Valladolid Adventures Part 21 of 22: The historic churches of Santa Lucia, Santa Ana, and La Calendaria

 

Iglesia de Santa Lucia is one of Valladolid's oldest churches. It was built with limestone, the same material that had been used by the Maya to construct pyramids and temples in the pre-hispanic city of Zaci. The Spanish conquered Zaci in 1545 and built Valladolid on its ruins. The choir window on the facade above the door contains a stained-glass image of Santa Lucia, a young woman who was martyred during the persecution of Christians under the Roman Emperor Diocletian. 

At the top of the facade is a campanario (belfry) containing three bells. These are still rung the old-fashioned way, with ropes. The church was built in 1565, only a couple of decades after the conquistador Francisco Montejo el Mozo conquered Zaci. Many of Valladolid's buildings were constructed using materials looted from Zaci's pyramids and temples. The Santa Lucia church is located on the corner of Calle 42 and Calle 47. Parque Santa Lucia is located across the street from the church. This is the first of three colonial-era churches I will show in this posting. The other two are Santa Ana and La Candelaria.  

Stucco flowers decorate the arch over the right-side entrance of the church. A matching doorway can be seen across the nave. The two side-entrances are about 2/3 of the way along the walls from the front of the church. There is a single, barrel-vaulted nave with an attached sacristy. Although I haven't determined exactly who built Santa Lucia, the style is very similar to that used by the Franciscan Order during the 16th century. According to one source, the church was built for the use of slaves imported from Africa to work on the local haciendas. 

If you are a regular visitor to this blog, you may have noticed that I often highlight the churches in colonial cities that we visit. As a photographer, their architecture always attracts me, but it is more than that. What really fascinates me are the cultural, political, economic, and even military roles that these religious structures played in Mexico's history, from colonial times through the early 20th century. They are nearly always central to the story of any particular locality. The churches of Santa Lucia, Santa Ana, and Candelaria are good examples of this.

View of the nave toward the main altar. Although all three churches are still used for regular services, Iglesia Santa Lucia is the only one where the nave was accessible when we visited. The simple, sparsely-decorated interior is a feature typical of Franciscan churches. The two side entrances can be seen on either side of the nave. At the far end is the apse, containing the main altar and a wooden retablo on its back wall. The earliest sources of information about the martyrdom of Santa Lucia date back to the 4th century AD. The story of her life has been much embellished over the following centuries.

Santa Lucia (283-304 AD) was born in Syracuse, Sicily. Her wealthy Roman father died early in her life. Her mother's name, Eutychia, suggests that she was ethnically Greek. Lucia became a Christian at an early age and persuaded her mother to give away a large part of the family fortune to the poor. This angered the man to whom Lucia had become betrothed and he denounced her as a Christian to the authorities. The Emperor Diocletian's persecutions  were at their height at the time and Lucia was arrested. She miraculously survived the first few attempts to execute her, but finally died when a sword was thrust into her neck.

A small but lovely retablo covers the back wall of the apse. This wooden altarpiece has three niches. In the center, Jesus hangs from the cross. The left niche contains a female figure that may be Santa Lucia. In the right niche is a statue that appears to be Jesus. Two more saints stand on either side of the retablo. On the far left is San Isidro Labrador, the patron of farm workers. The identity of the saint on the far right is unclear. Standing in front of the retablo on the right is a statue of the Virgin of Guadalupe, patron of Mexico and its poor and indigenous people.

The neighborhood around the church is called Barrio Santa Lucia. This was where the leaders of the "First Spark of the Revolution" gathered here to plan their revolt (see Part 20). It was launched on June 4, 1910, but was crushed by troops sent by the dictator Porfirio Diaz. There were four days of fierce fighting that filled the streets with bodies. The rebel leaders who survived were captured and summarily executed. The First Spark pre-dated the main November 20 revolt by several months. Valladolid's residents are proud of their claim that the Mexican Revolution actually started in their city.

Statue of the Virgin Mary wearing a golden crown and holding the Baby Jesus. There are many versions of Mary. Some of these involve a miraculous apparition, often many centuries after her death. This statue shows her as the Madonna of the Golden Crown. She was first portrayed this way in an early 1500s painting. 

The crown symbolizes her role as Queen of Heaven and the child represents her as the Mother of God (Jesus). The crown further suggests a connection to the royal House of David, founded by the first King of Israel. This seems pretty far afield from her actual New Testament description as the wife of a simple carpenter from the small Palestinian town of Nazareth.

Iglesia de Santa Ana

Three arched gates form the entrance to Santa Ana's atrium. This church was built in the last half the 16th century and was intended solely for the use of the Maya. Along with the imported African slaves, the Maya were forbidden access to the Spanish churches built for the conquistadors and settlers. However, in order to maintain their dominant position the Spanish needed to indoctrinate the native and slave populations into a belief system under which they would accept subordination. Military conquest could be accomplished by force, but a stable society needed willing, or at least docile, subjects.

The process of indoctrination was called the "Spiritual Conquest". Central to it was the conversion of the subordinate populations to Catholicism. This was coupled with the suppression of their native religious practices (i.e. stopping "devil worship"). Consequently, Iglesia de Santa Ana was built for the Maya and Santa Lucia for the African slaves. At Santa Ana, almost all services were conducted in the Yucatecan Maya language. However, mass was delivered in Latin, as it was in all Catholic churches. Santa Lucia's services (except for the Latin mass) were probably in Spanish, given the variety of African languages. 

