The Island of the Dead Dolls – La Isla de las Muñecas

How to visit this haunted Mexico City tourist attraction on the Xochimilco canals, and the tragic ghost story of a little girl’s spirit and the strange offerings to appease her.

Rent one of the colorfully painted canal boats on Xochimilco and make a stop at this strange attraction

She was just lying there on the sidewalk, scuffed up and abandoned, behind the massive Uptown Theatre. We knew we had to save her. So Duke and I picked up the dirty baby doll and took her home.

We knew that our sad little toy had a larger destiny: She’d become an offering to the ghost said to inhabit the Island of the Dead Dolls, or la Isla de las Muñecas, on our trip to Mexico City.

“Everywhere you look, dolls fill your vision, like a nightmare come to life.

Most have been stripped of their clothing. Dirt and black mold cover their naked lifeless bodies, as if they’ve contracted some sinister plague. ”

Can’t you totally imagine this guy coming to life?!

Dolls lay damaged on the ground, like casualties of some horrific catastrophe

These dolls have been nailed to a tree, creating a macabre tableau

The Legend of the Island of the Dead Dolls

Along the canals of Xochimilco (pronounced So-chee-meel-ko), a young girl drowned under mysterious circumstances. One day a man named Don Julián Santana Barrera left his wife and child, and moved into a tiny cabin on one of the small islands between the canals of Xochimilco to live out his life as a hermit.

Shortly thereafter, he made a gruesome discovery that would haunt him for the rest of his life: He found a girl floating face-down in the water. But, try as he might, he was unable to revive her.

Not long after, he saw a doll bobbing along nearby. He fished it out and tied it to a tree as a way of showing respect to the spirit of the drowned girl.

Off with her head!

A fence with various offerings. Note Captain Sandro in the background

It didn’t work, though. The girl’s ghost haunted Julián. In an effort to appease this restless wraith, he continued to hang more and more dolls, now joined by mangy stuffed animals, plastic dinosaurs, action figures and even a likeness of Santa Claus. The offerings hang from branches, wires and fences, while others have been cruelly nailed right into tree trunks. A couple lay face-down in the dirt, as if they perished mid-crawl, trying to escape the horrors of la Isla de las Muñecas. Over time, the entire island became a bizarre shrine dedicated to this lost soul.

Fifty years later, in 2001, Julián drowned — in the exact spot where he had found the little girl’s body. Was it an accident? Did he commit suicide? Or did the little girl’s ghost finally claim her victim?

Dolls of all shapes and sizes hang in offering to the restless spirit

Ghost Hunters

The Island of the Dead Dolls is just the type of creepy, quirky destination that appeals to our warped sensibilities. We knew that we wanted to take a boat out on the Xochimilco canals, but once we saw pictures of the dolls loosely dangling from branches on la Isla de las Muñecas, that became my number-one priority.

Duke’s only pretending to be scared — he loved the Island of the Dead Dolls

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Locals say that the dolls have lured them to the island. They swear they’ve seen the chubby limbs of the dolls move on their own, that the heads, with their dead, unseeing eyes, will turn slowly toward you. They even say that they’ve heard the dolls whisper to each other, momentarily possessed by the spirit of the doomed little girl. It’s easy to imagine the dolls coming to life at night and causing mischief.

I placed our doll on the steering wheel of a toy car. Looks like she’s in good company

Our Offering to the Ghost

While we were on the canals, I had a one-track mind: I wanted to make sure we’d get to see the Island of the Dead Dolls. Our boat captain, Sandro, consented and took us to the haunted isle. I grabbed the doll we had brought and scrambled off the boat onto the small jut of land.

No Pasar means Do Not Enter. As if!

Purposefully ignoring the “No Pasar” sign, we walked past a life-size doll that might or might not be Pee-wee Herman, its neck bent at a sickenly unnatural angle, as if it had been snapped. He hangs there at the base of the path, like a gruesome warning of the dangers ahead.

Is that Pee-wee Herman (with a snapped neck), greeting you to this creepy island?

Everywhere you look, dolls fill your vision, like a nightmare come to life. Most have been stripped of their clothing. Dirt and black mold cover their naked lifeless bodies, as if they’ve contracted some sinister plague.

Disgustingly dirty dolls dangle from branches and wires all over the small isle

The island is steep and narrow, and we had to be careful not to lose our footing and topple into the canal. Duke and I wandered around, snapping photo after photo while our boat captain got stoned in a nearby field. It’s such a bizarre setting — you can’t really imagine it until you experience it firsthand. Dolls are creepy enough on their own. But they’re downright terrifying when you see a bunch of them, deformed, dirty, missing hair, limbs or heads after being exposed to the elements for decades.

