Going for Baroque: The Templo de Santo Domingo de Guzmán Church in Oaxaca

From its fascinating history to its stunning Baroque architecture, the Templo de Santo Domingo de Guzmán Church is a must-see attraction in Oaxaca.

Like most churches in Mexico, the Templo de Santo Domingo de Guzmán in Oaxaca has got history, style, beauty, drama and a whole lot of swag. 

Holy History: The Evolution of Templo de Santo Domingo de Guzmán Church

Construction of the church began in 1572 and was completed over three decades later, in 1608. The building was designed by Fray Francisco de la Maza, a Spanish architect who was a member of the Dominican Order. 

“Inside the church, visitors are treated to a riot of color and decoration.

The walls and ceilings are covered in frescoes of the life of Christ and the history of the Dominican Order.”

Also par for the course: The church was built on the site of an existing temple that was destroyed during the Spanish conquest of the region. The original temple was dedicated to Cosijoeza, a Zapotec ruler from the late 15th century. He was a skilled warrior who fought against the Aztecs and other neighboring tribes to defend his people’s land and culture. He acted as shaman and healer as well, and was said to have possessed great spiritual power.

According to legend, Cosijoeza ascended to the heavens after his death, becoming a god who watches over the Zapotec people and protects them from harm.

During the colonial period, the Templo de Santo Domingo de Guzmán was built as a symbol of the power and wealth of the Catholic Church and the Spanish colonial authorities. The church was lavishly decorated with gold leaf, marble and other precious materials, and it served as a center of religious and cultural life in Oaxaca.

In the 19th century, the church played an important role in the Mexican War of Independence, serving as barracks for both royalist and insurgent forces at different times. After Mexico gained independence from Spain in 1821, the church continued to be the spiritual heart of Oaxaca, and it was eventually designated as a national monument in 1935.

Today, the Templo de Santo Domingo de Guzmán is one of the most visited tourist attractions in town, attracting thousands of visitors each year.

What’s in a Name? The Legacy of Santo Domingo de Guzmán

Saint Domingo de Guzmán was a Spanish priest who lived in the 12th and 13th centuries. He founded the Order of Preachers, also known as the Dominican Order, which was dedicated to preaching the gospel and combating heresy. Saint Domingo was known for his zeal and devotion to spreading the teachings of the Church.

There was no dramatic act of martyrdom for Santo Domingo, though: He died of a fever in Bologna, Italy in 1221, and was canonized by the Catholic Church in 1234.

Divine Design: The Intricate Baroque Style of Templo de Santo Domingo de Guzmán Church

Mexican churches tend not to be subtle. The Templo de Santo Domingo de Guzmán Church is a masterclass in Baroque architecture, a visual feast, with intricate details both inside and out. The exterior is adorned with elaborate carvings and statues, featuring saints, angels and other religious figures. The façade is made of Cantera verde, the local green volcanic stone, which glows a lovely yellow in the sunshine. Three domes top the templo — two blue and white checkered ones atop the entrance and a larger red tile one to the side.

When we saw this woman posing in front of the church, we had to get in on the action.

Inside the church, visitors are treated to a riot of color and decoration. The walls and ceilings are covered in frescoes and murals featuring scenes from the life of Christ and the history of the Dominican Order.

The altarpiece, which was carved from a single piece of cedar, is gilded with gold leaf and decorated with intricate carvings of saints, cherubs and other religious motifs.

To the right of the nave is the Capilla del Rosario, or Chapel of the Rosary, with its own stunning altarpiece.

View fullsize

View fullsize

View fullsize

View fullsize

View fullsize

View fullsize

View fullsize

View fullsize

View fullsize

View fullsize

View fullsize

View fullsize

View fullsize

View fullsize

View fullsize

View fullsize

View fullsize

View fullsize

There’s a museum attached to the church. Hopefully it’s open when you visit!

Sacred Treasures: The Artifacts and Exhibits of the Templo de Santo Domingo de Guzmán Church Museum

There’s a museum in the massive edifice as well, to the left of the main church entrance. Unfortunately it was closed when we visited, but it holds an impressive (and surprisingly diverse) collection of religious art, including paintings, sculptures and tapestries, housed in the former monastery of the Dominican Order.

One of the highlights of the museum is the collection of pre-Hispanic artifacts, including pottery, sculptures, and other objects from the Zapotec and Mixtec cultures. You can also see a wide range of religious art from the colonial period. There’s even a collection of contemporary art, with rotating exhibits featuring the work of local and international artists, as well vintage photographs and cameras. 

As our friend Kevin, who lives in town, says, “There’s a parade or festival every day in Oaxaca.” This indigenous dance troupe performed in the plaza in front of Santo Domingo de Guzmán.

When you’re in Oaxaca de Juárez, you’ll inevitably find yourself passing by the massive Templo de Santo Domingo de Guzmán. Be sure to stop inside and admire the gilded glory — and plan a tour of the Oaxaca Botanical Garden (Jardín Etnobotánico de Oaxaca) on the grounds of the former Dominican monastery behind the church. –Wally

Templo de Santo Domingo de Guzmán

Calle Macedonio Alcalá s/n
Centro
68000 Oaxaca de Juárez
Oaxaca
Mexico

 

The Marvelous Murals of the Sanctuary of Atotonilco

No surprise that this UNESCO site has been dubbed the “Sistine Chapel of Mexico.” Pair it with La Gruta hot springs for an easy day trip from San Miguel de Allende. 

Most of the murals at Atotonilco depict scenes from Jesus’ life, including his resurrection (top) and the Last Supper (just below).