The arches are attached to the low wall surrounding the atrium. Atriums were often part of early colonial churches. Their purpose was to provide an enclosed exterior space for religious processions and activities. The number of participants in these rituals would often have been too large to fit inside the nave of the church. The trees on the upper left are part of Parque de Santa Ana, a space with some important history of its own. You can read more about the Parque below. 

The facade of Iglesia de Santa Ana. Like Santa Lucia, this church displays a simplicity that suggests a Franciscan origin. The decoration includes only the relief carvings around the entrances, the choir window image of Santa Ana, and the four-bell campanario. There are finials on the corners of the structure's roof and on the campanario, but these have a very plain design. There are two side entrances, as well as the one on the front, all with thick wooden doors. The very limited access, the single high window, and the thick, high walls all suggest a fortress, which could well have been one of the structure's intended purposes.

Spanish colonial churches were often used as places of refuge during violent conflicts. Sometimes, they even became strong points during sieges. Valladolid's Templo San Servacio and Convento San Bernardino de Siena both served this purpose. Many people in the U.S. will recall that the famous 19th century Siege of the Alamo in Texas occurred at a Franciscan mission. Yucatan was plagued with wars, revolts, and uprisings from the beginning of the Conquest in 1527 to the aftermath of the Mexican Revolution in the 1930s. It is not clear whether Iglesia Santa Ana ever served as a fortress, but it certainly could have.

An arched gate frames the right-side entrance to the nave. There is a similar gate and entrance on the opposite side of the church. Although we were unable to gain access to the nave, a sign outside provided information. The masonry church has a barrel vault nave with a sacristy. In the apse at the end of the nave is a 17th century baroque-style retablo, containing several statues in niches. Among these are Santa Lucia, San José, and San Pedro. On each side of the altar are statues of San Dimas and San Judas Tadeo. An antique chest serves as the reliquary (container for sacred relics).  

Santa Ana was the mother of the Virgin Mary. Neither Mary's mother nor her father, San Joaquin, are mentioned in the Bible's New Testament, but are simply part of Church traditions. According to the Protoevangelium of James, written in 150 AD, Santa Ana and San Joaquin were a wealthy couple unable to have a child. Joaquin prayed for help and Ana was then visited by an angel who told her  that she would have a child. James wrote his account more than a century after Jesus' crucifixion. Apparently, it was felt necessary to have a story to answer questions about Mary's origin.

A monument to the Niños Heroes stands in Parque de Santa Ana. The Niños Heroes (Boy Heros) were cadets at Mexico City's Chapultepec Military Academy. During the Mexican-American War (1846-48), the American army attacked the 200-foot bluff where the Academy was located. Only a fraction of the forces needed for its defense were available. Among these were the cadets, some as young as 10 years old. When a retreat was ordered, six of the cadets refused and fought to the death. Juan Escutla was the last one alive when he wrapped himself in the Mexican flag and plunged off the cliff to his death.

Parque de Santa Ana is also notable as the site of the incident that ignited the 68-year-long Caste War. Tensions in Yucatan were running high in 1847, particularly in the area around Valladolid. Oppressed for centuries by the Spanish and their Ladino (non-Maya Mexican) successors, the Maya were in a mood to strike back. The Ladino leaders were aware of the danger and decided to act preemptively. They arrested Don Manuel Antonio Ay, a local Maya leader, and accused him of sedition. He was executed at Parque Santa Ana on July 26, 1847. This completely backfired because it triggered a massive revolt that lasted for decades.

Iglesia de la Candelaria

Igelesia de la Candelaria. The 18th century church occupies the corner of Calle 44 and Calle 35. It was built on the site of an hermitage, which was a religious site intended primarily for seclusion. The Candelaria church is named after Nuestra Señora de la Candelaria (Our Lady of the Candlemass). She is venerated in Valladolid and is the patron of the city's annual festival, held on February 2. 

La Candelaria church is notable for its Moorish features. The Moors invaded Spain from North Africa in 711 AD. At one point, they controlled nearly all of the Iberian peninsula. The last of them were not expelled from Spain until 1492. During their nearly 800 year presence, the Moors created some of world's most beautiful buildings. The Moorish architectural style was brought from Spain to the New World and can be seen in churches and other colonial-era structures throughout Mexico.

The campanario on top of the facade has spaces for three bells.  The masonry church has a single vaulted nave, a sacristy, and a large courtyard. Attached to the front of the facade is a portico with three Moorish arches facing the street and one on each end. We were unable to access the nave, but one source says that the apse contains a Mexican Baroque retablo on the wall behind the altar. 

A Spaniard named Alonso de Espinosa produced the first written account of the legend of the Virgen de la Candelaria in 1594. However, the story he told dates back to 1392 in the Canary Islands. According to native oral traditions, two indigenous islanders found a statue washed up on a beach about a century before the Spanish arrived. It was a medieval gothic sculpture of a woman holding a child in one hand and a candle in the other. The dark figure wore clothing similar to that of the Virgen de Lluch (patron of Mallorca). The statue may have been lost overboard from a medieval European ship and washed ashore.

