Peralta Part 1 of 3: A unique archeological site in the Bajio Region

The author, viewing the Ceremonial Pool. This feature of the Recinto de Los Gobernantes (Enclosure of the Governors) is part of the Peralta Archeological Zone. Sunken patios like this are typical of the ancient architecture of El Bajio region. My blog fans may recall that last September I posted about a 2016 trip to Plazuelas, another of El Bajio's archeological sites. Unfortunately, a hard drive crash caused the loss of all of the Peralta photos that I had taken on that same trip. 

Recently, I decided to organize another expedition to the Peralta site in order to photograph it again. My neighbor Vinnie is a highly experienced photographer and he agreed to come along. This would be my first time venturing outside of the Lake Chapala area since the pandemic began, except for a journey last Fall to the US border for a booster shot. Hopefully, the success of this trip will make it the precursor for others.

The unusual features of the Recinto de Los Gobernantes will be the focus of Part 1 of this series. In Part 2, I will show you the Sunken Patios, and the Double Temple Complex. Part 3 will cover the ancient residents of Peralta and the artifacts they left behind. Because of Vinnie, this three-part blog series contains some shots of me, which is unusual because I am nearly always the person behind the lens. (Photo by Vince Heptig)

Overview

How to get there. Peralta is in the state of Guanajuato, about a 3 hour+ drive to the east of Lake Chapala. It is definitely near the limit of a day trip, unless you are a road warrior like me. Since the  Plazuelas site is not far from Peralta, it would be possible to see both on an overnight trip (Plazuelas is near the town of Penjamo). There appear to be a number of comfortable and inexpensive hotels in Abasolo, a town half way between the two sites, so an overnight stop seems feasible. Click here for an interactive Google map. 

The route is as follows: take the Chapala-Guadalajara Carretera to the Ocotlán-La Barca exit. Just beyond Ocotlán, get on the 15d cuota (toll road) toward Mexico-Morelia. After you pass La Barca, exit at Yuricuaro-Vista Hermosa. Shortly after the exit's toll booth, make a U-turn at the sign for Mexico-Morelia-Zamora. This puts you on Highway 110 toward Yuricuaro. Up to here, the route has been nearly all high-speed, 4-lane divided roads. Highway 110 is two-lane and thick with slow-moving trucks, so be patient until you get to the outskirts of La Piedad.

Shortly before reaching La Piedad, exit toward Irapuato onto the 90d cuota, merging eventually with 90 Libre, another 4-lane, high-speed road. Follow that about 60km (37mi) to Abasolo. About 15km (9mi) past Abasolo on the 90, take a right at the sign for Pueblo Nuevo. After several kilometers you come to a fork where you bear right at a sign for Hunimaro V de Santiago. After about 5km, you will come to the turnoff for San Jose de Peralta. Turn right as you enter the pueblo and follow that street 1km to the archeological site. 

Map of the eastern part of El Bajio, showing archeological sites. All the yellow dots are archeological sites. The white names and dots are modern towns. This map is a detail of a much larger one showing even more sites. El Bajio (The Lowland) extends from Queretaro in the east to Jalisco in the west and from the mountains of Guanajuato in the north to those of Michaocan in the south. (Photo from a display in the Peralta museum)

Between 300-900 AD, the region was heavily settled. During the Epi-Classic era (600-900 AD), El Bajio civilization reached its height. Villages and towns were everywhere, especially in the low, fertile areas along watercourses like the Lerma river and around the various shallow lakes. Several cities had large populations. Peralta, for example had 10,000 residents. Major trade routes passed through El Bajio from New Mexico to Honduras and from both coasts. 

All this has been discovered only recently. Although locals knew of the ruins, archeologists did not investigate until the 1970s, and major studies only occurred in the 2000s. Previously, El Bajio was thought to be an area without archeological interest. In fact, from 900 AD all the way through the Aztec era, only scattered bands of hunter-gatherers had occupied it. Until the Spanish settled El Bajio in the 17th century, the region had been considered a wasteland. 

The Peralta ruins and the modern pueblo for which they are named. The view here is toward the east. The site's two major parts are the Recinto de Los Gobernantes (right foreground) and the Double Temple Complex (left foreground). These structures sit near the crest of a low hill mounded with volcanic rocks and boulders. The area around the ruins is overgrown with mesquite and cactus. 

