
95
The Church and Culture
In Spain, the religious orders were primarily charged with education,
just as they were in the conversion of the peoples of Mexico. Their
responsibilities also included the first generation of Creoles, whose con-
quistador fathers were mostly uneducated. The high status of Creoles in
New Spain required that they be educated, and the religious community
taught them in seminaries and colleges; in Spanish communities of any
size, the Jesuits and Augustinians provided primary school education.
During the colonial period, the University of Mexico granted 4,000
undergraduate degrees and 1,000 postgraduate ones, training the doc-
tors, scientists, priests, and lawyers of New Spain.
Creole education (and primarily that of the males) became the only
educational preoccupation of the established colony. By 1800 there
were only 10 primary schools in New Spain. Indian schools, even the
famous Franciscan college of Santa Cruz de Tlatelolco where Aztec
nobles were taught theology and rhetoric, did not last beyond the 16th
century. Mestizos and Indians were banned from most professions
including the law, although like much else in colonial life, there were
always exceptions.
Even in the trades, there was considerable discrimination. Initially
the friars had taught Indians how to paint Renaissance murals from
copy books and had trained them in European trades: blacksmithing,
tailoring, carpentry. And they had engaged them in constructing the
first church with a true vault. As time went on, the whites took control
of the trades and often permitted only themselves to rise to the rank of
master craftsman.
The skill of the artisans in New Spain, even when they were not
granted master status, can best be judged by the quality of the approx-
imately 12,000 churches built during the colonial period—most of
them finely frescoed or carved, all adorned with elaborate altarpieces
and silver chalices, and fitted with lavishly embroidered vestments.
Their style varied according to the fashions in Spain, beginning with
the Renaissance and Spanish plateresque style of the 16th century
and evolving into 17th-century baroque. Although European artists
provided inspiration for the colony—such as the Spanish painting
tradition of Francisco de Zubarán and Bartolomé Murillo—the pen-
insular styles were often interpreted according to the colony’s own
needs and preferences. The open chapels of the 16th century (
see
page 67), for example, and the exuberant ultrabaroque style, called
Churrigueresque (
see page 105), is another local development that
resulted in some of the finest buildings in 18th-century Mexico. Such
THE COLONY OF NEW SPAIN