Hacienda Santa Ana Pacueco: Historic estate in the Bajio region

View of the hacienda's front arcade. This beautiful old structure was built during the first half of the 18th century, but the origin of the hacienda itself dates all the way back to the mid-16th century. I first noticed this place many years ago, when Carole and I were passing through the small city of La Piedad on our way to San Miguel de Allende. I got only a brief, tantalizing glimpse of it while we were caught up in a traffic snarl, but the image stuck with me. 

I wanted to check it out, but we had just disentangled ourselves from traffic and were eager to press on to our destination. Fourteen years later, while planning a trip to look for old haciendas in the state of Guanajuato, I recalled the mysterious structure and decided to include it in the adventure. Tracing my original route, I re-discovered the old casa grande you see above. Some on-line research provided me with the information I present in this posting.

How to find the hacienda. Head north on the Guadalajara-Chapala Carretera. A few miles past Ixtlahuacan de los Membrillos, turn right on Highway 35 toward Ocotlán. Pass through Ocotlán to the entrance of the 15D cuota (toll road), and head east toward Mexico City. Just past the second turnoff to La Barca, take the exit for Vista Hermosa. 

When taking this exit, you first pass through the caseta (toll booth) and, after a short distance, reverse direction at a retorno (turn-around). Stay to your left and follow the sign toward Yuricuaro on Highway 110. Heavy truck traffic between the Vista Hermosa exit and Yuricuaro (about 20km or 12.4mi) will slow you down, but this is the only tedious part of the route. Once you are well past Yuricuaro, look for an exit onto the 90D cuota, which branches off Highway 110 toward the left. 

90D bypasses La Piedad to the north toward Irapuato. After approximately 8 miles, turn right at the exit off 90D toward La Piedad. Follow this road until it dead-ends into Highway 110. Then, turn right and follow the highway about 1 mile until you see the casa grande and its attached capilla on your right. For a Google interactive map, click here.

Exterior views of the Casa Grande

Satellite view of the casa grande and its capilla (chapel). The front of the casa grande is on the right side of the photo, bordered by a street called Calle Manuel Doblado. The structures above follow an architectural pattern which can be found throughout Mexico. The casa grande is square in shape and has a long arcade along its front side, with a series of arches supported by a row of columns.

Within the square structure is a another square which forms a large, unroofed courtyard. The living spaces and bedrooms of the casa grande open onto the courtyard from the sides of the square. The Capilla de Santa Ana is attached to the left side of the casa grande (along the bottom of the photo). This placement is similar to that of the chapels I have found at many other haciendas.

During our short visit, we were unable to access the hacienda's interior and I could only photograph its exterior features. However, we did get to see the inside of the capilla, which is still used as a church. If we had had more time, we might have located someone with a key to the casa grande, but we had other sites to visit and had to move on. This site definitely deserves a return visit. 

Arcade along the front of the casa grande. The banners attached to the columns appear to be the remains of a recent fiesta. Hacienda Santa Ana Pacueco's history stretches from the mid-16th to the mid-19th centuries. Its origins date to 1554, when the governor of Nueva Galicia, Francisco Vásquez de Coronado, granted 14 sitios de ganado mayor (cattle grazing land) to an early conquistador named Juan de Villaseñor y Orozco. This amounted to 61,446 acres and Villaseñor later obtained more from Viceroy Antonio de Mendoza. 

Villaseñor's descendants added even more to the estate. His daughter Maria Orozco married Captain Garcia de Contreras y Figueroa.  Their lands, when combined, became the core of a latifundia (collection of haciendas) that eventually became the largest in western Mexico. Over the next three hundred years, Santa Ana Pacueco alone grew to more than 100 sitios de ganado mayor (438,900 acres), extending into the states of Jalisco, Michoacan, and Guanajuato. 

View of the interior of the front arcade. Beyond the arch at the far end, a cylindrical defensive bastion can be seen. The Villaseñor latifundia was later purchased by Marcos Garcia de Sotomayor, whose son Gabriel inherited it around the year 1631. Upon Gabriel's passing, his daughter Luisa de Castro acquired Santa Ana Pacueco. Her son, Captain Alonso de Estrada Altamirano, significantly increased the hacienda's size through more land purchases. 