We knew we wanted to pair our trip to La Gruta Spa with a visit to the Sanctuary of Atotonilco (a tough one to pronounce, but try, “Ah-toe-toe-neel-ko”). 

The trouble was, we didn’t know how we would get there. To get to La Gruta, we had to bum a ride from someone who works at our first stop of the day, the quirky Chapel of Jimmy Ray, because we couldn’t get any cell service to call a cab or Uber.

Most of the murals at Atotonilco show scenes from the life of Christ, including the resurrection. The style is known as Mexican Folk Baroque.

I looked on Google Maps and determined that the church was only a 15-minute walk away. And once we got past the somewhat busy road that runs in front of the hot springs complex along a highway, we were able to walk on a peaceful cobblestone sidewalk. In fact, we started to see signs indicating that this is a pilgrimage route. So we followed them along a quiet road, Calle Principal, through a canopy of trees, and into a small village, where the church of Atotonilco can be found amid a few businesses and market stalls. 

Almost every inch of the walls and ceilings are covered in murals that date back to the mid-1700s.

“Pilgrims complete their journeys on their knees, wear hair shirts, tie cacti to their chests and wear crowns of thorns.

Atotonilco has also become a hotspot for flagellants — religious devotees who whip themselves to mimic the pain Jesus experienced en route to his crucifixion.”

The façade isn’t much — the wonders lie within.

A statue of Don Miguel Hidalgo y Costilla, a Catholic priest who, while waving a banner of the Virgin of Guadalupe taken from the Sanctuary of Atotonilco, delivered an impassioned speech for the people to break the yoke of Spanish oppression — and launched the Mexican War of Independence

From the — dare I say — bland exterior, you’d never guess at the gorgeous artwork inside. The façade consists of white walls devoid of decorations, aside from a window here and there. The wall around the church makes it feel like it’s more of a fortress than a sanctuary.

The main church was closed off when we visited — and we were surprised to see that it had plastic chairs instead of pews.

When we went, there was a crowd of tourists, mostly from Mexico, all pressing into the small space. For some reason, the church itself was roped off, with pink and purple plastic chairs in lieu of pews, and the altar visible in the distance. 

The frescoes were painted over three decades by a local artist, Miguel Antonio Martínez de Pocasangre.

There are supposedly quite a few chapels and niches inside the structure, but we were only able to go into the Capilla del Santo Sepulcro, or the Chapel of the Holy Burial — for a small fee. A couple of dioramas depict Jesus’ death on the cross. But it’s the intricate, gorgeous paintings, created by a local artist, Miguel Antonio Martínez de Pocasangre, that prompted UNESCO to declare this a World Heritage Site in 2008.

John the Baptist baptizes his cousin Jesus in the Jordan River in this mural at Atotonilco.

Judas, shown with a demon straddling his back, betrays Jesus for 30 pieces of silver, while a dog barks at him.

Most of the murals at Atotonilco show the life of Christ — though at least one is from the Old Testament of the Burning Bush talking to Moses.

The frescoes cover the main events of Christ’s life — his baptism by John the Baptist, the Last Supper, Judas’ betrayal, the walk to his crucifixion, his resurrection outside his tomb — though I did spot at least one Old Testament story as well: Moses and the Burning Bush. And there are words everywhere — even long passages of text. The walls are a Bible come to life. 

A holy water font surrounded by de Pocasangre’s murals

An indigenous ruler represents the Americas near the entrance of the church.

The walls of the sanctuary are like a book come to life — there are entire paragraphs in Spanish throughout.

The color palette is minimal — mostly salmon and tan, with some blue, brown, gold and bits of green acting as leaves on the curlicue motif, all set against the white walls of the church. 

A local priest, Father Neri, had a dream where Jesus told him to build a church. Neri did so, founding el Santuario de Atotonilco.

A Dream Come True

Atotonilco means Place of the Hot Waters in the local indigenous tongue. Father Luis Felipe Neri de Alaro had been preaching in the nearby town of Dolores but had fallen ill and decided to check out the curative powers of the thermal springs. 

While dozing under a mesquite tree one day, Father Neri had a dream in which Jesus wore the crown of thorns and carried the cross. Christ said that he wanted the spot where the priest was napping to become a center of penitence and prayer. Neri awoke, filled with divine inspiration, and did just that, founding el Santuario de Atotonilco in 1740. Another possible factor in determining to build the church here: The site was used in fornication rites among the indigenous peoples of the area, and Neri wanted to stop this practice.

Construction continued over the next 36 years. Neri commissioned de Pocasangre to paint the now-famous murals. The artist’s style is known as Mexican Folk Baroque — a blending of local traditions and the ornate flourishes of Flemish masters. 

The statue of el Señor de la Columna shows Jesus with a bloody back from being whipped. It’s paraded through town in a procession held the week before Easter.

Hair Shirts, Crowns of Thorns and Flagellation 

Meanwhile, Neri wanted to honor Christ’s wish in the dream he had — namely, that the sanctuary not just be a place of prayer but one of penitence as well. And Neri’s view of this was of a gruesome, physical variety. 

A symbol of flagellants is Christ tied to a column being whipped, as seen at the top of the image.

From the church’s origin, it has been a place of pilgrimage, with several weeks each year devoted to rites of penitence, drawing up to 5,000 pilgrims in a single week and 100,000 a year. The attached building consists of dormitories and dining halls to house the influx of pilgrims. 

Behind the church are dormitories and dining halls for the 100,000 pilgrims who visit each year.

