The Altarpieces of Yucatan: Izamal

In our earlier series on the altarpieces of Yucatán * we neglected to include those at Izamal, one of the handful of major Franciscan monasteries in the peninsula.  We remedy this omission in this post.

Built by the controversial Bishop Landa in the 1550s, the great church and adjacent convento of Izamal are sited atop a vast former Maya pyramid, known as Papholchac (House of Heads and Lightning) 

   It was dedicated to the Virgin of Izamal, a miraculous image from Guatemala, and in colonial times became a major Marian shrine and center of pilgrimage in the region.

The Main Altarpiece

Like that at San Bernardino de Sisal, the grand main retablo at Izamal dates from later colonial times. Although evenly compartmented in conventional baroque style, it is framed by estípite columns typical of the later 1700s. 

   Constructed in two main tiers with a predella below and an elaborate gable above, the altarpiece has identical wings that cant forward on either side. 

In addition to the venerated figure of the Virgin in the principal niche, the other, classically framed niches showcase statues of Franciscan saints in the lower tier, and painted scenes from the life of the Virgin in the upper tier.

   Like that at the San Bernardino too, the altarpiece boasts the characteristically Yucatecan burgundy and gold color scheme.

text © 2002/2021 Richard D. Perry

photography by the author

for more on Yucatán consult our guidebooks

Yucatán. Concepción Chocholá

Like Opichen, this unusual looking mission is an accretion of 16th and
17th century elements, given some unity by its attractive
weathered  “rejoneado” stonework of limestone rubble and chips.
   The 16th century visita was one of several attached to the large
mission at Uman a few miles up the 'Camino Real' towards
Mérida.  

Originally it was a simple an open chapel with side chambers, which now forms the core of the sanctuary and adjacent sacristy of the church.
   At the beginning of the 17th century, the mission was
expanded and construction started on the church and monastery.
Now largely ruined, the monastery block to the north east of the church was a compact structure. 

   Although there were arcades flanking the building there does not appear to have been a full cloister. Instead, the central area was vaulted for use as a large room; possibly a school or refectory, The main arch
which supported the roof is still in place.

It is possible that the open chapel,with its great dome
was also enlarged at this time, the two tier
espadana with decorative finials added above it, although maybe original, may have been later.

The church seems to be typical early 17th century. The
single, barrel-vaulted nave, heavy construction and plain
masonry all point to this date, the nave braced by projecting buttresses

   The nave windows, on the north and south sides have curious polygonal openings in_moorish style although the windows themselves are square. (These too may be a later alteration.) 

The doorways are framed in simple Renaissance fashion with unusual carved capitals on the jambs, those on the west porch depicting what appear to be angels, one superimposed upon another, probably at different times.
   The facade itself is incomplete, having no towers or
'espadana', and simply following the outlines of the walls and
barrel vault. The central part containing the porch and choir
window is framed by a round arch set on giant pilasters
   Towers and an upper facade may have been planned but appear never to have been built. 

 The facade inscription is indecipherable, but a carved plaque on the first south buttress is dated 1615. 

 On the north side of the nave an unusual feature is the rounded
stairway tower of medieval aspect with its dome and slit
openings illuminating the caracol stairway within.
* Espita; Tixhualatún; Popolá; Cansahcab; Temax; Telchac;

text © 1984/2021 Richard D. Perry

images © the author

    

Yucatán. San Bartolome Opichen

We follow our series on eastern Yucatán* with a look at two early missions nearer to Mérida the colonial capital to the west.

   The rambling old mission of San Bartolomé at Opichen is an odd assemblage of incongruous elements.

The plan is that of a typical country mission, with a modest church attached to an earlier 'visita' chapel. 

At the east end, looms the high, domed sanctuary/with an unusual narrow bell tower rising above the north wall. This was undoubtedly the original open chapel of the mission, probably built towards the end of the 16th century. 
The nave was added to the west with substantial masonry walls, pierced with octagonal windows on the north side. 