In 1645, Captain Estrada bought 98 additional sitios to graze cattle and other livestock. In addition, he acquired 213 caballerias (land for growing corn and wheat), amounting to 22,578 acres. Santa Ana Pacueco was well-situated for its primary markets, which included Guadalajara to the west and the mining center of Guanajuato not far to the north. When the Captain died in 1696, he willed his property to his brothers. However, after a few years they decided to sell it. 

One of our party peeks through the door of the main entrance. My friend Jim B was trying to find a way in, but had no luck. Notice the Cross of Lorraine above the entrance. Similar two-barred crosses date back to the Crusades of the 11th century AD. They are often found in heraldic contexts and on coats-of-arms. This one may relate to the noble family who once owned the property and built the casa grande and its capilla.

In 1702, the Captain's brothers sold Santa Ana Pacueco to Pedro Sanchez de Tagle, a member of one of the richest and most powerful families in Nueva España. The Sanchez de Tagles had grown wealthy as merchants in Mexico City. From there, they expanded into mining and later into the ownership of several large haciendas. In 1710, Pedro Sanchez de Tagle bought the vast Hacienda Cuisillos, located to the west of Guadalajara. 

Corner bastion of the casco wall surrounding the casa grande. 

At many haciendas, bastions such as this guard the corners of walls surrounding the casa grande, capilla, stables, and other key structures. The wall and the structures inside were called the casco (helmet) because they contained the nerve center of the whole operation. The casco wall at this site can still be seen in the previous satellite photo.  

Notice the crenelations at the top and the gun slits on the sides. Bastions were defensive positions against native warriors, bandits, insurgents, and rogue military units during periods of unrest. Haciendas were juicy targets for raiders seeking food, horses, weapons, money and whatever else might be available, including women. Some cascos I have visited contained escape tunnels. At others, there are hollow walls where women and valuables could be hidden. 

Wall and buttresses of the bodega. The old bodega would have stored the hacienda's grain and other harvested crops. In the satellite photo, it stands across an alley called Calle Tarimoro from the casco. Notice the rough construction of the building. Generally, the best architectural features at a hacienda are found in its casa grande and capilla. At other sites I have visited, the bodega has been located within the casco, but in this case it stands just outside.

The Sanchez de Tagle family became so wealthy that they were able to provide loans to the Viceregal government to fund its army and fleet. In appreciation for this support, the King Philip V of Spain elevated Luis Sanchez de Tagle (1642-1710) to the rank of Marquess de Altamira in 1702. A marquess is just below a duke and above a count. Luis became the first of a long succession of Marquesses de Altamira. 

La Capilla

Facade of the Capilla de Santa Ana Pacueco. The capilla is attached to the left side of the casa grande. As is the case with many haciendas that were broken up after the Revolution, this capilla has become a church that serves the whole community.

The facade of the capilla displays several interesting architectural features. Two Crosses of Lorraine are placed just above the entrance and at the top of the campanario (bell tower). Two Neo-Classic pilasters (non-loadbearing pillars) frame the entrance. Other Neo-Classic features include four stone finials in the shape of vases, with two on either side of the campanario. 

When his uncle Luis died, Pedro Sanchez de Tagle became the 2nd Marquess de Altamira. Pedro is known as the "Father of Tequila" because he built Nueva España's first tequila factory at Hacienda Cuisillos. Since he had no male heir upon his death, his daughter Manuela became 3rd Marchioness (the female version). Her daughter, the 4th Marchioness Luisa Perez de Tagle, married Juan Rodriguez de Albuerne y Miranda in 1732. It was Luisa and Juan built the the casa grande and capilla we see today. 

Baroque-style decoration over the capilla entrance. Decorations in the Mexican Baroque style tend to cover every square inch of available space. This can clearly be seen in the floral decorations carved into the cantera stone arch and lintel above. This architectural tendency has sometimes been called el horror vacui (the fear of empty space). 

The Neo-Classic style was a reaction to Baroque and began to supplant it in the 18th century as colonial-era structures were repaired, upgraded or replaced. Thus, finding a mixture of these styles in structures from this period is not unusual. While Baroque can sometimes seem over-the-top, I generally find it more interesting and a lot more fun than Neo-Classic.
 

