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The Church of San Agustín (Iglesia de San Agustín), in Popayán, Colombia, is a fine example of Late Baroque architecture. It stands in the historic center, two blocks south of Parque Caldas at the corner of Carrera 6 and Calle 7.
Overview of the Church of San Agustín
Officially known as the Church of the Order of Hermits of St. Augustine of Hippo (Iglesia de la Orden de Ermitaños de San Agustín de Hipona), it was originally part of a religious complex established by the Augustinians shortly after their arrival in Popayán in the last quarter of the 16th century. Friar Jerónimo de Escobar was the founder and first prior. The first church was a simple adobe and bahareque structure that was destroyed in an earthquake on February 2, 1736.
The current church was designed by Gregorio Causí, with construction beginning around 1740. Although Dionisia Pérez Manrique (1668–1744), Marquise of San Miguel de la Vega; Jacinto de Mosquera Figueroa y Silva; and priest José Beltrán de Caicedo all contributed to the project, work moved slowed due to financial difficulties and the continued use of outdated building materials.
An earthquake in 1827 toppled the original façade. It was rebuilt in the Neoclassical style and completed in 1858, while the bell tower took nearly another century and was finished in 1957. The Augustinians administered the church until 1863, when they were expelled from Colombia, and it has served as a parish church ever since.
The Church of San Agustín was declared a national monument on December 30, 1959. It was restored in the 1970s, which helped it survive the 1983 earthquake almost completely intact.
Features of the Church of San Agustín
The Church of San Agustín follows a basilica plan, with two towers and an entrance flanked by two pairs of Ionic columns. The base of the south tower contains the sacristy, while the north tower houses the baptistry. Inside, there’s a central nave and two aisles separated by semicircular arches.
The church is known for its rich collection of art. Its most impressive piece, the 18th-century Monstrance of the Double-Headed Eagle (Custodia del Águila Bicéfala), crafted in gold with emeralds and other precious stones, is kept in the Archdiocesan Museum of Religious Art.
Main Altar
The gilded Baroque altarpiece is the church’s most impressive work of art, created in a pure Neogranadine style. The main altar in front features a golden double-headed eagle. To the right is a 16th-century image of Christ attributed to Diego de Siloé (c. 1495–1563) on an 18th-century silver cross made in Popayán — it usually features in Holy Tuesday and Good Friday processions.
The altarpiece features Solomonic columns and Corinthian capitals on both levels. In the central niche is a silver tabernacle, likely donated by Pedro Agustín de Valencia (1710–1788). Just above is an image of Our Lady of Sorrows, an 18th-century Spanish work that features in Good Friday processions. Her silver throne and halo were made by José Arboleda, the heart and dagger were donated by Fr. Ignacio Tenorio y Carvajal (1752–1848/1850), and her dresses were brought from France by Tomás Olano y Olave (1807–1872) in the 19th century. The upper central niche is adorned with images of the Holy Trinity, flanked by angels kneeling in prayer.
Pulpit
The pulpit is one of the most beautiful works of art in the Church of San Agustín. It features a railing decorated with plant and floral motifs. The octagonal, chalice-shaped pulpit rests on a pillar supported by a stone base and contains niches typically adorned with statues of saints or angels. Above is a canopy topped with an image of St. Augustine in the act of preaching.
Side Altars and Chapels of the Church of San Agustín
The aisles are lined with altars and chapels — two in the left aisle and three in the right.
Altar of the Immaculate Heart of Mary
At the end of the left aisle is the Altar of the Immaculate Heart of Mary (Altar del Inmaculado Corazón de María). It features Solomonic columns with Corinthian capitals, plant motifs, and a central niche housing an image of the Immaculate Heart of Mary.
Until the beginning of the 21st century, the altar was dedicated as the Altar of the Lord Jesus (Altar del Amo Jesús). The image, now housed in the Archdiocesan Museum of Religious Art, depicted Jesus on his throne wearing the Crown of Thorns.
Altar of Our Lady of Perpetual Help
Also in the left aisle is the simpler Altar of Our Lady of Perpetual Help (Altar de Nuestra Señora del Perpetuo Socorro), located near the side entrance. It features Solomonic columns, plant and floral motifs, and an image of Our Lady of Perpetual Help.
Chapel of St. Augustine of Hippo
At the end of the right aisle is the Chapel of St. Augustine of Hippo (Capilla de San Agustín de Hipona), accessed through an arch from the presbytery. The altarpiece is decorated with Solomonic columns and plant and floral motifs, with an image of St. Augustine set in the niche. The space was originally dedicated to St. Joseph, and the image of St. Augustine wasn’t installed there until the 2010s. To the right is a sculpture group of the Calvary, made by Raúl Perugache and installed in 2019.
On the wall separating the chapel from the presbytery, you’ll find several burials:
- Luis Felipe Roldán (d. October 30, 1943), Penitentiary Canon of the Metropolitan Cathedral of Popayán
- Fr. Guillermo D. Gómez (d. February 3, 1946)
- Fr. José Guevara H. (April 6, 1873—March 13, 1939), ordained on July 15, 1900
- Fr. José Rafael Plaza (d. November 24, 1922)
- Fr. Joseph F. Trullo (1883–1919), ordained in 1905
Altar of the Lord of Forgiveness
Next is the Altar of the Lord of Forgiveness (Altar del Señor del Perdón), made up of a pair of Solomonic columns with Corinthian capitals supporting a frieze with plant motifs. The niche, with a three-sided apse, contains scallop shells in the corners and an image of the Lord of Forgiveness brought from Spain in the 18th century. He stands atop a globe made of sterling silver — a gold shield and Jerusalem crosses made of rubies are added for Holy Tuesday processions.
Chapel of the Holy Trinity
Third is the Chapel of the Holy Trinity (Capilla de la Santísima Trinidad), with an impressive Neogranadine Baroque-style altarpiece installed by the Brotherhood of the Holy Trinity. It sits atop a finely carved stone altar decorated with eagle-wing motifs. Two Solomonic columns support small architraves while the shield of the city of Popayán — donated by Joanna of Austria (1535–1573) on behalf of her brother, King Felipe II of Spain — adorns the canopy above the semicircular arch. The niche contains sculptures of the Holy Trinity, likely from the Quito school. During my last visit, only the image of Jesus was present.