Beyond the hill, the terrain is generally flat, making it suitable for agriculture in ancient times, as well as today. To the east of the modern town is the blue Rio Lerma, which provided the water that made the ancient city possible. The governing elites lived in dwellings within the Recinto or immediately around it, while the commoners would have lived in the flat areas near their fields. (Photo from Peralta Museum collection)

Recinto de los Gobernantes

The northeast corner of the Recinto, looking west. The archeological site is open Tuesday through Sunday from 10AM to 6PM. After paying our $39 peso fee ($1.92 USD) at the site's museum, we proceeded up the walkway to the ruins. This finely-built wall was the first point we encountered. Peralta's ancient architects had no metal tools, only those made of stone, bone, or wood. They also lacked both draft animals and the wheel. Their only source of power was human muscle.

In spite of those limitations, they cleared and leveled a large area on the hilltop and then built a huge platform. It measures 147m (482ft) from east to west and 137m (450ft) from north to south and is the largest in the region. The beautifully-surfaced walls stand at a 45 degree angle and rise to a height of at least 4.6m (15ft) in some areas. The Recinto would have provided a good defensive position during the Epi-Classic era, a time of intense warfare between city-states.

The South Entrance provides access to the Recinto's interior. The remains of another entrance are on the west side. However, the west side's great staircase no longer reaches the top of the wall, so the South Entrance provides the only access today. Notice the thickness of the wall and the narrowness of the passage, Hostile warriors assaulting through here would have had to pass through single file, making them easy targets for the defenders.

Interior of the south wall, looking west. A large Pitayo cactus stands on the wall at its southeast corner. The low interior wall is less than 1m (3.3ft) high in most areas. To the right of this wall, and extending its full length, is a level corridor that is about 10m (33ft) wide. The interior edge of this corridor borders the Sunken Plaza. 

This corridor, and similar ones on the north and east, provided space for spectators to view dances and ceremonies occurring in the sunken plaza. The west side of the Recinto contains the Ceremonial Pool, Circular Structure and an area for elite dwellings. The Recinto de los Gobernantes has a sophisticated hydraulic system designed by the ancient architects to drain off water during the rainy season.

View of the Sunken Plaza from its northeast corner. Sunken plazas and patios are a characteristic architectural feature of El Bajio's cities. Examples have been found in 174 sites throughout the region. Recently, scientists discovered that these sunken features were designed to amplify acoustics during public performances. I will discuss this a bit later.

The interior edges of the corridors on the north, east, and south sides can be seen above. The Sunken Plaza is about 0.6m (2ft) below the corridors which border it. The plaza's extraordinary size would have provided enough space for masses of brightly feathered dancers. They would have cavorted to the sounds of drums, conch shell trumpets, bone flutes, and whistles. 

The curved wall extending into the Sunken Plaza from the middle of its west side is part of the large Circular Structure. It provided the stage for the ancient musicians and for spectacular rituals performed to honor Ehecatl, the Wind God. In addition the Circular Structure provided a platform from which the ruler or high priest could address a crowd gathered in the Sunken Plaza and the surrounding corridors. 

View to the west from the top of the west wall. The panoramic view above includes the green fields surrounding the archeological site and one of the many extinct volcanoes found in this part of the country. Volcanic debris provided building materials, as well as obsidian (volcanic glass) from which tools, weapons, and jewelry could be crafted for local use or trade.

Entwined together in the foreground are two varieties of cactus found throughout Western Mexico. These are the long-armed Pitayo and the flat-paddled Nopal. Both provide sweet fruits which were gathered by the ancient people. The Mexican landscape is full of wild plants like this that can be eaten or used for a wide variety of purposes. Many, including the Pitayo and Nopal, are still used today.

 

The Circular Structure

Aerial view of the platform's northwest corner and the Circular Structure. Evidence of dwellings for the ruler, high priests, and other officials have been found in the broad, flat area to the left of the Circular Structure. To the right of the Circular Structure is the Ceremonial Pool seen in the first photo. With a diameter of 42m (138ft), the Circular Structure provided a large space for musical performances, ceremonies, and speeches.

Mid-way along the outside of the west wall behind the Circular Structure is a large staircase. The ruler and other elites would have used this to access the structures on top of the Recinto's west side, including their dwellings, the Circular Structure and the Ceremonial Pool. Lesser mortals would have entered through the South Gate.