The campanario has three bells, each of a different size. I am happy to say that this old capilla does not have one of the loudspeakers which, all-too-often, are used to produce bell chimes. Instead, the sound of bells is produced the old-fashioned way, using pull-ropes. 

In addition to her title of Marchioness de Altamira, Luisa Sanchez de Tagle and her family benefited from titles and offices held by her husband, Don Juan Rodriguez. He was a judge in the Royal Courts of Mexico and Guadalajara, which gave him influence over the course of important lawsuits. As General Auditor of War and Knight of the Military Order of Santiago, he could profit from supplying the military with horses, mules, and supplies from his haciendas. 

As General Superintendent of Azogues, Don Juan controlled the sale of mercury to mine owners. Mercury is a chemical that was vital to the silver refining process. As Consultant to the Inquisition, he held great power over all of Nueva España's inhabitants. Finally, as a member of His Majesty's Council, he had access to the Crown. It was not unusual for wealthy men like Don Juan to hold multiple public, religious, and military offices which they often used for personal benefit.

Interior of the Capilla de Santa Ana Pacueco. There were several people praying in the nave when we visited, including one kneeling directly in front of the altar. By my quick estimate, this room could handle about one hundred people, which is large for the capilla of a typical hacienda. No doubt this reflects the wealth and power of the former owners. Services here would have brought together quite a number of family members, guests, and employees. 

A gold retablo stands against the wall behind the altar. A retablo is an architectural feature associated with the 17th-18th century Baroque style. These structures are often found behind altars. Retablos contain niches for religious paintings and statues, both of which appear above. The statue at the top is of Santa Ana (St. Anne). 

Retablos are often made from carved wood which is then gilded or painted gold, as seen above. The spiraling Solomonic  columns that frame the paintings are another Baroque feature. Legend has it that the Emperor Constantine visited the ruins of Solomon's Temple in Jerusalem and brought back similar spiraling columns to decorate a church he was building.

A stone arch frames the entrance of the altar area. The floral decorations are another example of Baroque style. In the 19th century, ownership of Hacienda Santa Ana Pacueco passed from the Sanchez de Tagle family to others and the great latifundio was eventually broken up. 

One of the reasons for this was political. Following the conclusion of Mexico's War of Independence in 1821, the Mexican government passed a series of laws expelling Spaniards. When these took effect between 1827-34, it forced sale of the hacienda by owners who had retained their Spanish citizenship and thus had to leave. 

This concludes my posting on Hacienda Santa Ana Pacueco. I hope you enjoyed it and, if so, you will leave any thoughts or questions in the Comments section below. If you leave a question, please include your email address so that I may respond in a timely manner.

Hasta luego, Jim

 

Tapalpa Plateau Part 3 of 6: Hotel Casona de Manzano

Hotel Casona Manzano is a former colonial-era mansion. This beautiful property, called a casona (in-town mansion), is more than 200 years old. It is located on the corner of Calles Agustin Yanez and Francisco Madero, two blocks from the main plaza. My research turned up repeated mentions of this Hotel, so I decided to stop by so that the members of my group could learn about the lifestyle of families who owned haciendas but often preferred to live in towns. 

Like Casona de Manzano, many of these old mansions have been converted into hotels in recent years. No advance call was necessary, we just showed up and asked to look around (that's our group in the photo). The staff was very friendly and gave us the run of the place. The original property was built late in the colonial period, toward the end of the 18th century, and has since been owned by the Manzano family ever since. Sra. Irma Manzano, the current owner, was the one who decided to turn it into a boutique hotel. 

The courtyard

The two story home is built around a cobblestone courtyard. The entrance leads in to a short hallway called a zaguan and then into this courtyard. This is a typical feature of Spanish colonial architecture. Most of its 10 guest rooms are arranged around the ground floor. On the second floor, an arcade surrounds and overlooks the courtyard. Ferns and other plants create a cool, garden-like feel on the ground floor. The second floor contains a living room, dining room, kitchen and more guest rooms. 

A typical colonial casona was a comfortable home, and sometimes even opulent. The house was usually located in a town like Tapalpa, not too far from the hacendado's rural estate. Often, casonas can be found on the main plaza or within a couple of blocks of it. Since life on a hacienda was often rustic and towns typically afforded more cultural amenities, casonas were favored for day-to-day living by many hacendados, particularly those with families.