How many dolls does it take to appease a little girl’s ghost?!

A doll hangs, missing its head, its skin a grayish hue from years of sun and rain. Another’s eye has popped out. One has been defaced, with an arcane symbol scrawled upon its forehead and a dark smudge over one of its unblinking eyes.

We wouldn’t be surprised if this dolly was used in Satanic rituals

Underneath a bower constructed of wood and dried leaves, I found a large red toy car with a giant dead-eyed, bloated Holly Hobby type doll behind the wheel. I decided this would be the new home for our dolly. I placed her on top of the steering wheel and offered her as a companion to appease the girl’s ghost.

Say hi to “la negrita en el carro” from Chicago when you visit the island

Out front of the island, a couple offered quesadillas for sale. We got the impression that they stationed themselves there every day to catch the tourists. The man called out something to our driver, who in turn translated the query: Did we leave a doll on the island?

My first instinct was to lie, not sure that adding to the collection was encouraged. But I found myself saying, “Si.” I was relieved when this response delighted everybody. The questions came in a frenzy: Where’s the doll we left? Where are we from? Are we sure we didn’t want more quesadillas?

After I pointed out our offering, Captain Sandro exclaimed, “Es la negrita en el carro.” (“It’s the little black girl in the car.”)

He informed us that there are only two foreign dolls on the island: one from Argentina, and now ours, from Chicago. Duke and I beamed at each other. We hope we’ve become part of the legend of the Island of the Dead Dolls.

This man and his wife sell snacks by la Isla de las Muñecas

Wally thinks he saw a ghost!

How to Get to la Isla de las Muñecas

There is apparently more than one of these creepy islands. We were told the original island is about a four-hour round trip if you leave from Embarcadero Cuemanco or Embarcadero Fernando Celada.

Be careful of the plants — and one-eyed dollies!

Luckily, there’s another version of the island that’s much closer if you hire a boat at Embarcadero Nuevo Nativitas. Be sure to mention the island before you make a commitment to a particular captain.

And consider bringing a doll to help keep the spirit of the little girl at peace. –Wally

“ Dolls are creepy enough on their own. But they’re downright terrifying when you see a bunch of them, deformed, dirty, missing hair, limbs or heads after being exposed to the elements for decades. ”

Don’t pass by the Island of the Dead Dolls — if creepy attractions are your thing!

Island of the Dead Dolls
La Isla de las Muñecas
Parque Ecológico de Xochimilco
16036 Mexico City, CDMX
Mexico

6 Reasons to Visit the Museo Dolores Olmedo

The legacy of Diego Rivera and Frida Kahlo remains alive in this hacienda that’s as pretty as a peacock — which, incidentally, is overrun by them.

The Museo Dolores Olmedo hacienda is as pretty as the peacocks that roam its grounds

I had read that Mexico City is sprawling, but you don’t truly begin to understand this until you’re actually there. And although Uber is a cheap mode of transportation, our advice for exploring CDMX and its many sights is to plan your days according to mayoralities, or municipalities. Since Xochimilco was the farthest destination on our itinerary, we put a day aside to experience the canals and visit the Museo Dolores Olmedo located nearby.

“Peacocks strut about the lawn, perch on branches and sit in rows like sentinels on the hacienda’s rooftop.

We were fortunate enough to see a few of the males fan their shimmering iridescent plumage in the hopes of getting lucky. ”

The original structure dates back to the 1500s

Often overlooked by tourists, the estate was once owned by philanthropist and self-made businesswoman Dolores Olmedo Patiño. Known as Lola to her friends, Olmedo purchased the 16th century colonial hacienda in 1962 and resided there until her death in 2002. It’s worth noting that the five-building complex contains the largest private collection of works by Diego Rivera.

A statue of Doña Lola, patroness of the arts, with one of her beloved Xolo dogs

Olmedo met Rivera when she was 17 and he was in his 40s, when she accompanied her mother, a school teacher, to the Ministry of Education, where Rivera was working on murals in the building. Rivera asked Olmedo’s mother to be allowed to make some drawings of Dolores.

Olmedo amassed the largest private collection of Rivera’s works

“My mother gave her permission without knowing I would pose nude. I never told her about it. It was like magic watching how such beautiful shapes came forth from his tiny hands and how, without lifting the pencil from the paper, he could draw such long, smooth lines. The time went by without my noticing it while I posed.” –Dolores Olmedo

That was how the unique lifelong friendship was born. Under the guidance of Rivera, Olmedo amassed a vast collection, which she donated to the people of Mexico.