Several high-status human burials have been found on the Recinto's west side. The grave goods included valuable items such as jewelry made from turquoise, jade, and shells, as well as ceramic vessels. Many of these artifacts indicate long-distance trade connections with locations as far afield as New Mexico, the Pacific and Caribbean Coasts, and Guatemala. (Photo from Peralta's museum)

The west wall's Circular Structure faces east, toward sunrise. Most monumental structures in ancient Mesoamerica are square or rectangular and nearly all of these--including the Recinto de los Gobernantes--are aligned to the four Cardinal Directions. Each direction was considered sacred and was associated with a particular god. East was particularly holy because sunrise symbolized the daily rebirth of the world. Thus, it is not surprising the Recinto's west side structures face east. 

However, the shape of Circular Structure doesn't conform to Cardinal Directions. Monuments to Ehecatl are circular because he is the god of the wind, which can come from any direction. Strong winds can have dramatic effects, but they are also invisible and therefore mysterious, as befits a god. In addition, high winds often precede the rain necessary for healthy crops. Circular monuments to Ehecatl were built by various Mesoamerican cultures over the millennia.

The Circular Structure, looking east across the Sunken Plaza. The north and east corridors can be seen in the background. In addition to rituals relating to Ehecatl, this structure functioned as a platform for speakers and musical performers. In 2013, scientists decided to test the acoustics of the sunken plazas of El Bajio's ancient cities. One of the sites tested was Peralta's Recinto. 

Human voices and pre-hispanic percussion and wind instruments were used to produce sounds from the Circular Structure. They were picked up by receivers in the Sunken Plaza and its surrounding corridors. The sounds were intelligible throughout the interior of the Recinto, but particularly on the corridors. This confirmed them as audience spaces. The ancient designers of the Recinto apparently understood acoustic principles enough to incorporate them into their architecture.

Looking east from atop the Circular Structure. One of the more interesting rituals to Ehecatl was that of the Voladores (flying dancers). These rituals have been passed down through the centuries and I have witnessed their performance in various parts of Mexico. The colorfully-costumed Voladores begin by climbing to the top of a very tall pole. Deep holes for such poles have been discovered in the middle of the Circular Structure.

Each Volador hangs, head down, from a rope looped around his waist. The rope's other end is wound around the top of the pole. He maintains a precarious stability by crooking one ankle around the rope. As the ropes pay out, the Voladores swing around the pole with their arms extended. This continues until the Voladores finally reach the ground. During the performance, one man remains at the top of the pole, beating a small drum and playing a flute.

The Ceremonial Pool

The Ceremonial Pool is mis-named. The base is of earth, not stone or stucco, so the structure is unlikely to have been intended to contain water. Since it is situated right next to the Circular Structure, on its south side, it must have had a relationship to the activities there. 

The acoustical researchers believe that the Ceremonial Pool was used by Peralta's ruler and other elites while they watched the Voladores perform. It would have functioned much like the "skyboxes" in modern stadiums. Those are special places exclusive to modern elites who wish to enjoy performances conducted in the stadium while remaining separated from the common people.

The south wall of the Ceremonial Pool. The Pool is square and roughly 10m (33ft) on each side. It is approximately 1.22m (4ft) deep. All of the walls around the interior of the pool are substantial. Their stepped construction probably protected against collapse of the sides. The elite occupants probably seated themselves on the ground, but even standing they would have been completely separate and largely out of the sight of other spectators. 

The northwest corner of the Ceremonial pool. Peralta has many important features that make it an exemplar of El Bajio architecture. The immense platform that is the Recinto de los Gobernantes is the largest of any city in the region. The ancient city contains at least five sunken plazas and patios with acoustical and hydraulic designs that show great sophistication on the part of the architects. 

This completes Part 1 of my Peralta series. I hope you have enjoyed it. If so, please leave any thoughts or questions in the Comments section below or email me directly. If you leave a question in the Comments section, please include your email address so that I may reply in a timely manner.

Hasta luego, Jim

 

Jerez Part 7 of 7: A quiet stroll around town

A trident-style street lamp stands in front of a balcony with French doors. The door is topped with a fleur-de-lis, the stylized lily that is the symbol of French royalty. In the late 19th century, French art and architectural became very popular among Mexican elites.

In this final part of my Jerez series, I'll take you on a stroll around town. The photos I include here didn't really fit into the story-lines of my other posts. I just found them interesting and attractive and didn't want to leave them out. I hope you enjoy viewing them as much as I enjoyed taking the shots.

This two-story building was once the abode of wealthy merchant. The location is on Calle de la Soledad, just north of the Santuario. Multiple doors on the first floor gave entrance to the merchant's store, while the second floor was his residence. Notice the elaborate decorative stone carvings over the second floor doors. When I took this shot, the first floor contained an eye clinic and a video studio, while the second floor has apparently been broken up into apartments. 