An unusual fountain stands in the center of the courtyard. The central placement of the ceramic pot and its grinning frogs, along with the circular drain, revealed the purpose of this little vignette. It is a typically quirky example of the Mexican sense of humor.

Various headgear hangs on a hatrack near the courtyard's entrance.  I like hats, so my eye was immediately attracted to this display. Prominently placed in the upper center is the classic high-peaked, broad-brimmed Mexican sombrero. Versions of it were worn by all classes of Mexicans for hundreds of years. 

The sombereos that hacendados wore were made with fine, embroidered cloth, much like those still worn by Mexican charros (rodeo riders) and mariachi musicians. The sombreros of peones (farmworkers) were of straw and often tattered. Today, in the rural areas, most men wear American-style cowboy hats. However, I still encounter elderly Mexicans wearing a classic straw sombrero. 

A heavy wrought-iron chandelier hangs near the stairs. In the past, the chandeliers were lit with candles rather than light bulbs. The candles would have been made from the fat of animals raised on a local hacienda, possibly one belonging to a family who also owned the casona. Although Mexico's first electric generating plant began operating in 1879, electrification wasn't widely available in the rural areas until the grid was nationalized during the second half of the 20th century. 

A large, beautifully-carved armoire stands against the courtyard wall. This piece is typical of the massive furniture often favored by hacendados for both their casonas and the casas grandes (big houses) on their haciendas. I rarely encounter closets in colonial and early Republic homes. The favored solution for storing clothing and other items was a large wooden armoire, often exquisitely carved. 

Staircase to the casona's second floor. In one corner of the courtyard, a staircase rises up, supported by a wooden pillar with a wrought-iron railing.

La Sala (Living Room)

At the top of the stairs, a tiled arcade leads to La Sala. The furniture along the wall suggests a bar, but seems to be more decorative than functional. The arcade overlooks the courtyard and extends around the perimeter of the second floor.

La Sala is at the far end of the 2nd floor from the stairs. This inviting room is dominated by a massive fireplace with two large couches and an equipal chair. A case filled with books stands along one wall. Also included is a small table that would easily lend itself to card or board games. Hanging over the center of the room is another old-fashioned chandelier.

In earlier times, families in residence would have been large and multi-generational. They would have relaxed in their sala while drinking tea or hot chocolate. Some would chat or play games like cards or billiards, if a table was available. Guests who brought news from afar or could tell interesting stories were especially valued. Other ways to pass the time included reading and sewing or embroidery. 

More equipal furniture is set along glass windows. The windows separate La Sala from the arcade walkway that overlooks the courtyard. The equipal furniture style dates back to pre-hispanic times. It was described by conquistadors under Hernán Cortéz who saw it used in the court of the Aztec Emperor Moctezuma. Equipal is still very popular throughout Mexico. 

Before the Revolution, the general population was largely illiterate. In contrast, elite families were highly educated and often spoke multiple languages. Children were privately tutored or attended  Church-run schools. As early as the 16th century, the Jesuits began to establish colleges and universities all over colonial Mexico. These institutions continued in operation even after the Jesuits themselves were expelled from Spanish territories in 1767. 

El Comedor (Dining Room)

Between La Sala and the back of the house is a long comedor. The Spanish word for dining room comes from the verb comer (to eat). The beautiful old table can seat eight and possibly more with an extension. A room like this was often used for private business or political gatherings as well as family dining. Since large, extended families could provide valuable connections beneficial to the family businesses, various relatives often occupied key positions in local institutions.

For example, in colonial times, a casona's owner might serve on the governing body of the local alhondiga, a government grain storage facility. The wheat grown on his hacienda would be purchased by the alhondiga and then be sold as flour to local bakers. A banking system didn't exist in colonial society, so a son or daughter might join a religious order through which loans could be obtained for the family businesses. A family member with a military commission might arrange the purchase of the hacienda's horses for the local garrison. 

An iron stove topped with teapots stands in one corner of the comedor. The old stove is for decorative purposes only and the cooking is done in a separate kitchen.

A porch just outside the comedor runs along the back of the house. The view includes the back garden and Tapalpa's wooded hills, with mountains rising in the distance.

