Stylistic Analysis of Bac and Caborca

Both Churches show a striking similarity in their facades which are  variations of the Churriguesque or Ultra Baroque style popular in Mexico at the time. It is likely that Frs. Velderrain and Llorens, the priests at Bac, had seen similar churches at Queretaro or elsewhere in that style and brought these ideas to the frontier. Although the Baroque style was already becoming obsolete in the big cities of New Spain by the late 1770’s-80’s new trends reached the provinces last and was liekly still popular there at the time Bac was planned and constructed. The more reserved neoclassical style finally began to influence building in Sonora by the turn of the centruy and this can be seen in the more reserved nature of the façade at Caborca which was begun in 1801.(Goss, 1975) While the façade at Caborca is still considered Baroque, it is decidedly more restrained than the façade at Bac built 20 years earlier.

elevations

The Mexican Baroque, which evolved into the Ultra Baroque or Churriguesque style had its roots in Spain who in turn had been influenced by hundreds of years of Moorish rule and decorative and architectural influence. Elaborate decorative elements, colored tile and elaborately carved columns called Estipites epitomize the style, and these elements were combined and recombined in wonderfully eclectic ways. The Church of San Francisco Acatepec in Puebla is a fantastic example of how elaborate this style could become.

San Francisco Acatepec, Puebla

Mexico was well into the Baroque period when most of the Churches in Sonora were built. Latin cross patterns with domes over the crossing pierced with windows to let in light were common architectural features. Elaborate retablos were usually erected behind the main altar and these were made of gilded wood, rich colors, dramatic gilding and an intellectualized theological program of saints, friars and important church figures. These were organized into 3 horizontal tiers which were further divided vertically to create spaces for paintings or niches for polychrome sculptures. Floral motifs, symbols relating to the life of Christ, and real and faux swags of drapery completed the design. Columns were originally classical in nature, but evolved into twisted Salomonic shapes and eventually into geometric Estipites by the late 18th century. Estipite columns combined lozenges, blocks and classical obelisks which were profusely embellished with relief carvings, gold leaf and paint. (Eckhart, 1967)

The establishment of the Academy of San Carlos in 1781 saw Mexico looking towards European rationalist thought and a rejection of Baroque flamboyancy and elaborateness not based on observations of the real world. (Fontana, 1996) By the late 18th century Neoclassicism became the dominant style in major population centers such as Mexico City.  Neoclassic style is defined by the use of classical columns, restrained space, and pediments that frame paintings or sculptures that sit above the columnar elements. Retablos still continued to be situated behind the main altars yet became significantly more simplistic, often painted plain white or a neutral color as opposed to the colorful, fanciful nature of the Baroque works. The wall rather than the decorative elements became the most important feature, and each part of the composition is separated and maintained via pediments or frames and emphasized flatter, lighter motifs. Isolated medallions or vases, busts and swags of laurel or ribbon often serve as restrained decorative elements. It is interesting to note that by the end of the 18th and early 19th centuries, many churches in Sonora, including Pitiquito and San Ignacio were stripped of their Baroque trappings and modernized with simpler Neoclassical elements as the style eventually reached the provinces in full force and found expression in the mission churches of Sonora. (Goss, 1975)

Although the exteriors show certain similarities in design, the interior spaces of Bac and Caborca are markedly different- one baroque the other most definitely more neoclassical. It is likely the interior spaces were completed after, or at the end of the exterior construction. Thus the interior space at Caborca was probably not begun until at least 1807, a time span that allowed the neoclassical to enter into Sonora and become dominant stylitically. (Goss, 1975) Although no early photographs of Caborca’s interiors remain, and later images show temporary baroque enhancements which will be discussed later, many of these neo-clasic elements can be observed in the photograph of the Caborca altar taken in 1908 by Robert Forbes.

The Ultra Baroque at Bac is characterized by the distinctive estipites and elaborate retablo panels carved in relief and brightly painted with European pigments and gold leaf. Classical elements such as bases and capitals are freely integrated and elaborated upon to create new fantastical forms. The walls above the altar are pierced with multiple niches for the many polychrome figures which framed with estipite columns and are integrated into a complex iconographic program. Plaster drapes and swags frame the niches, and relief sculptures of angels fill any open space. Decorative motifs cover most all surfaces, including grapes, wheat and other symbols of the Eucharist and those that relate to the passion of Christ. A great fluted shell tops the retablo and extends out into the ceiling. Gold leaf was applied to the Estipites to provide a baroque sense of richness and areas painted silver were covered with glazes to add to this effect as well. Overall the effect is one of elaborate richness and material wealth, even though faux marbling, faux tiles and faux frames often mimic the finer materials that were simply not available at Bac.

When compared to Bac, the altar at Caborca, built 11-12 years later, shows distinct neoclassic elements not present in the earlier interior. The free form, colorful estipites have been replaced by strict classical elements. Four columns flank the central figure of the retablo, the Virgin Mary, and the empty wall space behind her is typical of the neo-classic emphasis on blank space and architectural form. Columns do not twist or change shape and are topped by classic capitals. Simple niches hold 4 sculptures that now stand out and do not integrate into the fanciful backspace the way they do at Bac. Although the only surviving early images are black and white it is likely that simple, neutral colors such as white or “sonoran sand” were the primary components of the color palette. On the side altar, the surviving North transept, a broken pediment tops the sculptural niche, which is framed by plain classical columns of strength and simplicity. The broken pediment frames and contains the painted images within and neoclassic vases flank both sides.

interiors bac caborca ppt

Although Neoclassical in design, early photographs of Caborca from the 1870’s show that by this time the Neoclassic elements of Caborca were being covered up with temporary decorations to make them more baroque. (Eckhart, 1967)  Caborca’s main altar had been built in the early 19th c in the modern and fashionable neo-classic style, so why was this the case? In 1821 Mexico achieved independence from Spain and the country had slowly turned against Spanish and European influence with the fledgling nation trying to carve out a decidedly unique and more Mexican look. The Enlightenment did much to reform governmental systems, yet had not been kind to the indigenous peoples, their art, religion and celebrations and much of this rejection of European ways had to do with the new found ability to express in art, a style that rejected colonialism and was decidedly Mexican.  In the photograph taken by William Dinwiddie in 1894, the Caborca altar and it’s huge neoclassic columns have been decorated with temporary embellishments to break up their massiveness, and the niche of the Virgin has been decorated with strips of paper and flowers to provide a look of estipites. A tinsel decorative element has also been hung above the entire scene adding gilt and a baroque spirit to the neoclassic interior. (Eckhart, 1975)

Caborca Dinwiddie Altar

This reversion to the more elaborate Baroque style can also be seen in the side altar at Caborca as well.  In Dinwiddie's 1894 photograph of the North Transept, paper, cloth and flower ornaments have been designed and placed to hide its neoclassical austerity.  This is in contrast to the photograph taken by Elizabeth Keleman in 1963 that shows the neo-classic elements laid bare- classical strong columns topped by a broken pediment and neoclassic vases which flank the enclosed pediment space. Painting was likely originally limited to the interior of the pediment area with the painted areas extending beyond added later, although virtually no painted areas are visible above the baroque decoration of the 1894 photo.

 Side Altar Caborca