The native people believed the statue represented their earth goddess, Chaxiraxi, and  worshiped it over the next century. When the Spanish arrived in 1496. they declared that the statue represented the Virgin Mary taking Jesus to the Jerusalem Temple for his first visit. This was an event called Candelaria that Catholics celebrated each February 2. In 1526, the Spanish decided to house the statue in a hermitage. However, in1826, it was lost in a tsunami. Canary Islanders carried the story of the Virgen de la Candelaria with them when they migrated to other parts of the Spanish Empire, including Nueva España (Mexico).

The floor of the Moorish portico is covered by what may be the original stonework. Although the Muslim Moors were hated for their 800-year domination of Spain, the Spanish Christians admired their culture and architectural styles. Imitation is the sincerest form of flattery. 

A sign near the church provides a local legend about the Virgen de Candelaria. In the 18th century, a Maya hacienda worker led a caravan of burros loaded with palm fronds into Valladolid. When he entered the city, he encountered a beautiful woman carrying a child with one hand and a lit candle in the other. She asked the worker to build a shelter for her and her baby, using the palms he was transporting. He agreed, but needed wood to complete the shelter. When he went into the mountains the next morning to look for wood, he met a co-worker from the same hacienda and asked for help in building the shelter.  

Interior courtyard of the Santa Ana church. Notice the rough wooden varas (rafters) on the ceiling in the upper right. They appear to be original parts of the arcade that surrounds the courtyard. 

After finishing the woman's shelter, the two men returned to the hacienda where they met the foreman. He was upset by their absence and didn't believe their explanation. So, the workers took him to meet the woman and see the shelter. The foreman was so impressed by the woman's beauty that he reported the incident to the hacendados (owners). Because of the child and the candle, the hacendados believed her to be an apparition of the Virgen de la Candelaria and they ordered a chapel to be built in her honor. Today, she is celebrated as the patron of Valladolid's festival of the Virgen de la Candelaria.

View of Parque de la Candelaria from the Moorish portico. Like the other churches in this posting, Iglesia de la Candelaria has a park across the street. When the festival of Candelaria is held on February 2, the park will be lined with stalls, many of them selling various kinds of food. The most popular of these are Yucatecan-style tamales, filled with turkey, chicken, pork, or corn kernels. 

There is a Mexican tradition connecting Candelaria with the January 6 Dia de los Tres Reyes (Three Kings Day). On that day a special cake is served, called rosca de reyes. Baked into the cake is a small figurine. Whoever finds the figurine in their slice of cake must supply the tamales for the next Candelaria fiesta.

This completes Part 21 of my Valladolid Adventures series. I hope you enjoyed it. If so, please leave any thoughts or questions in the Comments section below. If you leave a question, please remember to include your email address so that I can respond in a timely fashion.

Hasta luego, Jim

Valladolid Adventures Part 20 of 22: The spectacular murals of the Palacio Municipal

The Palacio Municipal, viewed from the southeast corner of the Parque Principal. The Palacio Municipal (Municipal Palace) has a second-floor Salon de Murales that is lined with large, colorful murals illustrating important events and phases of Valladolid's history. These include the pre-hispanic period, the colonial era, the Caste War, and the Mexican Revolution. Some of my previous postings on Valladolid have dealt with this history. The windows along the front of the second floor provide a great view of the Parque Principal and Templo San Servacio, also subjects of previous postings.

There is no entry fee for the Palacio Municipal or its Salon. On the ground floor of the Palacio is the tourist office. I always visit such offices when I go to a new town in Mexico. The staff are invariably friendly, often speak at least some English, and can provide you with maps of the town and the surrounding area. There may also be free pamphlets about local sites that may interest you. Often there are books you can buy (sometimes in English) with in-depth information and photographs of the town and surrounding area. 

Overview

The Palacio Municipal is marked on the map as the Ayuntamiento de Valladolid. This  means "City Council of Valladolid". The building is across Highway 295 (also known as Calle 40) from the southeast corner of the Parque Principal. While visiting Valladolid, we stayed at a wonderful hotel called El Mesón de Marques. It is located on the north side of the Parque Principal across Highway 180 (also known as Calle 39). For a map showing how to reach Valladolid from either Mérida or Cancun, see Part 1 of this series.

The Palacio Municipal was built in 1864, during the French Occupation (1862-67). It was constructed in a style that was popularized by the Emperor Maximillian, who had been imposed on Mexico by France. After the Occupation, French culture and architecture remained popular with Mexico's upper classes, even though the French themselves had been driven out.

The symbols on Valladolid's coat-of-arms relate to the city's long history. This emblem hangs on the wall beside the main door of the Palacio Municipal. The white bird in the center is a hawk, called a zaci in the Maya Yucatec language. Zaci was the name of a small Maya city that the Spanish conquered in 1545. They built their new city of Valladolid from materials looted from Zaci's pyramids and temples. The six castles surrounding the zaci represent the city's six colonias (neighborhoods). The red border symbolizes native blood shed during the Conquest.

The football-shaped object below the hawk is the Maya glyph symbol for zero. This celebrates their ancient discovery of the mathematical concept of zero, long before anyone in Europe ever thought of it. There are two plants under the red border. On the left is tamán (cotton), which was used by the ancient Maya for textiles. To the right are xtabentún flowers, from which a ceremonial liquor was produced. "Ciudad Heroica" (Heroic City) refers to Valladolid's roles in the Caste War that began in 1846 and the 1910 Mexican Revolution.