The church has a steeply pitched gable indicating an original thatched roof, but is now covered with a tin roof set much lower than the original, revealing an inscribed plaque over the sanctuary, apparently dated 1830 (possibly 1630).
   There is no trace of the old open chapel arch however., only the ashlar frame of a small window cut into the wall below the plaque.
   This fact, together with the large chapel attached to the south side of the sanctuary with its carved doorway and upper belfry, suggests that the main nave was abandoned in the 19th century, with the sanctuary and side chapel modified to serve as the entire church. This is not uncommon in Yucatan, for example at Tinum and Piste and may indicate population movement or decline following independence.

decorative door jamb south side

Opichen is unusual for the appearance of fine masonry work incorporated into what was otherwise a modest village mission. In addition to the elegant carved inscription, there is a Doric colonnade of unknown purpose running east from the south east corner of the church.

Several beautifully carved capitals and pedestals with stone angels heads adorn the west porch, reminiscent of nearby Chocholá.
 These however, appear out-of-place, haphazardly added to the older fabric of the mission. The presence of these carving may even indicate a previous location.
   Parts of the church have been restored: re-pointed at the
corners with ashlar blocks which may have come from the nearby
Maya ruins at Oxkintok. 

   Nevertheless much of the mission remains in poor condition. The roof leaks, and vegetation grows from the cracks in the old chapel block
It is to be hoped that the ravages of time and neglect will be halted
before this curious monument falls into irreparable ruin.

* Espita; Tixhualatún; Popolá; Cansahcab; Temax; Telchac;

text © 1984/2021 Richard D.Perry

images © by the author

    

Yucatán. Espita

As an addendum to our recent series on the churches of eastern Yucatán, another worthwhile detour  is to Espita, "Leaping Water," a charming colonial town located 14 kms west of Calotmul along a straight but narrow road. 

Espita was a vital frontier outpost during the later colonial years and into the 19th century. Local lore has it that, when suddenly coming under attack during the Caste War, the town was heroically defended by a force that was finally reduced to only fifteen, including several women dressed as soldiers. 

The imposing parish church of San José was completed in the late 1700s—one of the last to be erected during the colonial era in Yucatán. Its soaring west front is a handsome example of the late secular style of church architecture in Yucatan. The long single nave is braced by numerous buttresses.

As at Peto, the porch and choir window are framed by a large recessed arch ornamented with floral reliefs and set on giant pilasters. The carved relief of an angel is set high in the surmounting pediment, which is capped by a triangular stone parapet pierced with diamonds and rosettes. 

The most unusual feature of the facade is the vertical bands of stucco relief, depicting lions and stars, that extend to almost its full height.

Multi-tiered bell towers are capped by shallow domes masked by open parapets like miniature triumphal arches. The tower cornices were formerly tipped with ornamental "pineapple" pinnacles on each stage, most are now missing. 

A large patio with surrounding rooms lies to the north east of the church, while a two story arcaded former camarín adjoins the apse.

text © 2021 Richard D. Perry

images by the author and from online sources.

Hidalgo. chapel of St Bernard of Clairvaux

 Our attention was recently drawn to this little hilltop chapel of unknown date dedicated to St Bernard of Clairvaux—an unusual dedication in Mexico.. 

Located in northern Hidalgo state, near Zacualtipan, on a windswept knoll accessed by a steep stairway, we have no details on its history.

The arcaded portal of the chapel is surmounted by an archaic carved relief of the saint, holding his crozier and gesturing in benediction — one of the very few representations of him that we are aware of in Mexican sculpture.

text © 2021 Richard D. Perry

photography by Niccolo Brooker who brought the chapel to our notice.

Hidalgo. Ixmiquilpan: the Facade

The imposing west front of the priory church at Ixmiquilpan is one of a broad series of classic, Augustinian Renaissance

Plateresque facades.  
    Based on the refined front at Acolman, together with those at Actopan, Yuriria, Cuitzeo, Atotonilco el Grande and Metztitlan, it is one of an unequalled suite of boldly sculpted 16th century church fronts.

Faced with rose and lavender ashlar stone, a triumphal arch  dominates the facade design at Ixmiquilpan. Paired, fluted Corinthian columns enclose slender niches, now void of statuary but surmounted by cornucopia of slotted speech or song scrolls.

A broad, two tiered arch caps the doorway, its coffers framing a variety of reliefs, Carved in the round, winged angels and seraphs alternate with floral urns and rosettes, while tasseled, Augustinian pierced heart emblems nestle in the spandrels.

