Rosario Chapel, Santo Domingo, Puebla

Very short introductory video

 I have longed to post about this remarkable chapel - the first to be dedicated to the Virgin of the Rosary in New Spain, Built between 1650 and 1690 it has been called the House of Gold and an 8th wonder of the world. In 1979 Pope John Paul II called the Reliquary of America.Suprisingly both Pal Kelemen 'Baroque and Rococo in Latin America (1951) and Sacheverell Sitwell  'Southern Baroque revisited ' (1967) seem to have missed it in their pathfinding visits. The use of gold leaf and stucco relief is overwhelming, particularly in the dome with 60 angelic figures.Each figure is different, some head only, some whole body. The complex interweaving  of three dimensional white and gold stucco strapwork incorporates leaves, birds, scrolls, grapes, angels and ribbons, covering walls, dome and vestibule  to an unequalled amount. The stucco work uses plaster made of flour, egg white and water then overlaid with gold leaf. The resulting strap framework spreads over sculptural and painting elements and sometimes spills over into the framed pictues of the Virgin, virtues (faith hope and charity), saints, and Archangels bearing Mary' s titles. 

High altar and view into the drum and dome.

The prototype was likely the chapel of San Isidro in San Andres Church, Madrid, which was begun in 1657 and developed several times later in the century. The stucco strap-work motifs in the vaults may come from drawings and engravings of examples in the Netherlands. Debates have been had about the provenance of the decoration. How far can we see American Indian influence? I do not feel qualified to say. It seems safe to say there are Castilian, Andalusian, Italian and Netherlands antecedents but these were in turn used and developed by indigenous workers. 

The Dominicans arrived in Puebla in 1526 but the chapel was only begun in 1650. It was the brainchild of Friar Juan de Cuenca  to teach the people how to pray the Holy Rosary. It fell to Friar Agustin Hernandez and Friar Diego de Gorozpe to complete the long arduous work. The consecration on 16 April 1690 was a great day in Puebla coinciding with foundation date of the city. Celebrations went on for 9 days with sermons, Masses and jubilant public events each day. Friar Gorozpe spoke in a sermon of the chapel being like a musical ensemble, with all architectural units and motifs taking part - emphasised by a lunette above the choir with many instruments, conducted from above, by God the Father. 

The floor plan of the chapel is based on a Latin cross with short transepts and shallow apse. The nave is in three sections with barrel vault and lunette windows.The narrow dome over the crossing with drum has windows above and in the dome iteself to provide illumination for the great cypress tree style 17th century altar by Lucas Pinto  below. The altar  is in two stages with 12 plain columns below and 12 spiral decorated ones above made of Mexican alabaster. The nave walls have large paintings in chiaroscuro style by Jose Rodriguez Carnero (1649-1725) of the Joys of the Virgin. The paintings in the transept , and apse are also by Carnero. In the left transept is the Assumption, with polychrome statues of St John and St Matthew and above  these surrounded by flowers and leaves St Elizabeth and St Joseph. In the right transept the Coronation of the Virgin with statues of St Mark and St Luke.and above St Joachim and St Anne  in the foliage. The apse contains the painting of the Glorification of the Rosary: Mary with crown of roses. 

This chapel is important because the ornate stucco work begun here was continued in the churches of Oaxaca. It has undergone major restoration 1967-71 sponsored by the Mary Street Jenkins Foundation.