The Salon de Murales is on the Palacio's 2nd floor. Four large murals cover the walls along the right side of the Salon. The doors on the left side open out to the French-style balconies seen in the first photo of this posting. The muralist was Manuel Lizama (1931-2021). He produced 200 pieces of work included paintings, drawings, murals, and illustrated books. They all focused on Yucatan's culture, history and traditions. Lizama studied art at the Yucatan Center for Fine Arts and taught there for 23 years. He founded  the Art'Ho Collective and received numerous awards for his work.

Pre-Hispanic

This very complex painting is at the far right end of the series of murals. It represents the customs, beliefs and religion of the Cupul people who were the inhabitants of Zaci when the Spanish arrived. There are three parts to the mural above. I will first show the central part, then the left, and finally the right. Each of the four panels of the mural series has an explanatory sign in Spanish and English. Most Mexican murals are painted directly on a wall. These large, movable paintings don't follow that tradition. 

Chilam Balam contemplates his zastún. Chilam Balam ("Prophet Jaguar") was a legendary Maya prophet. He is said to have looked into the future and predicted the arrival of "barbarian men from the East, coming to subdue the Maya". The transparent stone in his hand is a sort of crystal ball, called a zastún. It was used to make his prophesies. Hand-written works called The Books of Chilam Balam were created by Maya scribes in the 17th and 18th centuries. They are a collection of oral traditions, histories, myths, riddles, medical recipes, and astrological predictions. Many of these date back to the pre-Conquest period. 

In front of Chilam Balam's knees is an unfolded Maya codex showing the daily activities of the Cupul people, including planting, harvesting, working with textiles, and carrying heavy loads. Emerging behind Chilam Balam on the left are two Spanish pikes and a hand holding a sword. Along with these is another hand holding a Christian cross. These suggest the imminent arrival of the Spanish conquistadors, accompanied by evangelizing friars. Their intent was to conquer the native people and suppress their religious practices and customs, all in the name of Christianity.

Kinich Ahau descends toward the fanged mouth of a sea monster. This image is on Chilam Balam's left. Kinich Ahua the Maya god of the sun, was one of the most important Maya gods. The way he is portrayed above symbolizes the downfall of the Maya culture. The sea monster represents the devouring Spanish culture. The Spanish actively worked to destroy any native beliefs or practices that might interfere with their rule. Next to the monster's tail are two of the codex panels, showing a man dropping seeds to the ground in front of his coa (digging stick) and another toting a heavy load. 

Peaceful activities and ferocious conflict are both depicted in this part of the panel. This scene is to the right of Chilam Balam. At the upper left are women sitting around the entrance of a cave beside a lovely pond. A peaceful village can be seen in the background. Two of the women are engaged in making pottery while the third cradles her child. The silhouette of Chaac, the god of rain, lightning, and thunder can be seen on the right side of the cave's arched entrance. Water gushes down from his mouth. A very peaceful scene, as far as it goes.

However, in the right foreground, a fierce battle rages between a feathered serpent and a lion. The serpent was called Kukulkan, another important Maya god. The lion represents the Spanish invaders. Kukulkan has been pushed back into a corner, much as Yucatan's Maya defenders were pushed back and eventually subdued, at least temporarily. To the left of this image is a broken Maya statue and a jumble of stones containing hieroglyphs. This represents the destruction of Maya culture by the Spanish conquistadors and Catholic friars who were intent on suppressing "devil worship".

The Conquest

Rampaging conquistadors brandish their swords. Steel weapons and armor, along with horses and firearms, gave a small number of Spaniards an advantage over much larger Maya forces. The Maya were armed with spears, arrows, and hand weapons. These were tipped with flint or obsidian and couldn't penetrate steel armor. Wood and leather shields couldn't protect against swords and bullets. Still, the Maya resisted fiercely and their sheer numbers could sometimes bring victory. In addition, unlike the Aztecs, the Maya were never a unified empire. Capturing a king or a capital city didn't bring the conflict to an end. 

The Spanish had to defeat each local Maya population, one group at a time, and they had a disconcerting habit of not staying conquered. Francisco Montejo el Mozo led the conquest of the Cupules of Zaci. In 1545 he established his new city of Valladolid on Zaci's ruins. Only a year later, the Spanish faced a serious revolt that nearly drove them out. During the following the centuries, there were numerous other rebellions. The last independent Maya kingdom of Petén Itza was not conquered until 1697. By contrast, the Aztecs had a great empire and a powerful army but were defeated in a little more than two years.

Francisco Montejo el Mozo (center), is flanked by a priest and a native warrior. The stern-looking Montejo is dressed in full armor and holds a long, two-handed sword. The nearly-naked native warrior holds a weapon in his hand. The priest looks reverently to the heavens as he holds up his cross. Above the priest's head is the royal coat-of-arms of Castille y Léon. On the far left, a soldier clutches his matchlock firearm, a weapon with a limited range and complicated to operate. However, it made a great noise, spouted fire and smoke, and caused considerable damage to those hit by its large bullets. 

The seated figure at the far right is the defeated Maya lord of Zaci. His right hand rests on a plaque with an image of the hawk for which the city was named. On the base of his throne is a human face emerging from the open mouth of a snake. This image is one that I have seen at Labna and several other Maya ruins. It represents the Vision Serpent, another powerful Maya god. The emergence of a human from a snake's mouth symbolizes rebirth and renewal, much like a snake which sheds its skin periodically. This important pre-hispanic theme was related to the cycle of planting and harvesting of maiz.

