Architecture of:
CHURCH AND CONVENT OF
SAINT AGUSTÍN
Barroque Patio from the convent of San Agustín |
This typical 18th century patio of the former
convent, is rectangular in shape and surrounded by four consecutive archways
on each side. With vertical lines that seem to escape towards
the heavens, the arches are supported with thick pillars in an infinite
equilibrium.
The archways, crossed with multicolored bands give a sensation of
a gallery.
Lines of which form octagons with corrugated edges. The decoration
extends about its architectural members that project an element of continuation
independent of life.
The fountain gives a touch of peace. The lower part of
the building, with a principle face on each pillar, highlights the statue
of Hermes Trimegisto. |
Human, foliage and geometric figures carved in stone surround the
atmosphere of the area. Hermes heads were delicately sculpted from
their necks as if they come forth from the columns. The lower part
has a conic element of which from the middle down transforms into the leg
with the foot supported by a small ledge.
The stone comes to life with the expressions of the faces that
depict men of all ages. With the older ones positioned at each of
the corners and facing the center. The rest portray the image of
youth, whose heads and feet face away from the others. The feet always
coincide with the movement of the heads.
| The legs along with the Hermes feet are recognized to
represent strength, splendor as well as the action of erecting and elevating.
These architectural members are the pedestals that support the building.
The majority of the faces on the pillars of the upper floor, depict
a youthful almost adolescent appearance; with a human torso and disproportionately
large hands raised to express the religious symbol of the Eucharist.
Hands that although provide no structural support, are there for the express
purpose as to form signs of the Catholic Liturgy. Some of them have
the index finger and thumb joined forming a circle, while others have three
fingers extended. This is the symbol that the priest makes during
the celebration of mass at the moment of consecration.
The thumb symbolizes God and the index finger symbolizes Christ who
came down from the heavens to save man. The hands with the three
fingers extended, symbolizes the Holy Trinity. |
Detail of top Hermes from the Patio |
The hands of other Caryatids, are giving a sign of peace. The
hand is like a branch of which is the symbol of the Eucharist. They
are related with the action of labor, humanity and magnetic force, strength
that is not only physical but moral as well.
The stone hands tell a story as they speak in place of the
mouths. They consecrate the wine and bread by the word of God.
During the months of May to September, as the rain falls from the heavens,
it flows from the mouths of the Caryatids.
Delicate in their immense size, from the waist down foliage
converts into thick bulky flutes that end in a large roll. Below
the arms the thin figures appear to be struggling to free themselves from
the stone world of wild vegetation and fauna.
old twenty pesos bill
The pelicans, elephants, ducks, mermaids, and felines also struggle
to be free. The pelicans have a positive connotation in that they symbolize
Christ; it only follows that this bird often bleeds from its chest as it
plucks feathers to build a nest for it eggs. On the other hand, the feline
is seen as having a bad connotation even though it is often perceived as
having positive energy.
All of the icons in the cloister upstairs are wrapped in large
fern leaves and the moldings that end at each column, are highlighted by
small heads with infantile expressions. The contrast and movement
of the lines form curves or break at angles.
In a descriptive study of the figures found in the arches it
was maintained that they were all keystone figures.
The center of the lower floor, with its scalloped moldings,
lodges figures of Saints and other religious symbols, which are representation
of divine love, understanding, and knowledge. San Agustín, founder
of the Holy Order, Santa Monica, mother of San Agustín and Santa
Clara de Monte Falcon, founder of the feminine Holy Order and San Nicolas
de Tolentino, hermit and preacher.
The keystone figures of the arches upstairs, are representations
of Saint Agustín depicted in various pious attitudes. The
common attributes of these saints are that they all lived the life of a
hermit, mean while others are seen carrying a chalice, book or crucifix.
The message of the group of icons is one of Augustine Eucharistic
allegory, without discarding the possibility of an antique, esoteric relationship.
As if never ending the icons extend to the tower with the Eucharistic
values still evident. The large pelicans appear here again, between volutes,
foliage and angels. Baby angels of stone abound in all sizes and
postures. A young God emerges, from between the petals of a flower,
smiling.
Light pours on the stone figures forming shadows that cascade
in a battle of expression with God, man and the great beyond. With
the amount of manual labor and individuality of the town, no one knows
how to classify it, of more than its proper name.
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Design: Blanca Muñoz.
Rev. December 2002
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