Pascual Perez: The Taking of Christ

 In a series of earlier posts on the works of Pascual Perez, a noted baroque painter of the Pueblan School also known as El Mixtequito, we looked at a painting of the Temptations of Christ in the collection of the cathedral of St. Francis in Santa Fe New Mexico, currently on display in the Conquistador chapel there.

In this post we feature another canvas by the artist held in the same location, possibly one in a cycle on the Passion, titled The Taking of Christ, a popular theme in colonial art.

While the graphic source for this work is unclear there are some interesting features:  some customary attributes of the scene are missing. While Peter is shown raising his sword to sever Malchus' ear Christ is not shown replacing it. Also Judas, often shown betraying Christ with kiss, with or without his pieces of silver, is not in the picture.

text ©2025 Richard D. Perry

photograph courtesy of Patrick Finlay

Puebla. San Juan Cuautlancingo

 Cuauhtlancingo is a barrio of the city of Puebla. Its principal monument is the church of San Juan Bautista, which dates largely from the 1700s.

©ELTB

The church facade shows many features typical of Pueblan churches, notably featuring a pair of large stucco reliefs flanking the choir window.

On the left is the martyrdom of St Barbara, identified by the tower beside the saint. On the right is displayed the martyrdom of St Catherine of Alexandria, here identified by her famous wheel.

The church interior is distinguished by its magnificent gilded main altarpiece, fashioned in late baroque style with encrusted spiral columns.  

Statues of notable saints remain, including the patron John the Baptist accompanied by his woolly lamb at center.  Others include Sts Peter and Paul and several robed female figures.

text © 2025 Richard D. Perry

photography courtesy of Niccolo Brooker

Yucatan. Muna

church from the south

Once ringed by defensive ramparts Muna guarded the approaches to the Sierra region in pre conquest times. The imposing mission stands squarely on a former Maya platform overlooking the town plaza.

The first mission here was a visita of nearby Ticul, attaining full mission status in 1609 with the addition of the convento, whose arcaded entrance, is now built into the Soledad chapel on the north side of the church. The cloister, set behind the church is typical for Yucatan, with sundials set on all sides.

 

former porteria

cloister with sundials

north side
The immense church of La Asunción dates from the mid 1600s. A dedicatory plaque dated 1653 is carved above the west door. Other dates: 1691 over the choir arch, 1692 above the side entrances and 1708 high on the facade, commemorate the completion of later work.

Muna’s broad facade is distinguished by its richly textured stonework setting the style for many others in the region. The simple west doorway and tiny choir window are almost lost in the mass of masonry whose courses are studied with fragments of ancient Maya carving. Huge flanking buttresses, extending beyond the single nave, terminate in a pair of  lofty belfries linked by an eroded baroque parapet.

maya reliefs

The church interior suffered much abuse during the Revolution and today remains very spartan; however a late colonial pulpit still stands in the nave bearing a relief of the Franciscan crossed arms and ornamented with shells crowns and gilded arabesques

A charming folk altar adjoins the sanctuary on the south side where a doll like Virgin with shiny black tresses, clad in a huipil occupies a  glass fronted niche. 

As with other Yucatan church fronts, Muna has been painted red in recent years.

text © 1998 & 2025 Richard D. Perry. Images by the author.

Morelos crosses: Temimilcingo

 

Temimilcingo *

On the Small Round Stone Column

Possibly a remnant from the early Franciscan tenure of this little mission near Tlaquiltenango, before its handover to the Dominicans in the later 1500s, the rustic carved atrium cross is one of our favorites in the region.

Raised on a high base, set with corner merlons as at Cuernavaca, the cross is set at a slight angle on a box pedestal carved with crossbones. 

Instead of Cuernavaca’s cuauxicalli basin, a larger, arched cavity or sepulcher extends deep into the base at the front—still a receptacle for offerings.

 

upper                            lower

Unlike most other Morelos examples, the cross is carved with a full assortment of Passion reliefs, packed tightly between the raised outlines. 

A worn, spiny Crown covers the axis and a trio of angled Spikes with round, drilled bases appears on the arms and lower shaft, although a propeller like relief on the left arm may be the only representation of an actual Wound.

Other objects on the shaft include three tumbling Dice beside an elongated Column with a Rooster. At the foot, a corn plant springs from an oval ring. An indistinct inscribed plaque transfixes the head of the cross.

Four profile heads adorn the cross. Two small heads are outlined in the outer corners of each arm. The head of Judas appears on the upper shaft, dangling a rope and purse, flanked by rows of silver Coins. A fourth head at the foot of the cross vomits an angry speech scroll.

text © 2024 Richard D. Perry

color images by the author and © Niccolo Brooker

Edomex. Los Reyes Magos at Culhuacan

For our 2024 year end seasonal post we revisit our updated page on the superb mural of the Three Kings at Culhuacan:

https://www.blogger.com/blog/post/edit/344482387409714942/2092191172854645090

text and images ©2024 Richard D. Perry

all rights reserved

Hidalgo. The Chapels of Atotonilco de Tula 3

 Possibly the earliest religious structure in the Atotonilco area, the ruined chapel of San Pedro Boxfi, is now located in the cemetery of this town barrio.

 Of substantial stone construction, the now roofless structure retains most of its facade, which probably dates to the late 16th century.  

Like its neighbors, the broad arched doorway is spanned by huge blocks densely carved with reliefs, in this case a sequence of human or animal figures emerging from spiraling foliage, that terminates in Aztec type speech scrolls. Slotted scrolls adorn the jambs and flanking pilasters.

Outlying pilasters and a large overhead cornice, form a kind of alfiz above the doorway, and over that is an empty niche carved with rosettes. 

One unusual feature is the remains of a broad rectangular band spanning the upper facade, inlaid with white stone in which were embedded large sculpted brownstone rosettes, only one remains of four originally.

Although this chapel was built by the Franciscans, no insignia of the order appear on the facade. The only evidence of their heritage is a sculpted shield of the Stigmata set on the remaining pilaster of the former sanctuary arch inside the nave.

text © 2024 Richard D. Perry

images adapted from online sources.

Hidalgo. The Chapels of Atotonilco de Tula 2.

In the second of our posts on the churches of Atotonilco we look at the 16th century chapel of San Jose Zacamulpa. The small single nave chapel is sturdily built, with semicircular apsidal buttresses, crenelated nave walls and an exterior stairway leading to the choir, as well as a two tier belltower.

The chapel, a dependency of the church/convento of Santiago we reviewed in our previous post, is also notable for its carved entry porch. Set on broad stone jambs capped with bands of rosettes and vines above and below, the archway is sculpted with a chain of floral motifs linked by vines.

The doorway is surmounted by a square alfiz framed by a ribboned molding resembling the Franciscan knotted cord. To either side of the bust of the patron saint in the overhead niche, the Franciscan connection is underlined by a pair of tasseled medallions enclosing the Five Wounds.

text © 2024 Richard D. Perry

images from online sources