Here are six reasons to add the Museo Dolores Olmedo to your Mexico City itinerary:

Don’t miss the Frida gallery at the museum — we walked past it at first and had to convince a guard to reluctantly allow us to backtrack

The Colonial kitchen is covered with hand-painted Talavera tile from Puebla, with a swallow bird motif, and was preserved from the 16th century hacienda

1. The setting itself is worth the entrance fee.

Formerly known as Hacienda La Noria, which translates to the Water Wheel Estate, the grounds are as impressive as the villa. There’s a variety of fowl, including ducks, geese and peacocks. Lots of peacocks. Peacocks strutting about the lawn. Peacocks perched on the branches of trees — who knew they could fly? Even peacocks sitting in rows like sentinels from the hacienda’s rooftop. We were fortunate enough to see a few of the males fan their shimmering iridescent plumage in the hopes of getting lucky.

The estate is surrounded by spacious gardens with a variety of native plants and flowers: dahlias, bougainvillea and colossal blue agaves. Fun fact: The potent liquor can only be categorized as tequila if it has been produced from the piña, the heart of this varietal.

Giant blue agaves

This is where tequila comes from!

2. There are some strange-looking dogs known as Xolos or Mexican hairless.

Close to the hacienda is a spacious pen, home to several bald, wrinkled, dark-skinned canines. Commonly known as the Mexican hairless, the Xoloitzcuintli, or Xolo, are descendants of a pre-Columbian breed of hairless dogs. Their name comes from Nahuatl, the language of the Aztecs and is a combination of two words: “Xolotl,” the name of the Aztec god of lightning and death, and “itzcuintli,” meaning dog. According to Aztec belief, the breed was created by Xolotl to protect the living and guide the souls of the deceased through the dangers of Mictlán, the underworld of Aztec mythology.

Doña Lola was fond of Xolo, or Mexican hairless dogs. Dante, the pup from Coco, is one of this breed

Looks like someone gave this dog a bone (IYKWIM)

Dogs carved from volcanic rock adorn the house

Believe it or not, the so-ugly-they’re-cute canines were a delicacy enjoyed by the Spanish conquistadors, who ate them to the brink of extinction.

Although the breed is revered for its loyalty and intelligence, we don’t recommend dangling your toddler over their pen, as we witnessed a family do while we were there.

Wally sitting on a bench in the style of Frida Kahlo’s painting The Bus, her recollection of the moment before her tragic accident (that’s Frida to the far right)

3. You can check out some of Frida’s artwork.

Part of the allure of the museum was to see the surrealist works of Frida Kahlo. In a separate room, located off the interior arcade of the hacienda, were several small-format works by the prominently browed artist. In life, Doña Lola had little regard for Kahlo as an artist, but purchased 25 of Kahlo’s paintings shortly after her death at Rivera’s insistence to ensure his wife’s work remained in Mexico under one roof.

One of Frida’s native Tehuana dresses looms large from a glass case in the corner.

It should be noted that Frida’s works are frequently traveling. Two of Frida’s most famous works, La Columna Rota and Self Portrait With Monkey, were absent on our visit.

The postcard-sized works we saw are suffused with symbolism. She frequently depicted suffering and loss, using her broken body in her art, having suffered from childhood polio at the age of 6, which left her a semi-invalid, exacerbated by an accident when she was 18, when a trolley car collided with the bus she was on.

Keep an eye out for peacocks in the trees!

A large bust of Diego sits in the gardens

4. The museum houses the largest collection of Diego Rivera’s art in the world.

Displayed within the cavernous rooms of the main house is a gallery displaying pieces from different periods of Rivera’s work. Arranged in chronological order, the collection starts with early works, including post-Impressionist and Cubist style paintings.

Not to be mean, but we can understand why Rivera called himself Rana-Sapo, or Frog-Toad

Cover the kiddies’ eyes! This is a portrait of the dancer Maudelle Bass Weston

Diego’s Portrait of Dolores Olmedo (La Tehuana), 1955

El Picador, a painting of a seated Spanish bullfighter, shows the influence of Diego’s time in Spain under the tutelage of one of Madrid’s leading portrait painters, Eduardo Chicharro

A guard told us we weren’t able to take photos here — until she spotted the sticker that signified we had paid extra for this privilege. We’re not sure if the same rule would have applied with the Frida collection.

