quetzaltenango.

Huehuetenango. Neoclassical: Ionic order, festoons,
Neoclassical: Ionic order. grotesques.
 Tradiciones de Guatemala
Concepción Chiquirichapa, San Antonio Sacatepéquez, San Marcos.
Quetzaltenango. Neoclassical: Tuscan order.
Renaissance: perfect grid.
Ultra baroque: padded podiums, padded
pilasters. 109

Nuestra Señora de Concepción

San Pedro Sacatepéquez, San Marcos.
Huehuetenango.
Neoclassical: Tuscan order.
Neoclassical: compound order, fronton.
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