I found a mariachi school on Calle de la Soledad. I was walking along the street when I heard the unmistakeable sound of mariachi music. As I approached, I saw the sign above and an open door and couldn't resist taking a peek inside.

Young mariachis-in-training and their instructor. They were friendly and gladly agreed when I asked if I could take their photo. The instruments they hold are fairly typical for a mariachi band. These include two trumpets, a violin, a guitar, and a guitarrón (base guitar). The man pointing at me (second from right) appears to be Sr. Miguel de la Rosa, whose name is on the sign. The attitude of this group was typical of the folks we met in Jerez.

Entrance to Jerez' Department of Public Works. The contrast between the elaborate colonial-era doorway and the prosaic modern function of the building definitely called for a photo. I encounter these sorts of contrasts where ever I go in Mexico. The two gentlemen chatting on the steps added a nice touch. 

The mysterious Manuel Rodarte. Other than the dates of his life (1885-1928) that appear below his bust, he is a complete mystery to me, despite considerable Google research. He was apparently important enough to justify a statue and even to have a street named after him. I have turned up a long list of Rodartes from Jerez, dating back at least to the 17th century. However, I can find no Manuel who was born and died on those dates. Any help in identifying this person would be appreciated. 

"Kiss, love for fashion". Women's clothing is sold here. The English word "kiss" was a rather unusual sign to find over a Mexican store. The Spanish word for kiss is beso. The carved stone door frames are Gothic style, indicating a building of the 18th or 19th century. This store is part of a row of old homes along the east side of the Plaza Principal that have been turned into stores. I featured them in Part 2 of this series.

A brass lion chomps on the handle of a door knocker. It is difficult to say whether this is an original or a re-creation. However, the greenish patina indicates that it might be an antique. Little details like this door knocker often catch my eye.

 

"OK! What's going on down there!" I am a dog person and their antics always amuse me. This pup was standing vigil and not about to let anyone or anything pass by below his balcony without close inspection.

This completes Part 7 of my Jerez series as well as the series itself. I hope you have enjoyed visiting this charming town. If so, please leave any thoughts or questions in the Comments section below, or email me directly. If you leave a question, please include your email address so that I may reply in a timely fashion.

Hasta luego, Jim

 

Jerez Part 6 of 7: Parroquia de la Inmaculada Concepción, the town's oldest existing church

 

Parroquia de la Inmaculada Concepción, from the southeast. The church is located on the corner of Calles de la Parroquia and Del Reloj, about two blocks southeast of the Plaza Principal. This is the oldest church in Jerez. There were earlier chapels and churches but they have since been replaced by later structures. Construction on the Parroquia began in 1727, with the exterior finished in1739 and the interior in 1741. 

The church was originally built using the Baroque style popular in the 17th and early 18th centuries. The steeple, however, shows elements of an earlier style called Herrerian, named for the late 16th century work of Spanish architect Juan de Herrera. The interior of the Parroquia was remodeled in Neo-Classic style in 1805. The exterior underwent restoration in 1930.

In this posting, I'll show you various features of the exterior and interior of the church. I'll also explain the meaning and history behind some of the statues and paintings found in the interior's three naves. 

Exterior features

The entrance facade. It was constructed as a retablo, with niches for statues. There are three "bodies" or levels of the facade. The statues framing the first two levels are the Four Evangelists: Matthew, Mark, Luke, and John. According to Christian tradition, they are the authors of the four Gospels of the New Testament. The facade's top level contains three more statues, shown in detail in the next photo.

While the walls of the church were built using white sandstone, the facade was carved from an easily-worked volcanic stone known as cantera. The facade faces a large, open atrium, bounded by a fence with gates on three sides.

Three statues decorate the top level. The identity and meaning of the figures were a mystery to me until an anonymous blog fan provided me with some convincing information about the ones on the right and left. However, the central figure remains a mystery. His hair and beard are closely cropped hair and he wears clerical garb suggesting a priest or friar. His left hand holds a reliquary, while his right is outstretched. Anyone who can identify him is invited to leave a comment below. 

The figure on the right, holding a sword and a broken wagon wheel, is almost certainly Santa Caterina (St. Catherine) of Alexandria (287-305 AD). She was martyred by the Roman Emperor Maxentius. According to the legend, he ordered that she be broken on a spiked wheel, but the wheel fell apart when she touched it. The Emperor then condemned her to be beheaded with a sword. This succeeded in killing her, but milk poured from her neck instead of blood. 

