Jalisco: Santa Cruz El Grande

The somewhat misnamed hamlet of Santa Cruz El Grande, overlooking Lake Chapala near Ocotlán, is one of the least familiar to most Jalisco visitors. However it has a long history that has recently been revived.  

   A former visita of the Franciscan mission at Asunción Poncitlán, Santa Cruz was the site of a classic 16th century mission church with a separate hospital and chapel—a common feature in the region.

refaced church front and cross

Church and chapel face each other at the ends of a long, wide, paved plaza—the former atrium. In past years both the church and, more recently, the chapel have been virtually rebuilt. 

   As was customary, the tiny, whitewashed chapel primarily served the indigenous community and was dedicated to the Virgin Mary, in this case as La Purísima, the Virgin of the Immaculate Conception.

La Purísima chapel front

While the church front has an entirely new facing, restoration of the chapel—the only surviving part of the hospital—incorporated some of the original architectural elements, including most of the carved, red tezontle doorway and choir window as well as some old reliefs of rosettes, an archangel and a pair of rampant beasts.

chapel reliefs

Other colonial artifacts inside the chapel include fragmentary murals, paintings, a headless cristo de caña and a colorful folk painting of the Virgin of Guadalupe, complete with the Apparitions.

  

The Crosses

Other original colonial artifacts include the carved stone crosses in front of church and chapel. Both are plain, squared crosses streamlined with cross-within-a-cross motifs in the regional Jalisco style:

Cross One
Closer to the chapel, this is the more ornamental and probably the older of the two. A circle incised at the crossing encloses a zigzag style Crown of Thorns motif with an eroded cross at the center. Heraldic beasts with claws and snouts—no doubt representing lions—rear on either side, flanked by stylized scrolls with drilled holes at the extremities.

A six pointed flower is cut into the neck above the circle, framed by another Crown emblem. Otherwise the cross is unadorned save for the paneled shaft and a flared INRI plaque on top.

Cross Two
Situated in front of the church, this cross appears to be a later, simplified version of Cross One, cut from the same textured local  limestone and similar in style. 

   Square, gridded panels extend along the arms and shaft, emphasizing the cross form. The only other relief ornament is a stylized Crown at the axis framing a Greek cross ringed by a serrated octofoil and an outer cord. 

See our earlier posts on Santa Cruz de las Flores, San Sebastianito, Santa Anita Atlixtac, and the churches around Lake Cajititlan.

text © 2015 Richard D. Perry.  images by Diana Roberts, Niccolò Brooker and Jim Cook
gracias a todos

Jalisco: San Sebastianito

San Sebastianito is a quiet, often overlooked village of cobbled streets on the southern fringe of Guadalajara. Here, two colonial churches face each other across a broad plaza—the main church and the former hospital chapel of La Concepción.

The renovated chapel opposite the main church is the older of the two buildings, inscribed with a date of 1692.  Its striking retablo facade of smooth white limestone is neatly sandwiched between textured walls of dark red tezontle bordered by giant limestone pilasters. 

The severe classical porch is similar to that of nearby Santa Cruz de las Flores: a stone crown with the monograms of Jesus and Mary adorns the keystone of the arched doorway, while the upper facade and crowning pediment are profusely carved with leaves, flowers, vines and other motifs including a two-headed eagle, carved gargoyles and zig zag pilasters. A statue of La Purísima occupies the uppermost shell niche.
   Like Santa Cruz de Las Flores too, the plan reveals an earlier sanctuary fronted by an arcaded transverse nave, whose lateral entries were later blocked and refaced.

Unlike the chapel, the facing main church, originally a Franciscan mission, is raised above the plaza at the head of a wide flight of steps.  As at Ocotán, a rounded gable and belfry top the broad mid-18th century front; primitive reliefs of the sun and moon dot the facade and crude statues occupy the niches. 

A battered, naked figure, perhaps an angel or possibly representing the patron St. Sebastian, is carved above the imposing colonnaded porch.

text and images ©2015 Richard D. Perry

See our earlier posts on Santa Cruz de las Flores, San Juan de Ocotán, Santa Anita Atlixtac, and the churches around Lake Cajititlan.

Jalisco: Santa Anita Atlixtac

Santa Anita Atliztac

Located just south of Guadalajara, off busy Route 54, the attractive town of Santa Anita Atliztac is dominated by the grand, twin-towered church of Santa Anita. 