And many of these pilgrims are hardcore. They complete their journeys on their knees, wear hair shirts (garments made of rough, uncomfortable cloth), tie spiked nopal cacti to their chests and wear their own crowns of thorns. Atotonilco has also become a hotspot for flagellants — religious devotees who whip themselves to mimic the pain Jesus experienced en route to his crucifixion. 

It would’ve been interesting, to say the least, to have been in the village during one of the times when the flagellants descended upon it. But, alas, the town was quite sleepy when we visited.

Looking back at the main entrance to the Sanctuary of Atotonilco

In 1994, the frescoes got a refresh — by the same team that worked on restoring the Sistine Chapel in Vatican City.

The sanctuary, with its numerous murals and frescoes, has been declared a UNESCO World Heritage Site.

Not surprisingly, after 200 years or so, the frescoes had faded. In fact, in 1994, the World Monuments Fund named Atotonilco one of the world’s 100 Most Endangered Monuments, which inspired a major restoration project that same year. The church was in good hands: Some of the team that had worked to restore the Sistine Chapel in the Vatican City helped breathe new life into these frescoes. In addition, the walls were cleaned, the foundations reinforced and a new drainage system installed.

In the Capilla del Santo Sepulcro, or the Chapel of the Holy Burial, there are scenes of Jesus appearing after his resurrection.

Jesus shows off his stigmata to prove that he was crucified and yet rose from the dead.

Duke and I did our best to snap some photos and move through the crowd, though the front of the chapel was a popular spot for family photos among the locals. 

The only area open for tourists when we visited was a side chapel that showed Christ on the cross — a popular spot for family photos.

Another diorama, this one to the right of the main altar, shows Jesus being taken down from the cross.

A statue of Joseph with baby Jesus on his shoulder, while behind him Veronica shows the veil she used to wipe Christ’s face while he was en route to Calvary to be crucified.

After about half an hour, we decided to head back. We lucked out and saw a taxi passing by as we emerged from the sanctuary. We waved it down and caught a ride back to San Miguel de Allende for a reasonable rate. –Wally

Follow the pilgrimage signs to reach the impressive Sanctuary of Atotonilco.

Santuario de Jesús de Nazareno de Atotonilco

Calle Principal s/n
37700 Guanajuato
México

 

---

Nuestra Señora del Carmen in San Ángel, Mexico City

A tour of this Colonial Baroque Catholic church built for the Discalced Carmelites in one of CDMX’s most charming neighborhoods.

Wally’s a bit obsessed with the domes of Nuestra Señora del Carmen in San Ángel in Mexico City.

Those domes! Those wondrous brightly tiled domes! I didn’t want to stop looking at them. There was something captivating about their faded glory. 

We spotted them in our Uber en route to el Bazaar Sábado, the Saturday Market in the charming CDMX colonia (neighborhood) of San Ángel. 

“Nuestra Señora del Carmen was built for the strangely named order of Discalced Carmelites (known colloquially as Barefoot Carmelites for their tendency to forgo footwear). ”

The church was founded for the order of Discalced Carmelites (aka the Barefoot Carmelites).

So, after we finished shopping at the market (and being told we couldn’t drink our beers while walking through the square outside), Duke and I knew we had to explore the church at the base of the hill. And thankfully, unlike in the States, we’ve found churches in Mexico to be unlocked any time we’ve wanted to go in. 

The church is designed in the Baroque Colonial style — with a plain façade and an ornate gilded altarpiece.

The Discalced Carmelites: Barefoot but Not Pregnant 

Design and construction of Nuestra Señora del Carmen was overseen by Fray Andrés de San Miguel between 1615 and 1626 for the strangely named order of Discalced Carmelites (known colloquially as Barefoot Carmelites for their tendency to forgo footwear). The order was established in 1562 by Saint Teresa of Avila, an epileptic Roman Catholic nun. 

The Barefoot Carmelite nuns stayed in their cloisters, “above all to lead a life of unceasing prayer in silence and solitude,” according to their official website. 

There’s more to the Carmen Complex than the church — including mummies!

El Carmen Complex

We weren’t able to wander the entire grounds, which includes a former convent and monastery that’s now a museum (complete with mummies!). 

The property extended quite far, and the scenic orchards are part of what attracted the aristocracy to make the neighborhood its home — giving birth to the colonia of San Ángel. 

The complex was taken over by the government after the War of Reform, which was fought between the Liberals and Conservatives from 1857 and 1860. The lefties won and subsequently greatly diminished the power of the Catholic Church, stripping it of most of its property. The local school was shut down and was used by the town council. Parts of the Carmelite grounds became a prison and barracks. 

The church, also known as the Templo del Carmen de San Ángel, is in the Colonial Baroque style — somehow austere in parts, such as the façade, and yet over-the-top ornate in others (that altarpiece!). 

The Baroque movement was all about drama — rounded edges and shimmering gold create a dizzying effect.

We spent some time exploring the church and all of its offshoot chapels, trying to be respectful of those praying within. Heavens knows we’ll be back to admire those beautiful domes — and to see the creepy mummies, of course. –Wally

Nuestra Señora del Carmen (Templo del Carmen de San Ángel)

Avenida Revolución s/n
San Ángel
Álvaro Obregón
01000 Ciudad de México
CDMX
México

 

The Alcazaba, the Fierce Fortress of the Alhambra

Tour the towers of the defensive outpost perched above the charming city of Granada in the South of Spain.

Start your tour of the Alhambra with the Generalife gardens and the Alcazaba fortress.