A feather motif is carved on the scrolled keystone of the archway, while winged horses or griffons prance along the frieze above, song scrolls issuing from their mouths.

More ornate floral urns flank and cap the elegant, classical choir window, some balanced atop more song scrolls—a veritable choral symphony in stone. 

The Facade Escutcheons

As at Acolman, heraldic shields project on each side of the choir window. Although not easily decipherable from the ground, these escudos are highly significant. Their imagery excludes any reference to Spanish or Christian symbols, foreshadowing the extraordinary murals inside the church. 

    To the left of the choir window the relief shows an eagle perched on a cactus sprouting from a rock above a lake—a motif adopted by the Aztecs as their imperial symbol and now the emblem of modern Mexico. Beside the cactus, the eagle is costumed as an Aztec warrior with a tlauhquechol, or plumed headdress, unfurling his pantli or war banner. A pair of eroded jaguar figures crouch carrying chimalli, the native war shields. 

The relief on the right portrays an eagle and jaguar on either side of a stylized foot-path, again with water below. Comma-like speech scrolls curl from the mouths of the two animals, indicating a dialogue between them. 

text and photography ©1992 & 2020 Richard D. Perry

Hidalgo. Mapethé, the altarpieces

 In an earlier post we looked at the superb carved cross in the atrium at Mapethé. Here we turn our attention to the opulent baroque altarpieces inside the church.

The first church here was founded around 1540 or 1545 although the building took many years to complete.  In 1621 a hurricane destroyed half of the roof of the chapel leaving the church abandoned and in ruins. 

In 1728 permission was obtained from the viceroy, Juan Vázquez de Acuña and Bejarano, 1st Marquis of Casafuerte for the construction of a new one to replace the original church.

On the lintel of the archway that leads to the altarpiece, the date is engraved: May 26, 1737; with the name of the master builder Gregorio Durán. In 1739 the main arches for the vaults were closed, and by 1744 the architect Nicolás de la Cruz  took charge.

nave view

The Altarpieces 

Inside there are five wooden altarpieces in late baroque style, a project of the bachelor Antonio Fuentes de León, the first priest, from 1751, 

The main altarpiece was finished gilding on May 15, 1765, and by 1773 the two side altarpieces nearest the presbytery had been completed.

Between 1775 and 1778 two other altarpieces were added. All were  completed  by 1792.

THE MAIN ALTARPIECE, is the most elaborate and opulent of the set. Two pairs of complex estipite columns frame the figures: reliefs and sculptures of saints, virgins and masks; the only paintings being smaller lateral oval paintings with representations of little angels holding crosses, blankets with Latin inscriptions. 

An inscription at the bottom contains the date of completion of the altarpiece: May 15, 1775. 

The other altarpieces have similar characteristics to the main altarpiece, such as the paired columns and oval pictures of angels, but the designs feature paintings rather than sculpture.

 

 On the left side of the nave are the altarpieces with scenes from the life of Christ (Man of Sorrows) and the Virgin Mary as Our Lady of Sorrows respectively. 

  

Guadalupe;  Santa Rosalia

On the right side of the nave are the retablos of  THE VIRGIN OF GUADALUPE; AND another dedicated TO SANTA ROSALÍA with painted scenes from the life of the saint.

Las Animas

Below the choir area on the left side of the nave is the canvas of Las Animas whose main image is the Virgen del Carmen, crowned by five cherubs and surrounded by a red curtain. She gestures from the center of the scene, down towards the souls in purgatory engulfed in flames.

The Virgin is flanked by several saints notably Saint John the baptist; St. Joseph, San Nicolás de Tolentino; and St. Francis of Assisi. 

In 1964 a fire caused by the candles damaged much of this altarpiece. Restoration work on the painting of Las Ánimas was carried out during the seasons of July 1997, August 1998 and August 2000.

Since the 1980s, this building and its contents has become an ideal location for training and research on conservation and restoration, led by the Manuel del Castillo Negrete National Conservation, Restoration and Museography School (ENCRyM) of the National Institute of Anthropology and History (INAH) 

text © 2021 Richard D. Perry

color images courtesy of Niccolo Brooker & Benjamin Arredondo