Puebla. San Cristóbal 3.

The former hospital of the Niños Expositos (abandoned orphans) adjacent to the church of San Cristóbal, is now a school, faced in red ladrillo brick set in a zigzag formation and interposed with colored azulejo tile in classic Pueblan style. 

In a niche above the main entrance rests an archaic stone statue of the patron St. Christopher bearing the Christ Child.

A coat of arms on the outer wall displays the papal triple tiara and crossed keys.

text © 2022 Richard D. Perry

images courtesy of Niccolo Brooker

Puebla. San Cristobal 2.

For our second post on the church of San Cristóbal we consider the church interior.
   The interior of this temple preserves its rich stucco ornament, being among the first in the City of Puebla to use this material. The vaults above the nave are alive with intertwined plant and anthropomorphic motifs. 

The octagonal dome above the crossing is also a masterpiece of polychromed stucco. In the center the Immaculate Conception is surrounded by musical angels and eight figures of the holy virgins and other martyrs. 

These include Santa Catalina de Alejandría, accompanied by a toothed wheel, Santa Bárbara, who carries a tower, Santa Úrsula who carries in her hands a banner with the Marian monogram and the palm of martyrdom, and Santa Lucía, holding a tray with eyes.

In the vault of the decorative under choir is the relief image of John Duns Scotus, a Franciscan who notably defended the dogma of the Immaculate Conception, flanked by Hapsburg double-headed eagles

The main altar preserves a neoclassical altarpiece in which showcases the venerated image of the Virgen del Rayo.

But the principal interest of the church is its collection of fine sculptures attributed to the workshop of the noted Cora family of colonial sculptors of Puebla, whose activity spans the entire 18th century, from baroque to neoclassical in style. The most prominent members were José Villegas Cora († 1786), called the “great master”, who according to tradition started the workshop, his nephews the prolific Zacarías (1752(?)-1819), José, and Antonio Villegas Cora, brother of the “great master” and master of polychromy. 

The statues of San Joaquín and Santa Ana in the main altarpiece, San Francisco and San José in the transept, as well as the monumental sculpture of San Cristóbal in the choir loft? are all from the Cora workshop. They preserve their original estofado finish, achieved here by means of a layer of colored varnish on silver foil, tooled to imitate precious stones or rich fabrics. 

 The image of San Joaquín is among the few examples of signed colonial sculptures, its base reading “YEAR OF 1785 CORA fecit”. 

The most striking piece in this group is Saint Christopher, the “Bearer of Christ” and patron of the hospital, reputedly the work of  Zacarías Cora.

text © 2022 Richard D. Perry

images courtesy of N Brooker and ELTB

Puebla. San Cristobal 1

As noted before, our current focus is on several 17th century buildings of distinction in the city of Puebla.
   First we looked at the mansion known as La Casa de Las Bovedas and the second the venerable hospital of San Cristobal and its adjacent church, and finally the church complex of La Concordia.
   The hospital of San Cristobal and its adjacent church are among the most distinctive colonial buildings in the city of Puebla. In the following posts we will consider first the church exterior and then the interior and lastly the adjoining former hospital itself.

The church is conspicuous for its dome covered in Talavera tile and its two lofty towers rebuilt in the mid-20th century.
   The church, dedicated to La Purísima, the Virgin of the Immaculate Conception, was built between 1676 y 1687 by the noted local  architect Carlos García Durango, and is one of the most attractive examples of the barroco poblano style.

On the main façade of the church, fashioned in traditional poblano style from sober gray basalt, the most striking feature is an alabaster relief that represents a scene from the Book of the Apocalypse of Saint John.         

   According to the biblical text, the saint, represented on the right of the relief with pen and book, observed a winged woman dressed with the sun and the moon at her feet, crowned with twelve stars, standing above a dragon with seven heads and ten horns.

Above Saint John's head is written the Latin phrase mulier amicta sole, which means "woman clothed with the sun." Figures of the three principal archangels stand on pedestals in the upper facade.

Paired tritostyle columns animated with zigzag fluting flank the richly carved doorway enclosing alabaster angels between the columns carrying objects related to the litany of Our Lady.

A pair of cherubs project atop the keystone. 

