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Colonial Corners of Guanajuato

* de valiente fantasia... The church of San Diego de Alcalá

Commonly viewed as the culminating work, both chronologically and stylistically of the Churrigueresque, or terminal baroque style in Guanajuato, the church of San Diego de Alcalá boasts the most sophisticated and fantastical facade in that city.

Like other baroque churches in Guanajuato, San Diego has a complex history.

Facing the Jardín Unión, a wedge-shaped plaza of restaurants and outdoor cafes that is the social center of the city, San Diego was founded in 1663 by the Discalced Franciscans, known as the dieguinos - remarkably, for the late date, the first missionary order to gain a foothold in this rich mining center. Jurisdictional disputes delayed construction however, and a series of disastrous floods in the later 1700s forced the artificial elevation of the site above flood levels. In fact the partly excavated remnants of the original cloister of San Pedro de Alcántara can still be seen below ground beside the church)

San Diego de Alcalá, like several other buildings in Guanajuato, has strong links to the Sardaneta mining dynasty and although not documented, was almost certainly designed and built by Francisco Bruno de Ureña (rubric right), son of the famed baroque designer and architect Felipe de Ureña*

After the floods, rebuilding of the new church on higher ground proceeded apace and was completed in two brief years, between 1782 and 1784. Construction was funded by local silver magnates, notably the second Marqués de Rayas who is buried in the ornate side chapel of El Señor de Burgos (left) - which contains the eponymous crucifix given to his father, the first Marquis, by the Spanish king Carlos V.

The building makes the most of its restricted site, rivaling and contrasting with the ambitious neoclassical front of the adjacent Teatro Juárez. The narrow interior, too, is skillfully illuminated, made to appear larger by light from a broad, octagonal cupola.

The Facade
Its ornate Churrigueresque facade (top) also seems taller than it is, sandwiched between plain tower bases that extend beyond the narrow nave behind, adding needed breadth to the church front. Its dynamic composition, sophisticated detailing and superb sculptural quality invest the facade with an opulence that transcends its modest scale.

Although its formal structure seems to melt away under the profusion of sensuous stonecarving, the contrast and balance of architecture and ornament is quite masterly. Curved and rounded forms predominate, instead of the geometric motifs that dominate in the other baroque city churches of Belén and San Francisco.

A scalloped arch spans the doorway, which is flanked by narrow estípites and canted, bulbous niche-pilasters, whose scrolled fringes overlap the outer colonettes. Candelabra-like estípites, faced with atlantean figures, also flank the crowning niche, which is encased by an elaborately scrolled, garlanded frame. Statues of Franciscan saints occupy the main niches.

< The austere figure of San Diego de Alcalá, arms extended, is framed by the choir window - a classic Ureña touch. Numerous smaller sculptures and reliefs appear in medallions and cartouches, further enriching this complex and imaginative facade.

** San Diego de Alcalá, was a Spanish lay brother of the Observant Franciscan order. Born in Seville circa 1400, he died in Alcalá de Henares in 1463 and was canonized in 1588. For years he worked in the monastery infirmary and numerous miracles were attributed to him involving the healing of the sick and wounded, both humble and exalted. Because of this he was revered by hospitallers.

Many miracles of healing have also been attributed to him in Mexico (see our forthcoming page on the Miracle at Metepec)