   The settlement of Atliztac (White Water) is an ancient one. Long before the arrival of the Spaniards it flourished under the lords of Tlajomulco, and in the 1530s the Franciscans succeeded in converting the local nobility and founding a humble adobe mission here. This was replaced by the present edifice in the 1700s.

The retablo facade dates from 1732 and in its forms and wealth of architectural sculpture is among the most densely decorative of the Jaliscan baroque churches, rivaling nearby Santa Cruz de Las Flores. 

   Sharply projecting cornices separate its three tiers, each layered with densely carved ornamental friezes—some of twisting foliage, others of byzantine scrollwork. Spiral columns encircled with vines border the openings, also framed by interwoven spiral bands.

Cherubs clamber around the doorway, some holding books and others playing archaic instruments—one of the many instances of musical angels decorating local churches and closely related to the doorway at San Lucás Cajititlan.  
   Pelicans, symbols of blood sacrifice and Christ’s Passion, straddle the elaborately scrolled side niches and upper capitals, and modern statues of Franciscan saints still occupy the upper tier.

But the facade reaches its sculptural climax in the crowning pediment, where a large relief depicts the Holy Family amid a riot of ornamental foliage. 
   In this charming tableau—a popular version of the relief at the city church of Jesús Maria—Joseph and Mary lean in to clasp the upstretched hands of the child Jesus, flanked by Saints Joachim and Anne, the latter the patron saint of the church. 

Jesus Maria relief by Niccolo Brooker

Awkward in their flowing robes, the figures incline their ecstatic faces towards the youthful Christ. The dove of the Holy Spirit hovers overhead, almost lost in the mass of exuberant carved scrolls and vegetation. God the Father beams down benevolently above them all.

El Padre Eterno and dove of the Holy Spirit.                         modern statue of St Francis

From the cloister, ringed by sturdy 17th century arcades, the visitor can enjoy a view of the imposing church towers.

See our earliest posts on Santa Cruz de las Flores, Mezquitan and the churches around Lake Cajititlan.
text © 2015 Richard D. Perry

b/w images by the author; color pictures courtesy of  Tony Burton except where noted.

Jalisco: San Juan de Ocotán

Back in 2012 some of our earliest posts on this blog featured missions near Guadalajara, notably Santa Cruz de las Flores and the churches around Lake Cajititlan. We also visited Mezquitan on our web site.
   Now we take a look at some other colonial churches in the area, starting with San Juan de Ocotán.

Northwest of the city of Guadalajara, beyond Zapopan, lies the historic barrio of San Juan de Ocotán with its colonial church.

The square facade of honey colored limestone has been restored to showcase its classical doorway adorned with foliated arabesque panels in low relief.
   The two tier espadaña and rounded gable lend the church a modestly pleasing profile.

A heraldic escutcheon below the gable is carved with a Marian invocation above the lions and castles of Spain—a rare survival of the Spanish Royal arms. 
   It has been pointed out * that this armorial relief bears a strong resemblance to the reverse side of the Spanish silver dollar, or "piece of eight," minted in 1776 during the reign of King Carlos lll, from which it may have been adapted.

In addition, the relief bears the date 1779, which may mark the completion of the present facade, although the church itself is earlier.

Mounted on a high pedestal in the alameda of jaracandas  and eucalyptus trees leading to the church door, is the atrium cross, inscribed with the date 1680. 

© Niccolò Brooker

The plain, squared cross is incised along the arms and shaft in the distinctive, regional cross-within-a-cross pattern. On the front, sharply tipped, arrow-like, twin grooves intersect within a simple wreath at the crossing, while on the reverse diamond points spring from the sunflower style motif at the axis, and are repeated spear like at the ends of the incised lines.

Inside the church, the main item of interest is the statue of the Virgin of the Immaculate Conception, formerly belonging to the now demolished hospital chapel of Ocotán.

Ocotán is noted for its colorful festivals: the festival of the Tastoanes to honor Señor Santiago in July, and a musical celebration when the Virgin of Zapopan visits the church on her periodic recorrido.

text © 2015 Richard D. Perry.  images courtesy of Tony Burton and Niccolò Brooker.
* thanks to William Taylor who alerted me to this detail. 
 t

Puebla: The church of San José

In a group of earlier posts we looked at the colorful tiled churches in the colonial city of Puebla. One that we did not cover in that series is the parish church of San José, whose history and colonial treasures we take a closer look in this post.

San José 

(Plaza de San José.  Calle 18 Oriente 200)

St. Joseph, a Franciscan favorite, was the original patron saint of Puebla. The first church dedicated to him was founded on this site in 1570. But it was not until the middle of the next century that the present church was completed.  