Los Cuartos de Huéspedes (Guest rooms)

In addition to individual rooms, the casona has this suite. Three bedrooms open into this sitting room, which is warmed by a big stone fireplace, faced with an overstuffed couch and two comfortable chairs. Another lovely old chandelier provides light. Overseeing everything is large portrait of the Virgen de Guadalupe, Mexico's patron saint.

Some of the individual rooms are quite large. The furniture here appears to be of the Art Deco style from the early 20th century. In addition to single rooms like this one, there are also rooms with two or more beds to accommodate family groups.

This fireplace is typical of those found in each of the rooms. Tapalpa's altitude is 1,950m (6397ft) so the average temperature is cool, ranging from the high 60s F to the low 50s. A crackling fire can provide cheery warmth, especially during those months (June-October) when rain is frequent. 

This completes Part 3 of my Tapalpa Plateau 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 be sure to include your email address so that I may respond in a timely manner.

Hasta luego, Jim 

 

Tapalpa Plateau Part 2 of 6 : The 16th century Capilla la Purisima

 

Capilla la Purísima is the oldest church in Tapalpa. The 16th century Capilla (Chapel) is located directly behind the 20th century Templo de Nuestra Señora de Guadalupe (Temple of Our Lady of Guadalupe), seen in the upper right of this photo. The rear of the Capilla can be reached through an alley to the right of the Templo, or by way of a gate located on Calle Ing. Luis Enrique Bracamontes between Calles Matamoros and Miguel Hidalgo. 

Parts of the original Capilla have been modified over the centuries with features of the 18th century Neo-Classic style. Some of these can be seen above in the 14 pilasters (non-load bearing columns) across the front and the finials on either side of the arch at the top of the facade. In spite of these changes, the Capilla retains much of the simplicity typical of its Franciscan founders.

Information about this Capilla is very sparse, but I will provide what I have been able to glean, along with information about the Franciscan Order. Two of its friars, Fray Martín de Coruña (also known as Martín de Jesus) and Fray Juan de Padilla, began evangelizing in the area of Tapalpa in 1531. For information about the pre-hispanic history of this area, please check out my posting on Tapalpa from a visit in 2010.

 

Hernán Cortéz greeting the Apostolic Twelve. In 1524, only two years after the fall of the Aztec Empire, a group of twelve Franciscan friars arrived in Nueva España. Among them was Fray Martín de Coruña. The Franciscans had been requested by Hernán Cortéz, the conqueror of the Aztecs. A man of high political intelligence, Cortéz recognized that the indigenous people could not be controlled for long at the point of a sword. A "spiritual conquest" was required to keep them submissive, so he asked the Franciscan Order for help.

The Apostolic Twelve quickly spread out, following in the paths of various conquistadors, including Alonso de Ávalos. In 1523, Avalos was sent by Cortéz to explore what is now southern Jalisco. He established the huge Provincia de Ávalos, which stretched from the South Shore of Lake Chapala down to Sayula and to the west of Tapalpa as far as Chiquilistlán. It was a rich area, with an exploitable population and full of minerals. Click here for a Google map of this area. (Mural above from the Franciscan convento at Ozumba)

A broad atrium spreads out in front of the Capilla's facade. The atrium was an important feature of these early churches because the local indigenous community was often much too large to conduct ceremonies in the chapel itself. Extending forward on either side of the atrium are single-story wings that typically would have been used for classrooms, work spaces, administrative offices, and living quarters for the friars. 

Fray Martín de Coruña began his evangelization in 1525, among the Puréchepa of Michoacan. During this time he wrote the Relación de Michoacan about their ceremonies, rites, population and government. After a few years, he turned his attention north to the Provincia de Ávalos, arriving at Tapalpa in 1531. He was accompanied by Fray Juan de Padilla and together they established a mission and built the first version of its Capilla. Later, Coruña  returned to Michoacan, where he died at Pátzcuaro in 1558.

Fray Juan de Padilla (1500-1542), co-founder of Tapalpa's mission. After an early career as a soldier, Francisco Juan de Padilla became a Franciscan friar and arrived in Nueva España in 1528, four years after the Apostolic Twelve. From 1529-31, Padilla served as army chaplain under Nuño de Guzman as that corrupt and savage conquistador tortured, murdered and enslaved his way across Michoacan, northwestern Jalisco and southern Sinaloa. (Photo from Legends of Kansas)

Guzman's activities were so atrocious that colonial authorities in Mexico City had him arrested and sent back in chains to Spain. Most sources gloss over this period of Padilla's life but some Catholic sources assert that he tried to moderate Guzman's abuses. Even if true, he was spectacularly unsuccessful. Padilla returned from the expedition in 1531 and spent most of the next 9 years establishing missions in the Provincia de Ávalos, including the one in Tapalpa.