Ordinary Cupules engage in the daily activities typical of their pre-hispanic world. The woman on the left operates a back-strap loom, one of the oldest forms of weaving. The woman next to her grinds maiz with a mano and metate, a method also dating far back in time. The man next to her appears to be repairing a fishing net, while beside him another man works a piece of wood. The final man in the row uses a tump line around his forehead to support the large load on his back. While these are all extremely ancient technologies, during my travels through rural Mexico I have personally observed all of them in use. 

A dramatic scene plays out behind the row of Cupules. A native priest is attempting to use an obsidian knife to sacrifice a young woman. Two other already-dead native women lie next to her. A Spanish friar, probably a Franciscan, struggles with the native priest, attempting to stop the sacrifice. This is how the friars viewed themselves and their efforts to stop Maya barbarity and devil worship. However, the Catholic authorities engaged in a good deal of human sacrifice themselves. They burned many people at the stake for "idolatry" and operated dungeons filled with hideous torture machines, like the one at Hacienda Cochero.

The Caste War

Scene showing the ways Maya were tortured by their oppressors. Above, one man is held in stocks in a kneeling position, while another hangs by his wrists. Behind them, a third man is slowly strangled with a torture device called a garrote. These methods had been in use since at least Medieval times. The garrote was still being used as a method of execution in the early 20th century. Kneeling at the right, waiting his turn, is a young boy. Standing in the back is a tall Ladino (non-Maya Mexican) holding a paper that describes him as Procurador de Indios (Indian representative). He is unidentified and his role is ambiguous.

By the mid-19th century, hennequin was being described as "green gold". Demand was soaring for rope and twine made from its fibers. To expand production, hacendados    (hacienda owners) seized Maya lands, oppressed their workforces, and severely punished native people who raised objections. By the end of the 19th century, short of workers, hacendados were importing slaves captured in the northwest state of Sonora, after the Yaqui revolt was crushed. This was in spite of the fact that slavery had been abolished in Mexico back in 1829. All of this stoked native rage.

In 1847, the pot boiled over and the Caste War broke out. Armed mainly with machetes, insurgent Maya battled government troops. Ladino leaders in Valladolid had feared just such a revolt. They tried to nip it in the bud by arresting and executing Manuel Antonio Ay, a local Maya leader. In addition, they killed large numbers of villagers they suspected of complicity. This tactic totally backfired. The enraged Maya rose up and attacked, killing every Ladino they could lay their hands upon. The Caste War, as it came to be called, became a "no prisoners" struggle--for both sides.

The revolt started in Chemax, a few miles to the east of Valladolid. Soon the insurgents reached the Convento San Bernardino de Siena, on the outskirts of Valladolid. When the government troops there tried to surrender they were massacred. Ladinos started fleeing Valladolid  toward Mérida, Yucatan's capital, but many more were killed on the way. The Maya rebels laid siege to Mérida and the Govenor made plans to evacuate Yucatan. Then, suddenly, the Maya started to leave. It was planting season and their families would soon face starvation. The Caste War dragged on into the 20th century and finally ended in 1915.  

The Revolution

"The First Spark of the Revolution" flamed up in Valladolid. This uprising began on June 4, 1910. It pre-dated the formal beginning of the Mexican Revolution on November 20, 1910. Francisco Madero, the first revolutionary leader, is shown in the foreground, although he was not actually in Valladolid on June 4. Behind him, wearing sombreros, are several of the local leaders who were there. These include Atilano Albertos, Maximiliano R. Bonilla, and Miguel Ruz Ponce. The revolt was a reaction to an election rigged by the dictator Porfirio Diaz.  On the left, men fall dead during an execution by a government firing squad.

The rebels who ignited the First Spark were largely workers from local haciendas. They seized the city and tore up the railroad tracks leading to Mérida. Presidente Diaz sent 600 troops from Tabasco to put down the revolt. However, due to the destroyed tracks, the troops arrived exhausted. It took them four days of hard fighting to overcome the brave but badly-armed rebels. At the end, the streets of Valladolid were strewn with the dead. The rebel leaders, along with many of their followers, were quickly executed. However, their sacrifice spurred others to join the Revolution.

The completes Part 20 of my Valladolid Adventures series. I hope you have enjoyed it. If so, please leave any thoughts or questions in the Comments section below. If you leave a question, please remember to include your email address so that I can respond in a timely manner.

Hasta luego, Jim

 

Valladolid Adventures Part 7 of 22: Hacienda San Lorenzo Oxman

 

A two-wheeled carreta stands in front of the hacienda's casa grande. Carretas were the "pickup trucks" of Mexico from the colonial period well into the 20th century. They were usually pulled by a pair of oxen. I still occasionally see one when I travel along the back roads in rural areas. The hacienda's 18th century casa grande has been transformed into a boutique hotel, but has preserved many of its original architectural features. This posting will focus on the hacienda itself, while the next one will take a look at its cenote, which has become the property's main tourist attraction.