   The colonial image of St. Joseph—according to legend sculpted from a tree struck by lightning, although much altered—survives inside the church on the main altar of a side chapel dedicated to the saint. 

The broad front of the sprawling 17^th century parish church of San José, with its many chapels, faces its own busy city plaza. 

Due to later additions—part of an earlier front lies behind the present one—the present facade is a tiled Pueblan classic. 
   On either side of the arched doorway of gray local cantera, luxuriantly tiled Corinthian half columns are faced with gold, blue and white floral glazed azulejo tiles cut and set diagonally—an effect that both mirrors and contrasts with the petatillo pattern, or diaper work of the dark red ladrillo brick front. 

Zigzag patterning of blue and yellow tile continues atop the spectacular octagonal dome.

The handsome arcaded church interior is equally rich and colorful.  The sequence of gilded colonial altarpieces standing in the aisles along the nave is the finest in Puebla. They display a variety of baroque styles and feature fine sculptures and paintings by Puebla’s celebrated colonial artists, including several by the poblano master Miguel Jerónimo de Zendejas. *

 Churrigueresque altarpieces: St. John Nepomuk (left) *  St. Teresa with archangels (right)

Left: Retablo of La Inmaculada, with spiral columns.  Right: rococo retablo of the Holy Family *

La Capilla de Jesús Nazareno
This sumptuous chapel, known as the Cañon Dorado, adjoins the church on its north side and houses the famous local crucifix of Jesus the Nazarene , 
   Added in the late 1600s to a design by the noted architect Diego de la Sierra, its spectacular tiled dome  is splashed with stars and zigzags of blue, yellow and orange azulejo tiles. 

Folkloric archangels flank a relief of the Cross of Jerusalem atop the gable, which is surmounted by a verónica plaque with the face of Christ and overhead, a replica in stone of the eponymous patron.

Inside the ornate rococo chapel, the statue of Jesus the Nazarene, a 17th century work attributed to the Portuguese sculptor Gerónimo Rodríguez, rests in the neoclassical main altar.  

Numerous large canvases hang in the chapel, but the most interesting group consists of several panels above the entry. Also the work of Zendejas (1784), these notably include an expansive Last Supper with a cat and dog facing each other in the foreground.

text © 2015 Richard D. Perry

sources: Guia de patrimonio religioso de la ciudad de Puebla (2012)

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Chihuahua Cathedral; El Pozo de Animas

In addition to the stone retablos that we described previously, one of the most intriguing features of Chihuahua Cathedral is the so-called Pozo de Animas (Well of Souls) a shaft set in the nave wall between the ornate lateral entry facade and the east tower.

This narrow, enclosed space is marked at the bottom by a plain, carved wall cross set beneath a shell like canopy. 

Above the nave wall, cut into the balustrade, the shaft is ventilated by a series of small windows and is capped by a deep, angled pediment that is surmounted by two pinnacles.

Within the pediment is an unusual relief portraying St Francis, also beneath a prominent shell canopy, presiding over a row of figures (ánimas) emerging from the flames of Purgatory below. 

Although the function of the Pozo is undocumented, this sculpted image suggests the possible former use of this odd structure as an ossuary.

text © 2015 Richard D. Perry. color images © Niccolò Brooker

Angahuan. The Calvary cross

In an earlier post on Angahuan we highlighted, among its many other features, two stone crosses, one plain and one sculpted. 
In this follow up we focus on a third carved cross there.

The Calvary Cross
Not far from the main plaza at Angahuan, atop a Calvary hill of red and black volcanic rubble, stands a quite different style of cross, on which the abbreviated body of Christ is represented by his Face, Hands and Feet. The cross is Christ, and vice versa.

Hirsute, bearded and crowned with thorns, the Face reveals partly closed eyes and is framed by a cruciform tiara carved with triple tongues of flame signifying Las Tres Potencias, the Three Powers of the Soul—memory, intellect and will—a popular devotion of Christ in colonial Mexico.
    The Hands, pierced with deep Wounds and set in lobed, floral frames on the arms, point outwards, while the crossed Feet, bearing a third Wound and framed by a foliated loop, project from the shaft.    A simian looking Skull grimaces from the foot of the cross.

During Easter reenactments, penitents carry a crucifix up the stony hill, leaving their bloodstained crowns of thorns at the base of the cross. 

text & images ©2015 Richard D. Perry