With the snow-capped peaks of the Sierra Nevada as a backdrop, it’s easy to see why the monumental fortress palace of the Alhambra is one of the most visited monuments in Spain, second only to the Sagrada Família in Barcelona. 

The complex of buildings was fittingly recognized as a UNESCO World Heritage Site in 1984, and served as residence to the Islamic sultanates of the Iberian Peninsula. Muslims ruled the region from the 11th to 15th century, until conquered by the Catholic monarchy in 1492. The Alhambra’s name comes from the Arabic al-Qal’at al-Hamra, or Red Fortress, owing to the reddish color of the clay-rich soil of the al-Sabika Hill ridge, where it rises from the terrain. That same ochre soil was used in the rammed, or compressed, earth brick walls of this impressive complex. 

“ A fortress doesn’t do any good if you simply open its doors to invaders.

But that’s exactly what King Boabdil did, after his fellow Muslims had ruled the region for nearly 700 years. ”

Touring the Alcazaba and the rest of the Alhambra made for a birthday Wally will never forget!

After literally taking time to stop and smell the roses in the gardens of the Generalife, we made our way to the Alcazaba, the fortress that once guarded the palace. We had booked our tickets for a guided tour (about 46€) months before, and a small group of ill-mannered and boisterous British tourists were part of our entourage. One of them was a doddering old man named Leslie, who frequently strayed from the group, and whose companions could be heard incessantly shouting, “Leslie! Leslie, come here!” to reel him back in. 

This is Leslie, wandering off again. “Leslie! Get back here!”

Plaza de los Aljibes, the Square of the Cisterns

Our group arrived at the Plaza de los Aljibes, the Square of the Cisterns, built after the Christian victory. The broad open space got its name from the underground cisterns built to collect rainwater below the square because the new occupants didn’t understand the complexities of the water channels the Arab engineers had created, leaving the aqueducts to fall into disrepair. Off to one side of the square lie the Nasrid Palaces, to the other, the Alcazaba.

The entrance to the Alcazaba, built by Muhammad I, the first sultan of the Nasrid dynasty

The Alcazaba Fortress

The austere military enclosure of the Alcazaba fortress is strategically positioned at the summit of the westernmost end of the monumental site, overlooking the city of Granada. Its construction is attributed to Muhammad I (who reigned from 1238-1273), the founder of the Nasrid dynasty. A stark contrast to the opulent and residential Nasrid Palaces, its primary function was to shield its inhabitants from external attacks. 

The separations in the defensive wall allowed archers to fire at invaders.

Of the whole set of structures within the Alhambra, the Alcazaba is the oldest. The north-facing walls were built atop the remains of a 9th century castle constructed for the Zirid dynasty, who were Berbers from Algeria, and incorporated into the foundation walls. Here, Muhammad I strengthened the enclosure walls and constructed three of its 30 imposing towers. Our group entered the fortress from the plaza through a doorway cut into the high east-facing wall. 

Torre del Homenaje, the Tribute Tower

Located at the northeast corner of the perimeter wall is the keep, known as the Torre del Homenaje, which could be translated as the Tribute Tower or the Tower of Homage. It’s one of the highest of the Alhambra and was strategically the most important, as it served both defensive and offensive purposes. The upright crenellated “teeth,” aka the battlements along the top of the tower, protected sentries from attacks and allowed them to fire arrows at intruders. Throughout its history, the tower served many functions, including as royal residence to Muhammad I and as a prison during the Christian occupation. 

The towers of the Alcazaba, the Torre de la Vela in particular, provide great views of the white city of Granada below.

Torre de la Vela, the Watchtower

The Torre de la Vela, the Watchtower, defiantly perches on the far west end of the hill, where the previously mentioned modest Zirid castle once stood. It served as a watchtower, and the interior consists of four floors plus the terrace and a subterranean dungeon—a kind of command center in the middle of the fortress. 

Wally and I climbed the narrow staircase to the top to take in the panoramic bird’s-eye view of the rolling Andalusian hills and Albaicín, Granada’s Moorish neighborhood. The terrace is crowned by a bell tower, added by the Christian kings in the 18th century, which was used to signal significant news to the general populace. 

There are many thoughts on the origin of its name. The literal translation of the word vela is “candle,” but one theory posits that the bell was brought from Castil de Vela, a municipality located in the province of Palencia. Then again, it could be connected to the verb desvelar, which means to keep awake, possibly referring to the sounding bell and its ability to awaken anyone below from slumber. In any event, the bell is rung every January 2 to celebrate the taking of Granada from the Muslim sultans.

The Alcazaba at the Alhambra is cool to tour — but just wait till you see the ornate Nasrid Palaces!

Torre Quebrada, the Broken Tower

This imposing monolithic tower stands within the shadow of the Torre de la Vela. I couldn’t find any specifics as to how it acquired its name, but one could presume that it suffered from seismic activity, or Napoleon's army, which decided to inflict damage by blowing up a few of the towers when they withdrew from the palace, petty and bitter at having lost the Peninsular War, which took place from 1808-1814. 

Visitors had to leave their weapons at the Puerta de las Armas.

Puerta de las Armas, the Gate of Arms

Originally, the Bab al-Silas, or Puerta de las Armas, the Gate of Arms, functioned as the populace’s primary entrance. The doorway probably got its name from its associated use: Visitors were stopped and required to leave their weapons behind before gaining access. 

Part of the Plaza de las Armas contains the ruins of the Barrio Castrense, the foundations of the residential dwellings for the royal guard and soldiers needed for the defense of the sultan. 