Historical information about Hacienda San Lorenzo Oxman is surprisingly scarce. In the 18th and early 19th centuries, it raised livestock and cultivated maiz (corn). However, in the mid-19th century it became a hacienda henequenera. This was the name given to haciendas in Yucatan that grew the sisal plant. Henequen fiber was extracted from the sisal leaves in order to make rope and twine. In the posting below, I'll explain what brought about the great boom in henequen production and why this "green gold" created huge fortunes as well as great abuses.

Overview

The leaves of the sisal plant are stripped to produce henequen fiber. Notice the plant's trunk where leaves have been cut in previous harvests. The use of this fiber dates back very far into pre-hispanic times, possibly even into the early days of human habitation in Yucatan. Sisal is native to Yucatan and the Maya utilized it to make cord, sandals, bags, and clothing. The sharp end of the leaf was used as a needle and the Maya also produced an alcoholic beverage by fermenting the pulp inside the trunk. 

When I first researched Hacienda San Lorenzo Oxman, some sources mentioned that agave was its primary crop, but other sources mentioned sisal. I am very familiar with the agave azul that is grown in the state of Jalisco to make tequila. I therefore assumed that both henequen and mescal (similar to tequila) were produced at the hacienda. Later, I discovered that sisal is formally known as Agave sisalana and is a distant relative of Jalisco's agave. However, unlike the Jalisco plant, Yucatan's Agave sisalana was used by the hacienda's owners to produce henequen fiber. (Photo from Wikipedia).

Google map with the route to Hacienda San Lorenzo Oxman. From the Parque Principal (Valladolid's main plaza) take Highway 295 south about 3 km (1.8 mi). Take your next right after the sign pointing toward Mérida. This will put you onto Highway 180, the Libramiento Sur de Valladolid. Drive about 2 km (1.2 mi) until you see a sign on your right for "Cenote Oxman". 

The sign doesn't mention San Lorenzo, probably because most visitors come for the cenote. Turn right on a smoothly graded dirt road and proceed for approximately 300 m (328 yds) to the parking area. Access to the hacienda is free, but there are charges to swim in the cenote. There is also a restaurant on the property restaurant. Click here for information about the cenote.

The hacienda's entrance

The main gate forms the transition from the parking area to the hacienda's grounds. The gate opens onto a broad walkway that leads to the casa grande, which can be seen in the background. A number of years have passed since our visit and recent internet photos show that both the gate and the casa grande have been repainted to other colors. However, the basic structures appear to be the same. The broad, open, lawn area between the gate and the back of the casa grande was most likely the work area where sisal leaves were transformed into henequen fiber and then into string and rope. 

When the hacienda was founded in 1746, large scale production of henequen was still far in the future. The property was initially used to raise livestock. As in the rest of Nueva España (colonial Mexico), the native population had crashed during the first two centuries after the Conquest. This created a labor shortage and cattle required far fewer workers than farming. As the population recovered, increased labor availability enabled large-scale maiz (corn) production. Valladolid and Mérida would have been the hacienda's primary markets for both cattle and maiz. However, at the beginning of the 1830s, things began to change.

A visitor walks his bicycle up toward the casa grande. People arrive at the  hacienda in a variety of ways. Some come on bikes, a few on foot, and others by car. In recent times, a lot of folks have been arriving by tour bus after visiting the ancient Maya city of Chichen Itza. This means that in the mid-afternoon, mobs of tourists show up, eager to cool off in the sparkling water of the cenote. If you want to avoid the crowds, the best time to arrive at the hacienda is during the morning. The hours are 8 AM - 5 PM, seven days a week. 

The beginning of the 19th century was full of turmoil in both Mexico and Europe. The Mexican War of Independence lasted from 1810 to 1821. Europe had been almost continuously at war from the beginning of the French Revolution in 1789 through the defeat of Napoleon in 1815. Sea trade had suffered greatly during this period. During the decade of the 1820s, trade was beginning to recover and, with it, demand for ships. In those days, sailing ships required large amounts of good strong rope for rigging. Shipbuilders looking for this essential product discovered Yucatan's henequen. A market soon developed.

The Casa Grande's work area

The ruins of a building stand off to the right of the walkway. The structure is made of limestone, the most plentiful building material in Yucatan. Notice the old wheel leaning against the front wall. It is probably a remnant of a carreta or a four-wheel wagon. 

There is nothing to indicate what the building was used for, but it was almost certainly involved in the henequen operation. One possibility is that this was a supervisor's office. It is certainly too small to fit all of the machinery needed for processing henequen fibers. 

In addition to space for a supervisor, it might also have contained the tienda de raya (company store). That was where workers were paid, usually in script or coinage produced by a hacienda. This "money" could only be spent for goods sold in the tienda de raya. Thus, a highly profitable closed system was developed, one which was widely employed among the haciendas. An additional benefit of this closed system is that it helped stabilize the labor pool, for reasons I will explain below.  

A doorway opens into one of the ruined structure's rooms. Plaster still coats the interior walls. The rooms were empty of furniture or other remains. If this was a tienda de raya, it would have contained the daily necessities for a worker and his family. Since he was paid very little, he soon had to rely on credit to make his purchases. The tienda de raya would have kept the records of his pay and any debts owed. Most of the workers were illiterate and had no way of knowing whether or not these records were accurate.

A worker could not legally leave the hacienda while owing money. If he ran away, the rurales (rural police) would hunt him down and return him to the hacienda. Once back, he might be flogged and/or thrown into the jail that many haciendas maintained. If the worker became disabled or died while owing money, the debt passed to his wife and children. This kind of debt-slavery helped maintain a stable work force. Altogether it was an excellent and profitable arrangement, as long as you were on the right end of it.