My informant suggested that the figure on the left is either Santa Clara de Assisi (St. Clare) or San Ramón Nonato. Both are often portrayed holding a sacred religious object called a monstrance. The figure on the left holds one it its right hand. I favor Santa Clara because the figure wears a dress and has long hair. In addition, Santa Clara famously held off an invasion of her convent by French troops by confronting them while holding up a monstrance. 

One of the Four Evangelists stands in a niche to the left of the door. None of the figures is specifically identified, either by a plaque or in the literature, so it is hard to say which is which. The exuberance of the Baroque style can be see in the spiraling Solomonic columns. Other indications include the three small faces appearing along the horizontal bar above the statue.  The luxuriant vines and flowers that appear at the bottom of the columns and on the arch above the statue's head are also Baroque.  

A winged cherub seems to be fighting his way through the lush vegetation. This carving is located just above and to the right of the main door. A similar cherub appears on the left side. More vegetation decorates the arch of the doorway and the horizontal crosspiece above the cherub. A general characteristic of Baroque is that it tends to leave no available space undecorated. 

The Naves

The three parallel naves are separated by two sets of columns. The interior of the Parroquia was remodeled in Neo-Classic style in the same year that work began on the Santuario de Nuestra Señora de la Soledad (see Part 4). This sort of remodeling occurred all over Mexico during the last part of the 18th century and the first part of the 19th. The emotionality of Baroque art and architecture fell out of favor and was replaced by the rationality of the Era of the Enlightenment. 

An extraordinarily life-like statue of Jesus on the cross. He is covered with wounds dripping with blood. This appears to be one of the famous pasta de caña (cornstalk paste) crucifictions by the indigenous artisans of colonial-era Michoacan. These statues are always very realistic, with every rib, muscle, and toenail clearly defined. Also, like this one, they tend to be quite gory. 

To create the statue, native craftsmen made a paste from corn-stalk pulp and applied it to a wooden or bamboo frame. Statues like this were very popular in their time. From the workshops of Michoacan, they were sent to churches throughout the central highlands of Mexico, where they can still be found today.

An elaborately carved wooden pulpit is attached to one of the nave's columns. The pasta de caña statue can be seen in the lower right. Various niches within the church hold statues of saints. A triangular painting of San Mateo (St. Matthew) can be seen in the upper right. I will have more to say about this painting and those of the other three Evangelists a bit later. For a brief history of pulpits, and an explanation of why those in many Catholic churches are hung on one side of the nave, see Part 4.

Statue of a martyr. José Ramón Miguel Agustin Pro Juárez was a Catholic priest executed during the Cristero War (1926-29) The war was an uprising by Catholics against the post-revolution Mexican government. Presidente Elias Plutarco Calles was carrying out reforms mandated by the Constitution of 1917. Some of the changes he sought targeted the core of the Church's social and economic power and were bitterly resisted by its hierarchy. 

The reforms included redistribution of land from the great haciendas to poor campesinos and indigenous people. Much of this land was owned by close allies of the Church, as well as by the Church itself. Calles also took education out of the hands of religious authorities, thus undermining Church social power. Calles' reforms sparked an armed revolt, tacitly (and sometimes actively) supported by the Church hierarchy. 

Padre Miguel Pro was a Jesuit priest from Zacatecas who was involved in the resistance. The statue above portrays the moment of his execution by a firing squad, with his arms extended as if he was being crucified. A photograph of the execution was widely distributed by Calles. He intended it as a strong message to Cristeros, but it was a huge political blunder. Miguel Pro became a martyr and symbol of the Cristero movement. 

The Apse

Neo-Classic columns form a half-circle at the back of the apse. Statues of various saints stand in niches set between the columns. Above the apse is a dome with three religious-themed paintings. In the center of the apse's columns is a statue of Nuestra Señora de la Inmaculada Concepción, for whom the Parroquia is named.

Nuestra Señora de la Inmaculada Concepción. The Immaculate Conception concerns how Mary herself was conceived, while the Virgin Birth is about Jesus' conception. In both cases, the pregnancy was allegedly caused by divine intervention instead of sexual intercourse. It was therefore "without sin". The idea of Mary's immaculate conception was controversial within the Church for more than 1500 years. During the Middle Ages, the Franciscan Order was in favor of the idea, but the Dominicans were opposed and they nearly had a civil war over it. 