The foundations of the military quarters can still be seen in the Plaza de la Armas.

The Surrender of Granada by Francisco Pradilla y Ortiz, 1882, shows poor Baobdil turning over the keys to Granada to Ferdinand and Isabella.

Letting the Catholics In

A fortress doesn’t do you any good if you simply open its doors to invaders. But that’s exactly what King Boabdil did, after his fellow Muslims had ruled the region for nearly 700 years. 

On January 2, 1492, Ferdinand II of Aragon and Isabella of Castile ceremoniously entered Granada, curiously in Muslim dress. They set up court in the Alhambra declaring it a Casa Real, or royal residence. One of their first orders of business? Declaring that all Jews and Muslims had to convert to Catholicism or leave the country. –Duke

 

The Magnificent Parroquia San Juan Bautista

Don’t miss la Iglesia de Coyoacán, a striking example of Spanish colonial history and one of the oldest surviving houses of worship in Mexico City.

Add la Iglesia de Coyoacán to your itinerary when exploring this boho neighborhood.

After lunch at Los Danzantes, Wally and I made our way from the leafy Jardín Centenario and crossed Calle Carrillo Puerto, the street that separates the adjacent Plaza Centenario and Plaza Hidalgo.

Presiding over the south side of the Plaza Hidalgo and directly in our line of vision was the Parroquia San Juan Bautista, known locally as la Iglesia de Coyoacán, the Catholic church and former mission dedicated to Saint John the Baptist. The Spanish first introduced Christianity to the indigenous Nahuatl people in the early 16th century.

---

Read More:

A WALKING TOUR OF ARTSY COYOACÁN

---

In front of the church entrance is a cobblestone square that originally extended into what is now Plaza Centenario. During the colonial period, the square was used to host religious one act dramatizations known as autos sacramentales. Rather than completely abandon old beliefs, the missionaries adopted a strategy to spread the new faith by incorporating indigenous ritual practices that had similarities to Christianity.

A four-story bell tower, which was added later, in the 18th century, stands to the west of the main church and was once topped by a dome, lantern and cross. Sadly, the dome collapsed during an earthquake in September 2017.

The church was built on the site of a school for Aztec nobles.

“San Juan Bautista was built upon the site of a calmecac, a school for Aztec nobility, whose ruins still exist beneath the cloister. ”

The relatively plain façade is in the Herrerian style, named after Spanish architect and mathematician Juan de Herrera. This architectural style is characterized by clean geometric lines and is almost entirely absent of ornamentation, with the exception of grooved classical pilasters, columns of the Ionic order set into the face of the church. An inscription in Latin above the door translates to, “There is none other but a house of God, and this a gate of the heavens.”

The exterior is plain, but the interior is anything but, as this ornate altar attests.

Above in bas-relief, are the coat of arms of the Roman Catholic Order of Preachers, better known as the Dominicans. The petals of the fleur-de-lis cross symbolize the 12 apostles. Another carving depicts a sort of monogram of the Virgin Mary — a crown with the intertwined letters A and M for Ave Maria.

Gorgeous archways and ceiling frescos adorn San Juan Bautista.

Construction of the church happened in fits and starts, between 1527 and 1552, on land donated to conquistador Hernan Cortés by the native Ixtolinque chief, who was baptized into the Catholic faith under the name of Juan de Guzmán. Under the direction of the Dominican order, San Juan Bautista was built upon the site of a calmecac, a school for the sons of Aztec nobility, whose ruins still exist beneath the cloister. The original structure was designed as a basilica, with a simple rectangular floor plan used in temple architecture.

In 1934, the church was declared a historic monument by the government of the republic.

The sides of the church’s interior are gloriously gilded.

Going for Baroque

If you’re like Wally and me, you can’t go to a city without exploring a few churches, and the Parroquia San Juan Bautista did not disappoint. Stepping inside, we immediately noticed the exuberant interior, modified between 1926 and 1947 to reflect the prevailing Baroque style and reduced to a single nave flanked by seven small chapels on either side.

If it’s not Baroque, don’t fix it.

The ubiquitous Virgin of Guadalupe

Among the most striking works are the illusion-inducing ceiling frescoes depicting scenes from the life of Christ by Catalan painter Juan de Fabregat. Angels perch high above the column capitals lining the walls and culminate in the magnificent Chapel of the Rosary, with its lavishly decorated high altar embellished with the glow of gold leaf.

The ceiling depicts scenes from the life of Jesus, including the Sermon on the Mount.

It’s certainly worth popping into Coyoacán’s main church for a quick wander.

An angel guards over the dome at the front of the church.

We paused to admire the vitrine with (the admittedly creepy) el Cristo de los Milagros, Christ of the Miracles, with a mystical assemblage of gold and pewter milagros, healing charms, pinned to a sea of red ribbons. Milagros of a specific body part, such as a leg, are used in a prayer for the improvement for some condition associated with a leg, such as arthritis or a bad knee. Some of the milagros had photos of the person to be healed.

The creepy, life-size Cristo de los Milagros

If you want to be healed of an ailment, leave a milagro of the proper body part and maybe a photo, then tie a red ribbon and pin it to the wall.

Oh, baby! One of the strange icons to offer devotions to at the Iglesia de Coyoacán

Other works were designed to appeal to the emotions of the faithful and feature biblical depictions of the lives of the saints of the Franciscan order, including the Vision of Saint Teresa, the taking of the habit of Santa Clara, and the stigmatizations of San Francisco, Saint Domingo and San Juan.

Expect an inundation of elaborate ornamentation.

