Puebla Cathedral was consecrated in 1649, marking a major ecclesiastical building program in New Spain whose later additions incorporated Baroque elements alongside its largely Herrerian structure.
Alonso Cano’s Baroque façade design for Granada Cathedral began to be executed from 1664, providing a prominent early example of a Baroque monumental front within a largely Renaissance cathedral fabric.
The Churrigueresque (ultra-Baroque) style is commonly periodized into phases: early popularization (c. 1680–1720), the estípite emphasis (c. 1720–1760), and a shift toward neoclassical restraint (c. 1760–1780). This framework helps situate peninsular and colonial building campaigns within broader stylistic change.
Pedro de Ribera’s Real Hospicio de San Fernando (now the Museo de Historia de Madrid) was constructed in the 1720s and is celebrated for its highly ornamental Baroque/Churrigueresque façade, exemplifying Madrid’s urban Baroque architecture.
The Templo de Santo Domingo de Guzmán in Oaxaca—a major Dominican complex and a key monument of New Spanish Baroque—reached completion in the early 18th century, anchoring regional religious architecture and later decorative campaigns.
The Cathedral of Murcia’s monumental façade-altarpiece, designed by Jaime Bort, was built between 1737 and 1751, a landmark of Spanish Baroque integration of architecture and sculpture in an urban setting.
Work began around 1738 on the Obradoiro façade of Santiago de Compostela Cathedral, designed by Fernando de Casas y Novoa, creating one of the most iconic Baroque cathedral screens in Spain and reshaping the pilgrimage city’s ceremonial approach.
In 1740 the Palace of the Marqués de Dos Aguas in Valencia underwent a major Baroque/Rococo renovation; its celebrated alabaster entrance was produced by Ignacio Vergara to a design by Hipólito Rovira, exemplifying aristocratic display programs in the Spanish Baroque sphere.
Zacatecas Cathedral’s richly carved pink-stone main façade was completed in 1745 and the building dedicated for worship in 1752, representing a pinnacle of Mexican Baroque façade design in a prosperous mining city.
Construction began in 1749 on the Sagrario Metropolitano (Metropolitan Tabernacle) adjoining Mexico City’s cathedral, designed by Lorenzo Rodríguez—an important high point of Mexican Churrigueresque architecture within the metropolitan cathedral complex.
By 1750 the Obradoiro façade works were essentially completed (coinciding with Casas y Novoa’s death), consolidating Galicia’s most influential Baroque architectural statement and a model for later regional façades.
The Church of Santa Prisca in Taxco was constructed between 1751 and 1758, a signature New Spanish Baroque monument associated with elite mining wealth and noted for its Churrigueresque façade and integrated altarpiece programs.
The Sagrario Metropolitano was completed by 1769 (often dated 1749–1769), helping define the mature phase of New Spanish Churrigueresque and the prominence of estípite ornament in mid-18th-century ecclesiastical building programs.
Mexico City’s Metropolitan Cathedral—built over centuries with Gothic/Plateresque, Baroque, and neoclassical phases—reached completion in 1813, marking the culmination of one of the largest and most complex Spanish-American cathedral building programs.
Spanish and Spanish-American Baroque: peninsular and colonial building programs (1600–1800)