The issue was finally settled in 1854 through a decree by Pope Pius IX. The decree was considered "novel",  i.e. highly unusual, since the Immaculate Conception was not supported by anything either in the Bible or official Church tradition. It was declared to be dogma (incontrovertibly true) simply because the Pope and his cardinals said it was. Protestant denominations and the Eastern Orthodox Church have never accepted Immaculate Conception.

A gold reliquary stands just below the statue of the Virgin. Reliquaries are containers for sacred relics. These might include the physical remains of holy sites or holy persons or objects with which that person had contact. One of the most famous of all relics is the Shroud of Turin, which contains the image of Jesus and was long believed to be the cloth which was wrapped around him in his tomb. In 1988, the Shroud was radiocarbon-dated to more than 1300 years after the Bible says Jesus died.

By the time of Charlemagne (9th century AD) every church altar was expected to have a reliquary and the objects within were considered to possess supernatural powers. Relics were so highly coveted that they were sometimes stolen from one church only to appear later in another. Objects considered so valuable required beautiful containers and reliquaries became a major focus of religious art in the Middle Ages.

Side Altars

Side altar with niches displaying statues of several saints. The Parroquia has several side altars along the walls of the naves. The figure at the top is identified on a plaque as San Pedro (St. Peter) one of the most important of the original Apostles. To the left is San Francisco de Assisi (St. Francis), who founded the Franciscan Order in 1208. He can be identified by the skull at his feet, which represents the ephemeral nature of life. 

The statue in the center, holding an infant, is unidentified. The two saints who are most often shown with a baby are San Jose, the father of Jesus, and San Antonio de Padua (St. Anthony). He was a Portuguese Franciscan who was considered so pure of heart that he was canonized in a lightning-fast process lasting less than a year. Just below San Antonio is another small reliquary.

Another side altar displays Jesus, the Virgin Mary, and San Pedro. Jesus is on the left, wearing a billowing white robe and displaying wounds on his hand, foot, and chest that he received during crucifixion. The painting in the center shows the Virgin Mary seated with the Baby Jesus on her lap. Both are wearing crowns and have halos surrounding their heads.

San Pedro stands on the right, with a scroll representing the Gospel in his left hand. His right hand extends across his chest and holds the key to heaven. While researching this statue, I came across a Roman statue from the Vatican Museum in an almost identical posture. This suggests a sculptural convention that Christian artists adopted from Roman statues they encountered.

The dome and its paintings

The dome over the intersection of the central nave and transept. The octagonal dome has a glass chandelier hanging from its center and is supported by four arches. The triangular spaces where they meet contain paintings of the Four Evangelists. Each has a totemic figure peering over his shoulder. 

A bald and white-bearded San Mateo writes in a book while an angel looks on. San Mateo (St. Matthew) is the reputed author of the first of the Gospels and the painting shows him at work, inspired by an angel from heaven. The other corners contain paintings of San Marcos (St. Mark), San Lucas (St. Luke), and San Juan (St. John). 

The four figures that accompany the Four Evangelists--a man, a lion, a bull, and and eagle--also appear in the Old Testament's Book of Ezekiel. There, they are described as surrounding the throne of God. From the earliest days of Christianity, each of theses totemic figures has become associated with one of the Four Evangelists.

San Lucas and the angelic lion. A legend holds that San Marcos briefly stayed the night in Venice when it was still a small fishing village. In a dream, he encountered an angel in the guise of a lion who told him he would die there. However, he ultimately died in Alexandria, Egypt. 

In 828 AD, relics reputed to be his bones were stolen from Alexandria. They were delivered to Venice by merchants who hoped to profit from pilgrimage traffic to a basilica they wanted the city to build. Twelve hundred years later, a winged lion is still the symbol of Venice.

 

A bull leans over the shoulder of San Lucas. A winged ox or bull often appears in paintings or scuptures of San Lucas. The bull represents sacrifice, service, and strength. Interestingly, winged bulls are common in ancient Middle Eastern religions. Their images date back thousands of years before Christianity and represent strength, fertility, protection and divinity. Ancient pagan symbols have often been incorporated into Christian beliefs. 

 

An eagle perches just behind San Juan in this painting. An eagle became associated with him because the Gospel he is alleged to have written is much more lofty, and theological than the other three. Because the eagle soars up into the sky, it has also become a symbol of Christians who have died and are rising to heaven. 

This completes Part 6 of my Jerez series. I hope you have enjoyed it. If so, please leave any thoughts or questions in the Comments section below or email me directly. If you leave a question in the Comments, please include your email address so that I may reply in a timely manner.

Hasta luego, Jim