Construction of the Jesuit church later known as Iglesia de San Pedro Claver proceeded over several decades, reflecting early Spanish colonial sacred architecture in the Caribbean that would later incorporate Baroque elements in its fabric and furnishings.
Work began on the Jesuit church Iglesia de la Compañía de Jesús in Quito, a long-running project that became a major showcase of colonial Baroque expression (especially in its later façade and interior decoration).
Construction began on Puebla’s celebrated Chapel of Our Lady of the Rosary (Capilla del Rosario) within Santo Domingo, an influential New Spanish Baroque interior program noted for lavish stucco and gilding.
The façade’s Talavera tile (azulejo) decoration at San Francisco Acatepec (near Cholula, Puebla) is associated with the late 17th- and early 18th-century flowering of regionally distinctive Baroque surfaces combining brickwork and ceramics.
Completion of the church (built 1580–1654) marks an early major ecclesiastical complex in Spanish America, associated with Jesuit presence and later devotional focus around St. Peter Claver.
A chapter session approved construction of Puebla Cathedral’s Baroque Capilla del Ochavo (octagonal-plan reliquary chapel), illustrating how major cathedral complexes in New Spain incorporated specialized Baroque devotional spaces.
The Chapel of the Rosary was completed (finished April 16, 1690), becoming a landmark of New Spanish Baroque religious art and a model for richly integrated architecture, stucco relief, and iconographic programs.
Jerónimo de Balbás began the Altar of the Kings (Altar de los Reyes) for Mexico City’s cathedral (work dated 1718–1737), an influential Churrigueresque/estípite monument that helped popularize the estípite form in New Spain.
The carved-stone Baroque façade campaign for Quito’s La Compañía began (1722), helping define the church’s later high-Baroque public image within the broader Jesuit architectural network of the Spanish Americas.
Lorenzo Rodríguez’s ultra-Baroque Sagrario Metropolitano (adjacent to Mexico City Cathedral) began around 1749, becoming a principal monument of Mexican Churrigueresque architectural language.
The Church of Santa Prisca in Taxco was constructed in a notably short span (commonly given as 1751–1758), a major late Baroque/Churrigueresque work associated with mining wealth and integrated altarpiece programs.
Puno’s cathedral (San Carlos Borromeo) was completed in 1757 and is frequently cited within the Andean Baroque tradition around the Lake Titicaca region, where European forms were adapted through local materials and motifs.
The Santa Prisca project is commonly described as completed in 1758 (seven-year construction), underscoring the intensity of late colonial patronage and craftsmanship in New Spanish Baroque church building.
The Jesuit church of La Compañía in Quito was completed in 1765 after a long construction history, and is widely cited as a defining example of Quitoan colonial Baroque in architecture and interior decoration.
Rodríguez’s Sagrario Metropolitano is often dated c. 1749–69 (Britannica lists 1749–68 for the façade), representing the maturity of Mexico City’s Churrigueresque architectural vocabulary on a major urban ecclesiastical site.
Spanish Colonial Baroque Art and Architecture in the Americas (1600–1750)