Converting the infidels

Gold-painted statuary and frills line the sides of the church.

Corpse-like mannequins can seem a strange inclusion to a church.

One of the niches on the right-hand side of the church

We passed through a doorway into a small chapel, where a small group of students was sketching. This led out to an arched arcade of Tuscan columns. This was the cloister of the convent, perhaps founded by Friar Juan de la Cruz, an indigenous man who spoke Castilian Spanish. Within the convent’s walls, Nahuatl people were baptized and taught the tenets of the Christian faith.

Out back you can explore the quiet cloisters.

This might have been where indigenous people were baptized into the Catholic faith.

A group of students was sketching when we visited.

Like the neighborhood itself, the church is a destination full of rich culture. So if you should find yourself in Coyoacán, make sure to spend some time exploring the Parroquia San Juan Bautista. Like us, you’ll be glad you did. –Duke

La Iglesia de Coyoacán

Parroquia San Juan Bautista
Plaza Centenario 8
Villa Coyoacán
04000 Coyoacán
CDMX, Mexico

A Tour of the Cathédrale Saint Sauveur

Looking for things to do in Aix-en-Provence? Travel through time at this historic church.

The Cathédral Saint Sauveur is one of the highlights of Aix-en-Provence, France.

Cathédrale Saint Sauveur
34 Place des Martyrs-de-la-Résistance
13100 Aix-en-Provence, France

Looking through the Gothic nave into what’s known as the choir

Tucked amongst the pastel-colored 17th century mansions and narrow streets of the charming vielle ville, or old town, of Aix-en-Provence, France lies one of its oldest and most interesting monuments, the Cathédrale Saint Sauveur. (Try pronouncing it something like, “Seh So-Vurr.) Rising majestically, it occupies the site where the ancient forum of Roman Aquae Sextiae once stood.

“During the French Revolution, the statues of the kings of France were decapitated.”

Good things come to those who wait: Construction of Saint Sauveur began in the 5th century and went on into the 19th century.

A Brief History of Saint Sauveur

Located at a point along what was the Via Aurelia, the principal highway from the Iberian Peninsula to Asia Minor during the dominition of the Roman Empire, the Cathédrale Saint Sauveur evolved in fits and starts, beginning in the 5th century. Delays between the laying of its foundation and its completion due to wars, la peste (bubonic plague) and lack of financing bear witness to the amalgam of ecclesiastical architectural styles that make up the religious landmark.

Did Jesus really knock up Mary Magdalene, who gave birth to their kid…in the South of France?!

Saint Maximinus and Mary Magdalene’s Voyage

According to Christian tradition, Saint Maximinus arrived in Provence from Bethany, a village near Jerusalem, accompanied by Mary Magdalene on a rudderless boat belonging to her brother, Lazarus. It was expected that they would perish at sea — however, the voyage brought them to the southern coast of France, landing in the city of Marseilles, where they achieved success in converting the French people to Christianity. In fact, Maximinus became the first Archbishop of Aix. He built a modest chapel here and dedicated it to Saint Sauveur, Christ the Savior.

There’s a popular theory (written about in Dan Brown’s The Da Vinci Code) that says Mary Magdalene was pregnant at the time of her journey — with the baby daddy being none other than Christ himself! The descendants of that child eventually married into the French royal family and started the Merovingian dynasty.

ANOTHER “DA VINCI CODE” CONNECTION: Saint-Sulpice and the Mystery of the Rose Line

Construction of Saint Sauveur began in the 5th century with the baptistery.

The Baptistery Rotunda

The oldest part of Saint Sauveur is the baptistery, which was built at the beginning of the 5th century and predates the current cathedral by almost 700 years. As the town grew, the cathedral was renovated in the 16th century in the Romanesque style, evidence of the growing economic clout of the Catholic diocese.

This is the area off to the right when you enter the cathedral, and indeed, it has an ancient feel to it.

This area of Saint Sauveur is thought to have been built atop a temple to Apollo.

Allegedly, French historian Jean Scholastique Pitton uncovered an artifact, the orphaned leg of a statue, while excavating the site. He presumed this to belong to the sun god Apollo, and this became the origin of the Provençal myth that the church was built atop a pagan Roman temple dedicated to Apollo.

The eight sides of the baptismal font represent regeneration — you’ll see octagons all over this part of the church.

Eight slender columns of granite and green marble with Corinthian capitals surround the octagonal Merovingian baptismal basin. It was fed by the warm waters coming from the Roman baths. Its eight sides are a symbolic number of regeneration.

As the cathedral was enlarged over the centuries, it became a mishmash of three main architectural styles.

A Tale of Three Naves

The cathedral consists of three naves, compositionally connected to one another but nevertheless clearly distinguishable. The north is in the Baroque style, the south Romanesque, which served as the main nave prior to the construction of the central Gothic nave.

Romanesque Nave

At the beginning of the 12th century, the principal nave was constructed next to the baptistery in the Romanesque style and dedicated to the Virgin Mary. The front of the nave was demolished during the 15th century and replaced with a new Gothic façade and bell tower.

The cloister, just beyond the baptistery and accessed through the Romanesque nave, was built next to the cathedral between the late 12th century and the beginning of the 13th century. It was reduced in size in the early 18th century to expand the west corridor. At the corners, pillars are decorated with bas-reliefs depicting the four evangelists: Matthew, Mark, Luke and John.

Gothic Nave

About 200 years later, further expansion occurred, and a second massive Gothic nave and apse were added. The wings of the transept were begun in 1285 and completed in 1316. Bay by bay, the Romanesque church was embellished and transformed in the Gothic style. This is the area you’ll see first if you walk straight into the cathedral.

