Tapalpa Plateau Part 4 of 6: Templo San Antonio de Padua

Templo San Antoio de Padua is located in the Plaza Principal. This church was built by the Franciscans in the 17th century when their congregation outgrew the small Capilla de la Purisima seen in a previous posting of this series. Strolling along on the left are my friend Chuck and his dog Maddy. She passed away a while back and is sorely missed by Chuck and others who loved her, including me. 

No longer a functioning church, the Templo has been transformed into a small museum displaying a variety of religious objects from previous centuries. In this posting, I will show the external features of the church and explain some of the history and uses of the artifacts displayed inside.

Side entrance to the Templo. One rough way to gage the age of an historic structure in Mexico is to take a close look at the materials used in building it. While the interior of many churches (including this one) may have undergone numerous changes of style over the centuries, there are usually less of these kinds of alterations on the exterior. Two columns called pilasters frame this Templo doorway. They are made from a soft, easily-carved stone called cantera. 

Early 16th century colonial churches were small and made of adobe and thatch. By the 17th century, large structures with rough stone walls like the one above began to appear. Due to cost, blocks of stone shaped by masons were only used for corners, doors, or windows (again, see above). As the costs dropped, churches began to be constructed entirely from shaped stone blocks. From the end of the 18th century through the 20th, bricks of red clay became popular. 

Facade and main entrance. Four more pilasters topped with Doric capitals frame the entrance. Pilasters are non-load bearing and are used for decorative purposes only. The four small pyramidal structures along the top of the entrance are called finials. On either side of the door are niches which once contained statues of saints. The window above the doorway provides light to the elevated choir loft located in the rear of the nave.

The nave, as it was in 2015 before the museum was completed. The original architectural style was changed from Baroque to Neo-Classic, probably in the late 18th century. Baroque tends to cover every available surface with floral carvings, cherub faces, and other decorative elements. 

Neo-Classic incorporates elements of Greek and Roman architecture, such as the Corinthian-capped columns framing the wall niches and the altar area. Neo-Classic style reflects the Rationalism that came into fashion during the 18th century Enlightenment period.

The Templo's Museum in 2022

Painting of the Virgin of Guadalupe in a niche in the left front wall. The artist who created this in 1820 used gold leaf for highlights in this oil painting. The Virgin of Guadalupe is the Patron of Mexico and her image has often appeared on the banners of various armies marching into battle, beginning with the Independence War against Spain. 

Two bronze candlesticks stand behind a crucifix.  A small bronze statue of Jesus hangs from the wooden crucifix. The statue and its cross were created in the 18th century. There was no information about the candlesticks, but they may have been created about the same time. The sign indicated that the crucifix and its statue are still utilized during the rituals of the Holy Eucharist.

Censors of various sizes and a pewter cup. Censers like this contained burning incense during ceremonies. The small containers were swung on their chains to distribute the smoke.  The use of the cup is unclear, but it may have been for crushing the incense before it was placed in the censors.

Carved wooden cúpula. The function of this object was unclear, and the sign accompanying it only noted that it is a cúpula that was carved from wood in the 16th century. To find out more, I consulted Richard Perry, my expert on the religious artifacts and architecture of colonial Mexico. He suggested that it may be a cover for a baptismal font. Richard also said that the cúpula may have been incorrectly dated to the 16th century. Its Baroque style is from a later period, possibly in the 17th century.

Wooden base from the original altar. This is the only remnant of the original Baroque decoration of the church's interior, before it was remodeled in the Neo-Classic style. The accompanying sign states that this object was created in the 16th century and that there were traces of gold leaf on the floral carvings. Since the church was constructed in the 17th century and the floral design is typical of Baroque, the museum's dating of this object may also be in error.

Statue of the Virgin of the Immaculate Conception. The wooden statue is dated 1715. The Immaculate Conception does not refer to the Virgin Birth of Jesus. Instead it asserts that Mary herself was free from "original sin" when she herself was conceived. None of this appears in the Gospels and the concept was controversial for centuries. It did not become part of official Church doctrine until 1854.

Vestments worn by 18th century priests. These three garments are called capas pluviales. They are embroidered in gold and are from the 18th century. The clothing of Catholic priests evolved from that worn by people of the Roman world when the Church was founded. 

There was some dispute among early Church leaders about whether priests should wear clothing that distinguished them from members of their congregation. An early pope, Clement I, settled the issue in favor of special garb for those who served as priests.

More priestly vestments. These casullas (chasubles) are also from the 18th century. They are a kind of tunic that is worn over other garments. According to Catholic tradition, the casulla symbolizes the virtue of charity and the yoke of unselfish love.

Templo de Nuestra Señora de Guadalupe

Templo de Nuestra Señora de Guadalupe. The Temple of Our Lady of Guadalupe sits directly across from the entrance to the Templo de San Antonio de Padua. It was built entirely of red brick, without beams or masonry. Work started in 1950 and was completed in 1970. Although it is not unattractive, modern churches generally leave me cold architecturally. I simply find the older stuff much more interesting. 

The main nave. There are two more naves, one on either side. Damage to the 350-year-old Templo de San Antonio led to the construction of this church. It was paid for by money raised from local residents.

This completes Part 4 of my Tapalpa Plateau series. I hope you have enjoyed it and, if so, you will leave any thoughts or questions in the Comments section below. If you do leave a question, please include your email address so that I can respond in a timely manner.

Hasta luego, Jim