The side façade is also of special interest. Ornamental octagonal half columns flank the entry arch. The angel holding up the half moon at the keystone is flanked by statues of angels bearing sun and stars. Other symbols of the Virgin Mary such as a mirror, a tower, the palm and the well, also appear on the facade.

In the niche above the doorway there is another striking alabaster sculpture, this time of the Virgin of the Immaculate Conception herself, flanked by winged angel reliefs with candelabra.

text © 2022 Richard D. Perry

photography courtesy of Niccolo Brooker

Puebla. La Casa de la Bovedas.

This month our focus is on several 17th century buildings of distinction in the city of Puebla. First the mansion known as La Casa de Las Bovedas; second the venerable hospital of San Cristobal and its adjacent church, and lastly the complex known as La Concordia.

Perhaps the most interesting residential building from the latter part of the seventeenth century in Puebla is the outstanding Casa de las Bovedas (The House of the Vaults) by the noted Sevillian architect Diego de la Sierra (1656-1711), which dates from 1685. De la Sierra was a prolific architect, with several commissions in the city.
   The residence follows the typical plan of an upper-class poblano residence, namely, a two- or three-storied building, with the central courtyard connected to the street, the lower story dedicated to a series of rooms with a street access for rent, and interior rooms dedicated to storage or also for rent, and a back-service courtyard. The upper story acted as the piano nobile (noble floor), containing the family rooms, the kitchen, and the private family chambers.
   The mansion, commissioned by Diego Peláez, a high-ranking church official in 1684, is one of the most ingenious works of architecture in the city. In it, Sierra's design essentially inaugurated the Baroque era for civic architecture here by introducing new construction and ornamental solutions. 

The house derives its name from the vaulting employed throughout the residence as roofing instead of the cheaper alternative of flat slabs supported with timber beams. The profusion of this style of roofing lends magnificence to the house’s interior spaces.

However, the house’s most original trait remains its decorative character. Indeed, around the main courtyard, architectural elements, such as columns, arches, lintels, jambs, and vaults, were carved with a variety of sinuous zigzagging lines - a Mexican Baroque style known as barroco de estrías moviles or moving fluted Baroque. 

On window jambs, lintels, arch intrados, and pilasters, the lines were carved in stucco, while on columns and corner piers, cut from basalt.

The lack of symmetry in the facade, with the main portal pushed to its left, east end, suggests instability and movement, as entries traditionally opened in the middle of the facade. This disruptive pattern continues with the facade’s openings and on the upper-level their varied scale, the use of rustication, tritostyle Corinthian pilasters, and triangular pediments boxed in semicircular ones . Between the openings the rest of the facade is covered in a classic poblano manner with red bricks (ladrillos) in a herringbone pattern, interspersed with blue and white glazed azulejo tiles.

Above the doorway to the house is a medallion with a relief that is related to the later use of the house. After 1813 it was the headquarters of the Charity Board for the Good Education of the Youth, first as the tenant and finally the owner of the house.
   The plaster relief represents the Child Jesus as the Good Shepherd , and was chosen as a shield by the Charity Board. Jesus is represented as a shepherd of sheep, shepherd of souls. In this case, Jesus Niño is standing in the middle of the field, next to a leafy tree, dressed in a tunic tied at the waist with a ribbon, He wears a hat and with his hand right feeds one of his sheep, while several of them surround him.
   The choice of this image as the shield of the institution is related to the position of the members of the Board of Charity who saw themselves as the shepherds who guard their flock, enlightened poblanos who guide and lead the orphaned children of Puebla.

Another work of note is the sumptuous polychrome relief of the Virgin, portrayed with some of her customary symbols, situated on the upper level of the patio.

text © 2022 Richard D. Perry

images courtesy of Niccolo Brooker and from online sources.

Morelos. Oaxtepec: Hospital de Santa Cruz.

Oaxtepec is best known for its early Dominican priory, but the other early colonial monument of importance here, now largely in ruins, was in its day celebrated across New Spain and beyond.

Founded by the Hyppolitan Order of Hospitallers in 1586, it was one of a group of convalescent refuges for the sick and mentally ill. The lush location was already renowned for its benevolent climate, hot springs, botanical diversity and as a former retreat of the Aztec emperors.

