Isidro González Velázquez expanded the Neoclassical style in Spain. Spanish Viceroyal architecture in America and Philippines The combination of the Native American and Moorish decorative influences with an extremely expressive interpretation of the Churrigueresque idiom may account for the full-bodied and varied character of the Baroque in the American kingdoms and provinces of the Spanish Monarchy. Even more than its Spanish counterpart, American Baroque developed as a style of stucco decoration. Twin-towered façades of many American cathedrals of the seventeenth century had Renaissance roots and the full-fledged Baroque did not appear until 1664, when the Jesuit shrine on Plaza de Armas in Cusco was built. In the Viceroyalty of Peru, the Andean Baroque was particularly lush, as evidenced by the monastery of San Francisco in Lima (1673), which has a dark intricate façade sandwiched between the twin towers of local yellow stone. While the rural Baroque of the Jesuite missions (estancias) in Córdoba, Argentina, followed the model of Il Gesù, provincial "mestizo" (crossbred) styles emerged in Arequipa, Potosí and La Paz. In the eighteenth century, the architects of the region turned for inspiration to the Mudéjar art of medieval Spain. The late Baroque type of Peruvian façade first appears in the Church of Our Lady of La Merced, Lima (1697–1704). Similarly, the Church of La Compañia, Quito (1722–65) suggests a carved altarpiece with its richly sculpted façade and a surfeit of the Solomonic column. To the north, by 18th-century the richest Viceroyalty of New Spain – from nowadays Costa Rica to Mexico – produced some fantastically extravagant and visually frenetic architecture known as New Spanish Churrigueresque. This ultra-Baroque approach culminates in the works of Lorenzo Rodríguez, whose masterpiece is the Sagrario Metropolitano in Mexico City (1749–69). Other fine examples of the style may be found in the remote silver-mining towns. For instance, the Sanctuary at Ocotlán (begun in 1745) is a top-notch Baroque cathedral surfaced in bright red tiles, which contrast delightfully with a plethora of compressed ornament lavishly applied to the main entrance and the slender flanking towers. The true capital of New Spanish Baroque is Puebla, Mexico, where a ready supply of hand-painted glazed tiles (talavera) and vernacular gray stone led to its evolving further into a personalised and highly localised art form with a pronounced Indian taste. Spanish Chinese influence exclusive to Spanish East Indies was born when Spain colonized what is now the Philippines, in South