A sisal worker struggles under the crushing weight of his burden. This painting is part of a series of murals in the Palacio Gobierno (Government Palace) in Mérida. The various murals highlight the oppression experienced by the Maya in the colonial period and later, during the henequen boom. In the mural, a heavily muscled worker strains to lift the bale of henequen, while shadowy figures reach their hands toward it. Perhaps these are the ghosts of former workers trying to help him in his struggle.

While hacendados (hacienda owners) began to cultivate sisal in the 1820s to meet the demand for ship's rope, the real boom was launched in 1831. In that year a blacksmith in the US named Cyrus McCormick invented his famous McCormick Reaper. For millennia, wheat had been harvested by teams of men wielding hand scythes in the fields. McCormick's machine cut, thrashed, and bundled the wheat, and tied it in sheaves. This reduced the time required to produce a bushel of wheat by 95%, from slightly over 3 hours down to 10 minutes. Instead of a field full of workers, only two men and a team of horses were required.

A row of machines turn henequen fiber into twine. Large numbers of machines like this would have filled much of the work area. The early versions were probably hand-cranked, then later driven by steam engines. Toward the end of the 19th century, electrical power was introduced. The work area would have swarmed with men and bustled with activity from dawn to dusk. (Photo from Yucatan Living website)

Twine was the connection between the haciendas henequeneras and the farmers in the US who were avidly adopting the McCormick Reaper. However, a major problem emerged when the Reaper was first put to use. Metal wire for binding the sheaves was tried, but it proved too stiff. Twine made of mixed fibers was also attempted, but it had weak spots and tended to bunch up in the machinery. Also, mixed fiber twine could be damaged by weather and insects. The men working with the Reapers soon discovered that twine made from the henequen was smooth, strong, didn't bunch, and was resistant to insects and weather.

A carreta stands on the lawn near the casa grande. Carretas were so ubiquitous a feature of Mexico that B. Traven (author of "Treasure of the Sierra Madre") gave one of his books the title of "The Carreta". It was about a young man who left the hacienda where he was born to make his way in the world. He eventually acquired a carreta and became a transporter of goods. Unfortunately, back at the hacienda, his father fell ill. Because the father was heavily indebted to the tienda de Raya and couldn't work, the young man had to give up his promising business and return to the hacienda to work off the family debts.

The McCormick Reapers were the beginning of industrialized agriculture, resulting in massive farms operating numerous Reapers. All those Reapers required huge amounts of henequen twine. Yucatan's haciendas were transformed from sleepy local operations into economic powerhouses, reaping millions of dollars for their owners. Splendid mansions in Mérida still display the opulence of that time. Of course, the tens of thousands of Maya workers saw barely a trickle of all that wealth. Hennequen demand resulted in more seizures of Maya land. Labor shortages led to one of the most shameful chapters in Mexican history.

Yaqui people being marched into slavery at the haciendas henequeneras. Yaquis were the last indigenous tribe to be conquered in Mexico. Their homeland is in the Sierra Madre Occidental in northwest Mexico. The Yaquis had resisted conquest from their first encounter with the Spanish in the 16th century until their final defeat by the Mexican government in 1927. During the regime of the dictator Porfirio Diaz (1876-1911), the government pursued a policy of enslavement. The owners of the henequen haciendas were eager for cheap labor and Yaqui men, women, and children were sold to them at 60 pesos per head. By 1908, at least 5000 had been sold, in spite of the abolishment of slavery in Mexico back in 1829. 

While I can't definitely say that Yaqui slaves worked at Hacienda San Lorenzo Oxman, their use was widespread at henequen producing haciendas throughout northern Yucatan. After all, what hacendado could pass up something as cheap as slave labor when demand for henequen was so high? The Yaquis were forced to work from dawn to dusk in harsh tropical heat to which they were unaccustomed. They were given little food and locked up at night. They were trapped far away from their homeland, so escape was almost impossible. Two-thirds of the Yaquis died in their first year of captivity. (Photo from the Palacio Gobierno)

Casa Grande

View from the back terrace of the casa grande toward the main gate. Several staircases like the one above lead up from the broad lawn where the work area once stood. Carretas full of harvested sisal leaves once passed through the gate in one direction. Others full of finished twine would have passed through in the opposite direction, on their way to the port of Sisal on Yucatan's north coast.

On June 4, 1910, only two years after the peak of Yaqui enslavement, an insurrection broke out in Valladolid against the Porfirio Diaz dictatorship. It has been described as "the first spark of the Mexican Revolution", which didn't formally begin until five months later on November 20, 1910. Over the previous 35 years, Diaz had held a series of rigged elections which he always won. Those who opposed him rallied behind the Anti-Reelection Party. In Valladolid, this was led by Maximiliano Bonilla, a Yucateca (non-Maya Mexican). 

The back terrace and rear side of the casa grande. This terrace would have provided additional space for work as well as a good place to view the operations being performed below. The rear side of the casa grande is rather plain. There are doors on either side which lead into two wings, each having two stories. The two arched openings in the middle lead into an arcade which opens onto a terrace facing out into the front yard of the building.