There’s a real organ — and a fake one added for the sake of symmetry.

Baroque Nave

Just to the left of the Gothic nave as you enter the church, you’ll come to the small Baroque nave. To either side are green and gold organ cases in the Louis XV style, built by Jean-Esprit Isnard. The instrumental part by De Ducroquet dates from 1855. Both are listed historical monuments. An identical but false organ chest was built on the opposite side — just for the sake of symmetry.

Three saints can be found in the Baroque nave, including Marguerite of Antioch, off to the right, with an unusual-looking dragon.

A fascinating stone altarpiece commissioned by the Aygosi family, originally installed in the church of the Carmelites in Aix, can be seen in the Baroque aisle. Carved from stone by Audinet Stephani and installed in 1823, it depicts a variety of saints: Marcel, Anne with the Virgin Mary holding the infant Jesus and Marguerite of Antioch emerging from the shoulders of a dragon who had swallowed her whole.

Stained glass saints in Saint Sauveur

Apse and Artwork

The cathedral underwent extensive renovation in the 19th century. The nave was redecorated with painted and sculpted neo-Gothic elements added between 1857 and 1862.

In the Gothic nave, you’ll find a modern cathedra, a throne for the bishop. We think it looks more like something he’d take a dump on.

The choir gallery of the Gothic nave contains the high altar with a pair of carved giltwood angels, a modern sculptural cathedra, or bishop’s throne, which looks a bit like a gray tankless toilet backed by three wavy, glittering bronze panels symbolic of the Holy Trinity. Nineteenth century stained glass windows feature the coats of arms of high-ranking church clergy.

Check to see if the Triptych of the Burning Bush, by Nicolas Froment, will be on display when you visit.

The cathedral’s most famous work is the Triptych of the Burning Bush by Nicolas Froment. Commissioned by King René for his funerary chapel in the church of Les Grands-Carmes, it is considered one of the most beautiful 15th century paintings in Europe. Painted in 1475 and 1476, it has resided in the Cathédrale Saint Sauveur since the 19th century. Due to its fragility, they only open the case on specific days; sadly, ours was not one of those days.

Look for the Roman prophetesses lining the arch of the main entrance, among other sculptures.

Western Façade

With the completion of the nave, attention was drawn to the western façade, which was demolished and replaced in the Gothic style. Figures representing the Apostles flank the cathedral doors. Above the portal are the figures of 12 sibyls, pagan fortune tellers from antiquity, surrounded by foliage, fruit and flowers.

Holy Savior! They built a church for you!

During the French Revolution, the statues on the façade, believed to depict the kings of France, were decapitated, and the heads were lost. The current ones are replicas.

Careful, Saint Michael! I know you’re busy killing the Devil, but we don’t want you falling off the roof!

The centerpiece of the façade is a statue of the Archangel Saint Michael vanquishing Satan with a cross, made in 1507 by sculptor Jean Paumier.

If you’re in Aix-en-Provence, pull yourself away from the delightful open-air markets to spend an hour or so exploring the choose-your-own-architectural-adventure of the Cathédral Saint Sauveur. It’s a bit like traveling through time, as you make your way from the ancient baptistery to the modern bishop’s throne. –Duke

7 Fun Facts About the Milan Cathedral

What to do in Milan, Italy? Visit the gorgeous Duomo di Milano, covered with statues of saints and gargoyles — and don’t miss the amazing view from the rooftop.

View fullsize

Somehow the Milan Duomo was even more beautiful in the rain.

If there’s one thing you absolutely have to include on a trip to Milan, Italy, it’s the massive Milan Cathedral. (Unless, of course, your tastes lean a bit more to the macabre, in which case, I recommend spending an afternoon wandering the impressive artistic grounds of the Cimitero Monumentale — see the photos here.)

Locally, the cathedral is known as the Duomo, which confused me since there’s no visible dome like the one in Florence. Its white exterior features delicate carvings so fine you could almost imagine they were made of lace. Despite its size, it feels a bit dainty — odd for a church in the Gothic style.

“My favorite part of the Duomo is the part closest to Heaven: the rooftop, where you can look out at the bustling city beyond.”

Holy moley! Here are 7 stunning facts about this breathtaking cathedral:

View fullsize

Delicate spires topped with religious figures are part of the elaborately decorated Duomo.

1. The Duomo is big. Like really, really big.

In fact, it’s the second-largest Catholic church in the world, behind only Saint Peter’s Basilica in Rome — which was built after the Duomo. Milan’s cathedral takes up an entire city block.

View fullsize

A carving of David slaying the giant Goliath. Somebody send that boy to juvie!

2. It boasts more statues than any other building in the world.

That’s what the tourist literature tells you, at least. And it’s hard to argue: The entirety of the façade is covered with carved architectural elements portraying flowers, fruits and fantastical beasts, including delightfully grotesque gargoyles. There are plenty of saints sprinkled throughout as well. Sources disagree on the exact number, but it seems to be over 3,300 statues total, including about 100 gargoyles and 135 spires.

View fullsize

Milan’s most popular attraction, the cathedral, took over 600 years to be built.

View fullsize

How can this Christian take a nap with all those wolves baying?

View fullsize

The best part of the Milan Cathedral is its expansive rooftop.

3. It has the best views in the city.

My favorite part of the Duomo is the part closest to Heaven. You can go up to the rooftop (accessible by stairs and an elevator) and look out at the bustling city beyond, as well as get closer views of the needle-like spires, each topped with a religious figure.