If you pay a little extra, you can take pics of the artwork

Portrait of Pita Amor, 1957, the year Rivera died

In the Outskirts of Toledo (The Old Men) reflects the influence of El Greco, whose work Rivera studied while living in Spain

Prized pieces from Olmedo’s pre-Columbian collection are distributed among the museum’s rooms — a result of her relationship with Rivera, whose passion for these artifacts is as legendary as the man himself. An entire wall holds effigies known as Colima dogs, depictions of Xolos in terracotta, an essential accessory found buried in ancient tombs throughout Northwestern Mexico. As mentioned, these totems were used to protect and guide the deceased’s spirit through the dangers of Mictlán, the Realm of the Fleshless, or to continue to serve their owners in the afterlife.

Olmedo’s collection of pre-Columbian Colima dogs, which were buried with the dead to guide them on their journey in the afterlife

In a room that was once the hacienda’s chapel are preliminary concept sketches for murals that illustrate the extensive planning required for these large-scale works. A mobile fresco, Frozen Assets, which Rivera did for MoMA, the New York Museum of Modern Art, in 1931, which was his commentary on capitalism and its inequality. The skyline is composed of NYC skyscrapers, the Daily News Building, Bank of Manhattan Building, Rockefeller Building and Chrysler Building among them. A steel and glass structure filled with scores of sleeping men, or possible corpses, (the “assets”) are watched by a guard. Beneath it all is a bank vault with a man seated on a bench, waiting to examine his earnings.

Rivera was a fervent collector of ancient Mexican artifacts

Frozen Assets by Rivera, 1931

The final gallery contains a series of sunsets painted from the balcony of Olmedo’s house in Acapulco, which reminded us of Claude Monet’s Impressionist study of haystacks.

Adam and Eve are depicted on this massive Tree of Life, a common theme reflected in traditional Mexican folk art

5. You can take a tour of Mexico at the Museo de Arte Popular, or Folk Art Museum.

The gallery that houses this collection is named for the curator Fernando Gamboa. Filled with artifacts acquired by Olmedo from Mexico’s diverse regions, the folk art collection is touted as one of the most important in the world. In the 1920s, when Mexico’s roots were mostly rural, the popular arts and crafts movement became widespread, and was part of the new definition of national identity. On view are masterworks in glass, ceramic, papier-mâché, wood and tin, folk techniques passed down through generations by village craftspeople.

An ofrenda to Rivera concludes The World of the Dead exhibit

6. End your visit with whimsical ofrendas from various historical epochs.

The Day of the Dead is a popular festival for families to remember and celebrate departed ancestors, and Doña Lola was known for her elaborate ofrendas, “offerings” dedicated to the deceased. Olmedo explored new ways to incorporate the traditional with the world of contemporary art. The theme at this portion of the museum, near the entrance and gift shop, varies from year to year, and on our visit was El Mundo de Los Muertos, The World of the Dead. The exhibit takes you on a journey through the funerary legacy of civilizations throughout history: Babylonian, Egyptian, Chinese, Nordic and Mayan, complete with a priest performing a human sacrifice atop a temple.

We found ourselves comfortably spending about two and a half hours at the Museo Dolores Olmedo, delighted by the peacocks, the grounds, folk art and, of course, the works of Mexico’s most famous artist couple.

Duke enjoying the gorgeous setting of the Olmedo estate

Cost for admission is about $5, with a small additional fee for photography. The museum is free on Tuesdays, though it’s certainly worth 5 bucks not to deal with the extra crowds. –Duke

Stop by the Museo Dolores Olmedo after a morning along the Xochimilco canals

Museo Dolores Olmedo
Avenida México 5843
La Noria
16030 Ciudad de México
CDMX
Mexico

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The Creepy Witch Market at Mercado Sonora

Head to the back left corner to enter a world of magic potions, Santeria, brujeria, voodoo dolls and Santa Muerte.

When you start seeing skeletons, you’ll know you’ve found the witch market.

Ever since Duke and I stumbled upon a witch market in a corner of the souk in Marrakech, Morocco, we’ve been addicted.

What’s a witch market, you ask? It’s sort of like a farmers market — only with a lot less local produce and more skulls and potions. Filled as they are with often disturbing items, witchcraft markets appeal to our warped sensibilities.

“We noticed a life-size skeleton wearing a wedding dress, a string of pearls around its neck and a tiara atop its skull.

We had found the witch market.”

Our Uber dropped us off at the sprawling Mercado Sonora in Mexico City in front of a line of yellow awnings. At first we wondered if we would even be able to find the section that contained the witch market. Stall after stall stretched out before us, filled with brightly colored, super-sized stuffed animals like those you hope your honey will win for you at a carnival. Some stalls had lights swirling like a discotheque and housed banners and other decorations that screamed, “¡Feliz Cumpliaños!” Women sat under large cutouts of Disney princesses, Mickey Mouse and superheroes. Piñatas hung from the ceiling. Men tried to tempt us with rows of technicolor candies.