Built  by drafts of native labor from across the region, the hospital complex was known for its extensive lodgings and broad outdoor patios, which can still be visited. The hospital was run by the Brotherhood of Charity (Los hermanos de la caridad) enjoying many land and financial grants for its support, and over the years it hosted many patients of note, including the chronicler Gregorio López.

The primitive early chapel was replaced by the present substantial church building in the mid-1600s, constructed largely of stone with brick vaulting. 

 This single nave church was abandoned in the mid-1700s after an earthquake and was further damaged by the temblor of 2017. Repair and conservation work are under way to stabilize and restore the structure. 

The fine brick arcades of the patio adjoining the church although eroded still stand after much restoration.

Traces of mural decoration lighten the otherwise austere interior.

text © 2021 Richard D. Perry

color images courtesy of Niccolo Brooker and from online sources

Mexico. The Angels of Tulpetlac

In our previous post we explored the churchyard crosses of Tulpetlac, north of Mexico City. Here we look at the reliefs and statues of angels, mostly archangels, that adorn the walls of the church.
   The works fall into two categories: 1. freestanding statues atop the atrium walls. and 2. reliefs embedded in the church walls.
Both depict archangels mostly holding Instruments of The Passion. 

                                              Spear

Hammer

 

Veronica;                               Three nails

Statues
The statues are skillfully carved with swirling skirts, carefully detailed spread wings and buskins, and stand atop pedestals faced with relief rosettes.

  

Cross;                                        Spear and Hyssop

Reliefs

The reliefs are carved in the same manner, probably by the same stone masons, and may simply represent angels rather than archangels.

text ©2022 Richard D. Perry

photography © Niccolo Brooker

Mexico. the Crosses of Tulpetlac

This is the first of two posts on the stone sculptures of Tulpetlac, in Mexico State (edomex)

Once an important Aztec center, Tulpetlac (Place of Tule Mats) was later closely associated with San Juan Diego and the apparitions of the Virgin of Guadalupe.

Although the church has been altered since the 1500s and is now jointly dedicated to Santa Maria and El Cristo Rey, much of the original Franciscan ornament survives, most prominently the doorway with its carved eagles, serpents and rosettes.

archaic relief of the Virgin above doorway

But one of the chief glories of Tulpetlac is the group of finely carved, quite ornate crosses found within its precincts.
Three closely related crosses stand atop the atrium walls and gateway:

El Pilar Cross
This exceptional cross now stands above one corner of the NW atrium wall. Sometimes known as El Pilar, it is strikingly similar to that at nearby Tultepec, reminiscent in its detail of the classic sculpted crosses of Guadalupe and Atzacoalco.
   Cylindrical arms and shaft display a full complement of Passion reliefs carved in the round rather than in a flat, tequitqui style. A delicately sculpted Face projects from the crossing ringed by a spiny Crown around the neck.
   Prominent Sun and Moon reliefs decorate the arms along with slender, pierced Wounds. Stars appear on the reverse of the arms.

As at Guadalupe, star-shaped floral finials cap the arms and the cross is headed by a bescrolled INRI plaque inset with angels’ heads. The abbreviated petals on the finials of all three crosses strongly resemble cacao beans—perhaps a prehispanic survival.

Cross #2
A second cross stands atop a section of the wall to the southwest. Sparely carved, with more widely spaced reliefs, this cross may be the model for its sister cross. It also boasts a sculpted Face at the crossing and a prominent “soft” Crown encircling the neck.

As with El Pilar, Sun and Moon reliefs on the arms are complemented by Stars on the reverse. 

The Gateway Cross
The third, smallest, and most decorative of the crosses is perched atop the brightly painted atrium gateway. Reputedly a replica of an earlier cross in the same location, like the others it features a panoply of In- struments carved in high relief.
   An exceptionally prominent Face of a youthful looking Christ, fully modeled in the round with chiseled features and wreathed by wavy hair, puts the adjacent soft Crown and Wounds in the shade.
   The oversized INRI plaque atop the cross is extravagantly framed by feathery scrolls with cherubs.

text ©2022 Richard D. Perry

photography © Niccolo Brooker