Although Maximiliano Bonilla and the other leaders were Yucatecas, the Maya laborers on the haciendas surrounding Valladolid rallied to the cause. It is very likely that some of them came from Hacienda San Lorenzo Oxman. As I have shown, the Maya on the haciendas had been brutally oppressed for centuries. However, they also had a long history of resistance against their oppressors. The Caste War (1847-1915) had been going on for more than 60 years by 1910. Most of eastern Yucatan (now the State of Quintana Roo) had been under Maya control during that time. The Maya around Valladolid were more than ready to act.

View through one of the arched openings toward the front staircase. The arcade and its terrace run along the front of the casa grande and the staircase leads down to the front yard. The architectural floor plan of this casa grande is unusual. I have never encountered one like it among the several I have seen in Yucatan nor in any of more than 100 that I have visited elsewhere in Mexico. 

Initially, the revolt was a success. The Anti-Reelectionistas seized the city, tore up the railroad tracks to Mérida, and entrenched themselves. Luis Felipe de Regil, the chief local politician, was killed along with several soldiers. Porfirio Diaz saw the revolt as a dangerous development, so he sent 600 troops to Valladolid to crush the uprising. In spite of their superiority in numbers and armament, it took Diaz' troops four days to recapture Valladolid. The untrained Maya fought bravely, although most were armed only with machetes. They were finally defeated, leaving dozens of Maya fighters and Diaz soldiers lying dead in the streets.

View of the front side of the casa grande. While the back side has no windows, the front does. The upper parts of the structures on either side of the central arcade have two windows each, with balconies. Below the windows on each side are what appear to be bricked up doors, or possibly floor-to-ceiling windows. Why they were closed up is a mystery to me. I am assuming that the upper floors contain bedrooms. The lower floors may contain a kitchen and dining room and possibly a salon, but I could not determine that at the time.

After Valladolid's Anti-Reelectionista revolt was crushed, things settled down in Yucatan for several years. However, in the rest of the country, they were heating up. Within a year Porfirio Diaz was defeated and driven out of the country. This was followed by several years of conflicts among the revolutionary leaders. During this period, a young man named Salvador Alvarado steadily rose in rank from captain to general. In 1915, after Venustiano Carranza consolidated power and became President of Mexico, Salvador Alvarado was sent to Yucatan as Military Governor. Along with him, the Revolution arrived.

General Alvarado was a true social revolutionary, unlike many of his contemporaries who were essentially opportunists out for themselves. Alvarado was from Sonora, in northwest Mexico, and knew little about Yucatan. So, he spent his first six months studying the situation and consulting with people of all social classes. His first act was to liberate the Maya from serfdom. He cancelled their debts, outlawed debt-slavery, set minimum wages,  and established laws for health, safety, and child labor. Alvarado's goal was to end the feudal system under which the haciendas had operated for centuries.

In a far corner of the front yard is a large well. It stands near the entrance of the tunnel that descends into the cenote. Over the opening of the well there is a rusty mechanism that contains a wheel which probably functions in some way to bring up water. As I have mentioned previously, water is a critical issue in northern Yucatan. Without above ground rivers or lakes, the only sources are the cenotes and the wells dug following the Spanish Conquest. Hacienda San Lorenzo Oxman has the benefit of both.

Salvador Alvarado also set up a system of military courts to mete out justice swiftly and fairly. He legalized unions and halted abuses of the Sedition Law, historically used against workers who questioned their working conditions. Agrarian Committees were set up to oversee land reform and farm worker issues. Government agents were appointed to report abuses against common people by the landed class. Education became mandatory, secular, and free. Schools for agriculture and the arts were set up, along with a free institute for teaching law. The list of reforms is long. Amazingly, Alvarado did it all in under three years!

Presidente Carranza recalled Alvarado in 1918 for another assignment. After he left Yucatan, one of his supporters named Felipe Carrillo Puerto carried on the work. Carrillo Puerto, was of mixed Maya and Yucateca blood. He  become Governor of Yucatan in 1922 and gave his first speech in the Maya language. During his tenure, he returned land to the Maya that had been illegally seized by hacienda owners, promoted new farming techniques, gave women political rights, started family planning programs and opened 417 public schools. Unfortunately, Mexico was plagued with revolts in the 1920s. During one of them, Carrillo Puerto was captured by rebels and, in 1924, was executed by firing squad.

Above the well is a large windmill tower. The windmill provides the power for lifting water from the depths of the well. It wasn't apparent to me whether this windmill mechanism was still functioning. There may have been a more modern system somewhere out of sight, but I didn't see it. Fortunately for henequen growers, sisal required very little water since it is native to Yucatan and grew in the wild before it was ever cultivated for profit.

Both Salvador Alvarado and Felipe Carrillo Puerto attempted to reform the hacienda system, while still keeping the henequen business functioning. However, decline set in when some hacienda owners abandoned their properties rather than accede to reforms. Others had borrowed and over-invested and went out of business in the 1929 Depression. The end of the haciendas henequeneras came in 1937 when Presidente Lazaro Cardenas initiated land reforms which turned the haciendas over to ejidos (farmworkers' collectives). The final blow to the henequen business itself came when synthetic fibers replaced henequen in the 1940s.

This completes Part 7 of my Valladolid Adventures series. I hope you enjoyed seeing this old hacienda and learning about the role it played in the henequen business. 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 can respond in a timely fashion.

Hasta luego, Jim