The back right corner of the Sonora Market has live animals in cages.

As we wandered toward the far right-hand corner of the massive market, we started noticing a disturbing trend: This was where live animals were sold. We witnessed a young boy dump a cardboard box of full of puppies onto the floor and hastily put them into a cage near crates packed with birds, lizards, cats, rabbits and goats.

I stopped to take a picture of a cage full of mangy-looking puppies, but a man wagged his finger at me, saying, “No fotos” in a stern voice.

“I’m not surprised,” Duke mumbled. “He doesn’t want documentation of how inhumane this is.”

It really was quite depressing. So we were relieved when, as we moved to the left, still at the back of the market, we noticed a life-size skeleton wearing a wedding dress, a string of pearls around its neck and a tiara atop its skull.

We knew we were in the right place. We had found the witch market.

The Catholic church isn’t fond of Santa Muerte and has called her worship blasphemous.

Santa Muerte and Santería

The figure we happened upon is Santa Muerte, the goddess of death, a popular figure in Mexico. The stall took up a corner space, more of a small boutique. We looked around, seeing strings of beads, skeletons carved from bone (Duke still regrets not having bought one), candles in glass containers and a stone head with cowry shells for its eyes and mouth. I called Duke over. This last item was just the type of unexpected and slightly disturbing thing that he would love. We of course purchased it, for 100 pesos, or $5.

By the way, at markets in Mexico City, unlike those in Southeast Asia or Morocco, for instance, you’re not expected to bargain. The prices are set, but that’s OK, as you’ll find that most of them are quite reasonable.

The man who ran the stall was friendly, and grabbed a pen and paper when I asked him to write down what the head is called.

“Elegua,” he scribbled. I later found out he’s the god of beginnings and endings in Santería. He’s a bit of a trickster, which explains why I was so drawn to him.

Stalls filled with Catholic icons are side by side with ones selling Santería and brujeria totems.

We made our way through the labyrinth of stalls, surprised that they didn’t connect in any sort of logical manner. You would wind through a narrow space and then find yourself at a dead end, having to backtrack. The market was pretty crowded when we were there on a Sunday morning — “These are all the naughty people who should be in church,” I told Duke — and there was still a bit of jostling in the corridors as people stopped to look at goods or tried to pass by. Every now and then, a vendor would appear, carrying a stack of large boxes, and you’d have to press yourself against the wall to let them pass. It wasn’t long before Duke was feeling claustrophobic.

But I wasn’t done exploring this weird and wonderful market.

You can buy a baby Jesus in all sizes and skin colors.

Brujeria Meets Catholicism

What’s strange about brujeria, or Mexican witchcraft, is that it exists alongside Catholic beliefs. Whereas the mere whiff of something witchy prompts Christians in the United States to scream, “Satan!” Mexicans are much more sanguine. In the heart of the witch market, you’ll find statues of saints and baby Jesus dolls, Virgins of Guadalupe and crucifixes galore right next to the scythe-wielding Santa Muerte, looking like the Grim Reaper’s soulmate.

Santería and similar religions started amongst descendants of African slaves in the Caribbean.

Mexican Catholics don’t see any problem with mixing the worship of Jesus and the Virgin Mary with magic potions.

As we wandered down a narrow corridor, something caught my attention: what was obviously a Barbie doll, entirely covered in red ribbon with a few nails stuck into it. The vendor told me it was a voodoo doll, but an expensive one, he said, apologetically. You see, it cost 100 pesos, or a whopping $5. He showed me a package of smaller, cheaply made dolls, pointing out how much more affordable they were. But I naturally had to have the other one.

You’ll see quite a few of these creepy but artistic dolls hanging in stalls. They’re representations of Santería deities.

Here’s Lucero Mundo, god of the crossroads and bestower of spiritual power.

At stalls in the witchcraft market, creepy dolls hung on the wall, some with their eyes and mouths sewn shut. One that immediately appealed to me had its face painted half red, half black. Sage smoke from a burning smudge stick filled the dark corridor, making me a little lightheaded. The vendor appeared intimidating — an intense young man with long hair, numerous piercings, tattoos down his arms and triangular studs in his earlobes. But he turned out to be friendly and wrote down the name of the god represented by the red-and-blacked-faced doll: Lucero Mundo, or Light of the World. He’s a deity from Palo, a Santería-like religion that originated in Cuba amongst descendants from the Congo. A god of the crossroads, Lucero witnesses everything, and without his consent, no spiritual power will flow. He seems connected with the aforementioned Elegua.

