Sculpture, like painting, has a deeply religious orientation. In the last quarter of the 18th century, one of the greatest Guatemalan sculptors and assemblers arrived in Tegucigalpa to work on the construction of the main altarpiece of the parish of St. Michael the Archangel of Tegucigalpa, Vicente Galvez who made a piece of great category in his genre here in America; Galvez is also responsible for the construction of two side altars of the Cathedral and according to the Honduran historian, Mario Felipe Martinez, he wastes his imagination in the baroque pulpit crowned by the fire car of the prophet Elias.

 

The altarpiece is of golden carving organized with twenty Salomonic columns; in the lateral niches are the images of "San Pedro" and "San Pablo" that according to documentation, are work of the sculptor Francisco de Ocampo. It is also important to highlight the sculptural work of the Sevillian master Diego Lopez Bueno who worked an altarpiece conceived as an exaltation to the Immaculate Conception.

 

In the San Francisco Church in Tegucigalpa, among the various altarpieces that decorate it, is that of "La Virgen del Carmen", with envious dressing rooms where you can see: the "Virgen del Carmen", "Santa Rosa de Bitervo", "San Luis Rey de Francia" and "Santa Teresa", all to dress, with the peculiarity that in the pedestal of the last image, is found a ballot that says "facit Montufar".

 

The colonial sculptural tradition is as diverse as the painting, but is best preserved by the materials used, most of which are made of plaster and wood; both artistic genres form the religious vision of an entire era.