The reredos at Oxkutzcab

The magnificence of Yucatecan Baroque

The church and ex-monastery of St. Francis of Assisi in Oxkutzcab is one of the oldest in Yucatan: it was built on the initiative of Friar Diego de Landa around 1581. Behind its high altar is a reredos which constitutes one of the most important elements of Yucatan’s historical and artistic heritage.

According to research done by Bertha Pascacio Guillén, the luxurious sculptural ensemble was created during the first third of the 18^th century, during the apogee of this style of carved wooden structures in Yucatan.

This magnificent Baroque piece, covering the whole chancel wall and measuring 7m by 11m (23 ft by 36 ft), was covered in gold foil polychrome details. It has a linear design, and is made up of a predella, three levels divided into five sections each, and a small gable that follows the arched curve of the vault.

On the predella there is a series of reliefs depicting the evangelists and six Doctors of the Church, as an allegorical reference to the pillars that support the Catholic Church. The carving is irregular, using different volumes and some parts such as heads, hands or objects sculpted in the round to give a three-dimensional feel. Pascacio writes that the Doctors are works of high quality, while the Evangelists are rather rough and naïve.

Solomonic columns with exceptionally carved shafts and Corinthian capitals were used to support the altarpiece.  Sixteen of these columns create the five vertical divisions. The first two levels contain six columns each, while the third level replaces them at the sides with robust balusters that continue the sense of verticality, while at the same time initiating the curvature necessary to fit the wall.

In the center of the predella was the tabernacle, now simply a plain cover. The decorated sections contain the relief carvings of Doctors of the Church, alternating with the Evangelists: Sts Augustine, Luke, Ambrose, John, Jerome, Basil, Mark, Gregory, Matthew and Thomas Aquinas. 

The cornice is broad and moulded. In the center of the first level is a painting of the Resurrected Christ, simply framed in a rounded arch with spandrels containing cherubim, and in front an image of the Crucified Christ. In the second and fourth spaces are relief carvings representing the Adoration of the Shepherds and Pentecost, with a pedestal below each. The sections to the far left and right contain a semi-cylindrical niche with a shell-shaped quarter sphere at the top, a simple gilded frame and decorated spandrels.  The niche to the left holds a sculpture of St. Joseph, and that to the right, one of St. John the Baptist. 

To the sides there is a plain narrow edging. There is double entablature between the levels with a simple architrave.  The first frieze is decorated with the same motif in each of the vertical divisions: a cherub among volutes. The raised sections between each frieze contain a decorative medallion.  The first cornice is wide, moulded and serrated, while the second frieze and raised sections are plain, with a second, narrow, moulded cornice.   

In the center of the second level is a semi-cylindrical niche topped by a quarter sphere in the shape of a shell, and containing a statue of St. Francis. The frame is narrow, and the spandrels are decorated with acanthus leaves. To the sides are decorative friezes showing guardian angels over a relief carving of volutes, rinceaux and acanthus leaves. Otherwise, the second level is the same as the first: the niche to the far left houses St. Peter, and that to the far right St. Paul. The inner relief carvings show the Annunciation to the left, and the Presentation of Mary in the Temple to the right.   

At the third level, the rounded arch of the ceiling starts to form, and at the sides there is a small baluster with a sphere on top, instead of a full column. The central niche, containing a statue of the Virgin, is similar to the one below it, except that the lateral friezes only contain volutes, rinceaux and acanthus leaves, without the angels.  The spaces at far left and right have reliefs showing a Franciscan friar facing inwards, holding a book, a pen, and a standard of his order. 

The inner lateral spaces are similar to the ones on the second level, and depict the Betrothal of Mary and Joseph and the Adoration of the Magi. In the center is a carved statue of Our Lady of the Assumption. The entablature is identical to that below.   

The gable has some small balusters with spheres on top at each end. In the center is a relief carving of the Holy Trinity, flanked by corbel-shaped pilasters with lobes at the top and smaller balusters at their bases, also topped by spheres. 

The remaining space to each side is decorated with a large double rinceau with acanthus leaves and volutes.

Although the iconography is almost intact, in the opinion of the researcher Fernando Garcés, the order of the reliefs seems to have been changed, since their current positions, like those of the statues, are rather illogical. However, he says, it is interesting and important to study and compare this layout.

According to Dr. Pascacio, the aim of the Franciscans in constructing this luxurious reredos in Oxcutzcab – a town which was then growing in importance – was to have the church rival the larger towns and cities of the Peninsula, such as Merida, Campeche, Valladolid and Izamal, all of which were enjoying economic growth and social recognition. 

The town of Oxkutzcab lies at the foot of the Puuc hills, southeast of Ticul, a little over 100 km from Merida.  The name may mean “place of the breadnut (oox), tobacco (k’úuts) and honey (kaab)” or alternatively “land of three ocellated turkeys” from the number three (óox), turkey (kuuts) and land (kaab). 

The reredos behind the high altar in the church of St. Francis of Assisi in Oxkutzcab can be visited during times of religious services.

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