Whether you want money or love, there’s a potion you can buy in the witch market.

Potions and Notions

Brightly colored bottles and boxes promised the solution to any problem. Got a crush? Spray some Ven a Mi (Come to Me). Want a successful small business? Spritz some Llama Cliente (Call Customers).

I’m not sure if you’re supposed to drink these potions, but I wouldn’t put those toxic-looking, neon-colored bottles to my lips no matter how desperate I was.

Head to the back left corner of the Mercado Sonora to find the witch market.

“I was thinking there’d be more desiccated animals,” Duke sighed. These are the types of things that disappoint us. But then, as if he had conjured it by sheer willpower, we almost walked right into some sort of flayed ball of fur, which looked more like a cross between roadkill and beef jerky. It was hardly recognizable as having once been a small animal. We have a taxidermied squirrel climbing our wall, a dried-out bat in our living room and a desiccated chameleon inside our glass-topped coffee table. But this macabre monstrosity was too much, even for us. –Wally

Nacimientos, or nativity scenes, galore

Mercado Sonora and the Witch Market
Fray Servando Teresa de Mier 419
Merced Balbuena
15810 Ciudad de México, CDMX
Mexico

The Colorful History of the Kiosko Morisco in CDMX

Take a step back in time and visit this Mexico City hidden gem, a relic from a world exposition.

The Moroccan Pavilion is a fun place to spend part of an afternoon wandering Mexico City

After visiting the futuristic Biblioteca Vasconcelos, Wally and I made our way over to the neighborhood of Santa María la Ribera in search of the 19th century Kiosco Morisco, the Moroccan Pavilion.

It’s an unusual sight for Mexico City — something you’d imagine seeing in the South of Spain. Moorish in style, the octagonal edifice is supported by slender columns crowned by a dome of glass and iron in the center with a bronze eagle devouring a snake on top, the symbol of Mexico. An elaborate relic from the long-forgotten World’s Industrial and Cotton Centennial Exposition held in New Orleans in 1884, the Neo-Mudéjar landmark can be found at the intersection of Dr. Atl and Salvador Díaz Mirón, in the center of the Alameda de Santa María de la Ribera park.

“The Kiosko Marisco earned the nickname the “Mexican Alhambra Palace,” as stylistically it incorporated elements that reflected the palace in Granada, Spain. ”

Wally can’t say no to fresh fruit sprinkled with chili powder

Since we were both a bit hungry when we arrived, Wally ordered diced watermelon, topped with chili and lime served out of a large plastic tumbler from one of the park vendors. He had been hoping for mango, but the friendly woman running the cart told him it was out of season.

A drawing of the Kiosko Morisco when it was part of the world expo in New Orleans

From New Orleans to CDMX

The kiosk was conceived by architect and engineer José Ramón Ibarrola, and made its first appearance as a part of a large-scale exhibit representing Mexico on the word stage. Ibarrola had spent several years studying metallurgy in the United States, where he became friends with Andrew Carnegie. When it came time for the structure to be manufactured, it was agreed that it would be forged at Carnegie’s Union Mills Steel Foundry in Lawrenceville, Pennsylvania, and then shipped to Louisiana for the exposition.

The style is Mudéjar, a mix of Spanish and Moorish architecture

The pavilion is the centerpiece of Santa María la Ribera Park

Duke in the kiosk

Wally hanging on one of the columns

Comprised of several Mudéjar-style arches and slender columns, the attraction was a hit and was originally known simply as the Octagonal Building. However, it soon earned the nickname the “Mexican Alhambra Palace,” as stylistically it incorporated elements that reflected the Nasrid dynasty palace in Granada, Spain.

Tropical foliage framed by the pavilion’s arch

The kiosk served as the mining pavilion at the expo and contained large glass vitrines used to display precious stones and minerals. Visitors could only see them by circulating around the center, where the apex of an elevated pyramid culminated in a large onyx stone.

In an excerpt from La Memoria de la Exposición de New Orleans, Eduardo Emilio Zárate was quoted as saying:

The building, generally known as “The Mexican Alhambra,” is extremely popular. It is a beautiful miniature that imitates the historical palace of Granada well. Here are to be found the countless beautiful samples of the rich and almost inexhaustible mineral wealth of the country of Moctezuma.