An open corridor leads to the Capilla's rear. Along the right side is an entrance to the interior, the only access we had since the door of the facade was locked. The Capilla and its associated buildings were constructed with materials that include stone foundations, adobe brick walls covered with white plaster, and roofs covered with red terra cotta tiles. Features like door frames and pilasters are made either from wood or cantera, a soft, easily-worked volcanic rock.

In 1540, Padilla joined Francisco Coronado's famous expedition in search of the mythical Seven Cities of Cibola. Padilla and several other Franciscans accompanied the expedition through northern Mexico and into today's New Mexico. From there they marched through Texas, Oklahoma and Kansas, finally halting at the village of a people called the Quivira. These proved to be simple hunter-gatherers living in the vast emptiness of Kansas' plains. 

Discouraged, Coronado returned to Nueva España. However, Padilla and a handful of others stopped off in New Mexico in order to go back and evangelize the Quivira. This required a 1000-mile trek on foot, but Padilla and the others were not daunted and they were well-received by the Quivira. However, in 1544 Padilla decided to branch out to other villages. This angered the Quivera, who attacked the small group. To save the others, Padilla sacrificed himself, becoming the first Catholic martyr within the current borders of the United States. 

Rear of the Capilla and its campanario (bell tower). This is the view from the alley leading back from the Templo de Guadalupe. The corridor seen in the previous photo is just to the right of the Capilla. Some of the architectural features in this photo are of the 18th century Neo-Classic style, including the campanario and the pilasters along the wall. This back wall appears truncated, so I suspect that the Capilla once extended further back into the alley than it does currently.

The original mission buildings would have been much more rustic than the current Capilla. Early Franciscan missions were typically simple mud brick structures with thatched roofs. Rather than performing the physical work of construction themselves, the two friars would have directed indigenous workers recruited through the forced labor system called the encomienda. Between 1550 and 1555, the original buildings were replaced by the Capilla and its associated structures.  

The nave of La Purisima. Although internet sources say the Capilla is closed, it is clearly being used by some of the faithful at Tapalpa. The chapel's interior was very clean and the Neo-Classic altar is full of fresh flowers. The structure is a single rectangular nave, with a ceiling covered by wood beams. The pews could probably seat a congregation of three dozen or so. Capilla la Purisima is probably used only for special events, like small weddings or baptisms. 

The baptismal font is decorated in the 17th century Baroque style. However, I wanted more detail, so I sent the photo to Richard Perry, who is an expert on the religious architecture of the Spanish colonial period. He responded as follows:

"While this font has many traditional features: a shell like basin carved with foliage and winged angels, its clarity and sharp lines suggest a more recent origin, possibly based on an older model located somewhere in the vicinity. My two cents, Richard"

Rear of nave and the choir loft. Placing the choir behind and above the sanctuary was an innovation of the Baroque period of the 17th century. At that time, the men-and-boys-only choirs of previous centuries began to be replaced by mixed choirs of men and women. Such choirs grew out of the operatic music that became popular during this time. 

Up to the Baroque period, choirs had performed within the sanctuary area. However, mixed choirs created a problem because women were traditionally not allowed in the sanctuary during liturgical services. To solve the problem, choir lofts were created. 

Most of our group, standing in the atrium. From left to right are Lori, Jim, Julie and Lori's husband Jerry. A fifth member, Bette was off exploring another area and missed being included. The main gate to the Capilla compound is behind Lori. It faces out onto Calle Ing. Luis Enrique Bracamontes. 

These folks are part of the "hard core" of my Hacienda Hunters group. The were willing and eager to come out to explore the Tapalpa Plateau with me on a blustery day with bouts of chilly rain, just as they have braved scorching heat and other daunting conditions over the years. 

This completes Part 2 of my Tapalpa Plateau 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, please include your email address so that I can respond in a timely manner.

Hasta luego, Jim

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