After the expo closed, the structure was dismantled and shipped to Mexico City, where it was rebuilt in the grand Parque Alameda Central in the Centro Histórico. While there, it briefly served as the location where locals came to witness the announcements of the winners of the National Lottery draws. In 1910 it was dismantled once again and relocated to its third and current location. (President Porfirio Diaz ordered the Neoclassical Juárez Hemicycle monument to be built on the site where the kiosk formerly stood.)

During transport, it lost the stained glass windows that enclosed the bays, transforming the kiosk from an enclosed space to the open pavilion seen today.

In 1972 the National Institute of Anthropology declared the pavilion a historical monument, and it underwent restoration in 2003. It’s fitting that the Universidad Nacional Autónoma de México Geology Museum, containing cabinets filled with fossils and minerals, is located nearby, given the kiosk’s past history.

Atop the dome, an eagle attacks a snake — Mexico’s national symbol

Be sure to look up

Bright colors, pretty patterns and perfect symmetry add up to a visually pleasing attraction

A girl scoots past a cornhusk wreath seller

Inside the kiosk we sat for a moment and simply enjoyed people-watching. A young couple and their choreographer caught our attention as they practiced their salsa routine. Outside the pavilion, local seniors also danced to salsa music, pausing only briefly after each song ended. While we waited for our Uber (you should Uber everywhere — it’s dirt cheap and safe), we watched a quaint vignette play out before us: A young girl on her bright pink scooter paused in front of a man selling handmade wreaths woven from cornhusks.

The colonia of Santa María la Ribera was designated a Barrio Mágico (a “Magical Neighborhood”) in 2011, and after visiting the enchanting Kiosko Morisco, you could easily spend an afternoon wandering the pedestrian-friendly area, enjoying its nostalgic feel and low-key vibe. And if you get hungry, maybe grab a beef stroganoff-filled empanada at Kolobok, a restaurant serving Russian fare on the corner of Dr. Atl. –Duke

The pavilion has been moved around but has found a home in Santa María la Ribera

Kiosco Morisco

Calle Salvador Díaz Mirón S/N
Sta María la Ribera
06400 Ciudad de México, CDMX
Mexico

Ignacia Guest House: A Colonia Roma Gem in Mexico City

Looking for Mexico City hotels? Book one of the color-themed suites at this charming and chic boutique hotel in one of CDMX’s safest neighborhoods.

The back courtyard of Ignacia, with its cactus garden and fountain, lies between the old house and the new suites

In Chicago it had begun to feel a lot like winter and we’d already experienced our first snowfall. So the opportunity for Wally and I to temporarily escape the cold weather for sunshine and 70-degree temperatures in Mexico City (aka CDMX) was just what the doctor ordered.

The staff serves up a different cocktail each evening at this al fresco bar

The Ignacia Guest House

The first thing I do when planning a trip is secure lodging. In my research, I had discovered a couple of charming neighborhoods, or colonias — one of which was Colonia Roma.

This charming tree-lined neighborhood, filled with a mix of Neoclassical, Art Nouveau and Art Deco architecture, is the setting for Alfonso Cuarón’s latest movie, the critical darling Roma. Located on Jalapa Street, one of these historic gems is the Ignacia Guest House, which was our home away from home for five nights. The stylish boutique hotel takes its name from its former beloved housekeeper Ignacia, who lived and worked at the house for more than 70 years.

This woodcut, off the check-in area, shows the beloved housekeeper-cook-nanny Ignacia as a young woman

And here’s the other woodcut of Ignacia, as an older woman. Note the signature cows below

Inside the former estate, the palette is restrained to pale pink-colored walls, which truly allows the custom furnishings, lighting and artisanal objects chosen by interior designer Andrés Gutiérrez to shine.

The front sitting room at the hotel

A variety of magazines and other publications are available

(Make sure to check out the super-chic bathroom with its oxblood channel tufted wall panels and illuminated vanity mirror located next to the reception desk — you’ll thank me later.)

On every trip I become obsessed with a particular item, and in this case it happened to be the burnished terra cotta vacas, or cows, that could be seen atop the console table beneath a woodcut image of Ignacia in the main house and on the countertop of the patio bar. Romina Argüelles, one of the guest house managers, told us that the artisans who make these only create one or two per year. Needless to say, there’s quite a waiting list.

Across from the breakfast seating area is the small library

Elements of the historic mansion, which dates to around 1913, have been lovingly preserved and restored, including the window frames, doors, wood floors, ornate plasterwork and pressed tin moldings. That’s thanks to Fermín Espinosa, architect and cofounder of Factor Eficiencia, a Mexico City-based design and construction firm. While the common rooms have been repurposed, the largest and most luxurious suite, Negra, is the only one located in the former mansion and is connected to the additional rooms by an enclosed steel and glass corridor.

This glass corridor leads from the original house to the new modern wing

Between the two structures is an intimate central courtyard patio containing cacti typical of Oaxaca, with ivy-covered walls and a rectilinear steel-clad fountain gently gurgling in the middle. The garden also contains a pair of majestic orange trees planted by Ignacia herself after she began working at the house in 1929.

Looking down upon the courtyard patio

Wally and Duke, mimicking a shot they had seen of a gay couple taking wedding photos the day before

The view from our room’s door. You can see Ignacia’s orange trees to either side, along with the balcony of the Negra suite

The modern two-story addition stands just beyond the original home and is a geometric combination of glass and steel where the other four monochromatic suites, Rosa, Amarilla, Azul and Verde, are found. The palette was inspired by Ignacia’s memories of growing up in the town of Guerrero.

Breakfast is made daily from scratch in the kitchen, the recipes culled from Ignacia’s extensive repertoire. Each breakfast comes with freshly squeezed orange juice, a choice of coffee or espresso drink, seasonal fruit with muesli, yogurt and honey, and a basket filled with buttery puff-pastry orejas — as well as a main dish. One nice touch: They remembered how we liked our coffee the following morning, and every morning thereafter, bringing me a café americano and Wally his latte with leche light, the local colloquialism for reduced fat milk.

Where breakfast is served each morning

The curlicue pastries they call orejas, or “ears,” a main dish (this one with cecina, rehydrated salted dried beef) and coffee

Another delicious breakfast from Ignacia’s recipe book

After our first breakfast, the delightful Romina checked in with us to see how our flight was and gave us a quick tour of the guest house, pointing out the two woodcut portraits of Ignacia by the artist Pau Masiques and commissioned by the property’s co-owner Gina Lozado. One depicts the Ignacia at the age of 16, the other at 87. “She was the heart of the home,” Romina told us. As she finished the tour, she let us know that cocktail hour is held between 5-7 p.m. “Maybe we’ll have some local snacks,” she said with a grin. I had a sneaking suspicion of what that might mean.

The Azul room

Azul Like It

We stayed in the Azul suite located off the central courtyard to the left. Our room included a screen print of the Castillo de Chapultepec by graphic designer Miguel Alpulche and maple flooring with inlaid dark walnut arrows that led us to guess, correctly, that it was reclaimed from bowling alley lanes!

There’s plenty of storage in the rooms, including this dresser

A Nespresso machine sat atop the dresser and we were told that the television is set up with Netflix, a nice feature we didn’t bother to use. There’s artesian bottled water from Casa del Agua adorned with line drawings of whimsical steampunk contraptions (never drink the local water, and use bottled water even when brushing your teeth!), and natural bath products by CDMX brand Loredana inside the bathroom, which is covered floor to ceiling in Carrara marble.

When we visited in November, the weather was in the 70s, so we spent a lot of time in the courtyard

Courtyard Cocktails and Our First Crickets

The courtyard patio was also where we returned in the evening to enjoy cocktails and snacks at the bar. Our first evening, the cocktail was a refreshing combination of freshly squeezed fruit juice, mezcal and an ancho chile liqueur rimmed with sal de gusano, pulverized maguey worms with chili powder, and garnished with a sprig of mint, which reminded me of the rebujitos Wally and I enjoyed in Seville during Feria.

We struck up a conversation with Magda Navarrete, another one of Ignacia’s managers, who asked if we’d be interested in trying a local snack. I perhaps too eagerly agreed. When she returned from the kitchen, she had a small ramekin filled with crispy, salted chapulines, or grasshoppers. She was so endearing, we figured what the hell, we might as well try it.

I popped the grasshopper into my mouth. “Respect!” Magda called out. Wally, meanwhile, grimaced as he swallowed his chalupine. “It’s not bad — except when you feel the little legs catching on your throat,” he said.

If you’d prefer to embark on a hands-on culinary adventure, you can take a cooking class and spend the day with chefs Beto Estúa and Jorge Fitz at Casa Jacaranda, located in the same building as the Ignacia.

Duke and Wally imitating Ignacia’s pose

With so much to see, it was impossible for us to fit everything on our original itinerary into one trip. Wally and I are already dreaming of our next visit to CDMX and staying in one of the suites at 208 Jalapa Street. And while the spirit of Ignacia may have lent the property its character, it was the incredible staff that made our experience memorable. –Duke

A chic and friendly option in one of the safest neighborhoods in Mexico City

Ignacia Guest House

Jalapa 208
Roma Norte
06700 Ciudad de México
CDMX
México