View fullsize

The terraza atop the Milan Duomo is a popular (and absolutely stunning) hangout spot.

There’s one main area of the roof, the terraza, and, indeed, I wasn’t the only one with the bright idea to go up there. Businessmen in suits, young kids playing games and canoodling couples filled the space. Imagine having a rooftop like this as one of your regular lunch spots.

View fullsize

Wally wandered around to the back of the roof and found a quiet spot to read in the sun.

I noticed a side walkway and set off on an exploration. The path wound its way around the roof, underneath the arches of flying buttresses. The crowd thinned out, until it was just me and the odd visitor. I found a secluded nook, got out my book and read for an hour or so in the sun, atop one of the largest churches in the world, utterly delighted.

A Spire To Great Heights. Dedicated to St. Mary of the Nativity, the Gothic cathedral took nearly six centuries to complete. One of the main features of the cathedral is the Madonnina (Virgin Mary) spire, the highest point in the city. The statue that stands atop is gilded in over 6,000 sheets of pure gold foil. #duomomilano #duomo #italia #milan #italy #madonnina #gothicarchitecture  #travelblogger #exploremore #traveldeeper #mytinyatlas #wanderlust #traveltheworld #getaway #travelpics #tourist  #savoteur

A post shared by Wally & Duke (@notsoinnocents) on Aug 1, 2016 at 6:27pm PDT

4. One of the statues has gained fame and is part of a local legend.

The symbol of the city and patroness of the Milanese people, the gilded Madonnina (the Little Madonna), stands atop the main spire of the cathedral. The tallest of all of the many statues on the cathedral, the open-armed Madonna rises 354 feet high. Built in 1774, tradition holds that it must be the tallest man-made object in Milan. So, when a modern building surpassed this height, a replica of la Madonnina was placed atop it.

During World War II, the Madonnina was covered with a cloth for five years to avoid providing an easy target for fighter-bombers.

View fullsize

The Duomo is gorgeous at night as well.

5. The construction of the Duomo took over six centuries.

Archbishop Antonio da Saluzzo, supported in the endeavor by the Lord of Milan, Gian Galeazzo Visconti, began building the cathedral in 1386. At least 78 different architects from around Europe were invited to work on the structure, and construction dragged on. By 1418, they had decided it was time to consecrate the cathedral, even though only the nave was actually finished at the time.

For the next two centuries, construction continued, but politics, lack of funding and local frustration with a massive, seemingly endless project smack-dab in the middle of the city kept causing delays.

View fullsize

Napoleon helped finally wrap up construction of the Duomo’s façade — so he could be crowned King of Italy in the cathedral.

6. Napoleon played an important role in the Duomo’s construction.

How did the façade finally get finished? This was accomplished by none other than Napoleon Bonaparte, in the early 1800s, after he had conquered the city. He wanted to be crowned King of Italy in the Duomo and wanted the exterior completed beforehand. A generous (if vain) guy, he offered to pay all expenses — after a talk with the French treasurer. Seven years later, the façade was completed, and the ceremony took place as the diminutive leader wanted. This explains why there’s a statue of Napoleon atop one of the many spires.

Milan’s Navigli District is a restaurant and art hotspot.

7. The Duomo’s construction is responsible for the navigli, the city’s canal system.

The cathedral’s edifice is made of Candoglia marble from Lake Maggiore to the north of Milan. To transport it from the quarries, canals were constructed, some of which remain to this day. In fact, the Navigli District is quite a hotspot, known for its restaurants and art galleries. –Wally
 

The Gilded Glory of the Iglesia de los Santos Mártires in Málaga, Spain

View fullsize

The ornate interior of the Iglesia de los Santos Mártires in Málaga, Spain

As our photos attest, this church, dedicated to Ciriaco and Paula, the patron saints of Málaga, is a wonderment of Catholic excess.

It's quite unassuming from the outside. A trio of Mudejar-inspired brick-lined arches, devoid of ornamentation, carved into the side of the structure. No steps leading up to a grand entrance. You'd think it was a side entrance, situated as it is on a jag of a narrow street.

But inside! The Iglesia de los Santos Mártires (the Church of the Holy Martyrs) is utterly dazzling, white arches everywhere, lined in gold, gilded and glittering. Altars accented with slabs of marble, one a deep crimson niche. The style could be considered Rococo Loco.

“The Iglesia de los Santos Mártires is utterly dazzling. The style could be considered Rococo Loco.”

We entered, overwhelmed. Your eyes don't know where to focus. So we turned to our right and began to work our way around the edges of the church.

The first thing we saw was a lifesize statue depiction of the Last Supper behind a wrought iron fence. We couldn’t help but giggle. Sometimes the ostentatiousness of Catholics is astounding. But it makes for a fun exploration.

We walked the periphery of the sizable space, snapping away photos of the various niches, each with its own interpretation of the Virgin Mary and/or Jesus.

And unlike the city’s main cathedral, photography is allowed here.

The Patron Saints of Málaga

The church is dedicated to the two patron saints of Málaga: St. Ciriaco and St. Paula. These two were part of a Christian sect forbidden by the Roman Emperor Diocletian. The Christian community had a secret meeting place in Málaga. But on June 18, 303, Roman soldiers learned of the spot and raided it. Ciriaco and Paula were among those captured.

Even though they were tortured, the pair refused to renounce Christ. So they were tied to trees along the banks of the Guadalquivir River and stoned to death.

Not wanting anything that could be venerated, the soldiers built a massive bonfire to destroy the remains. But the skies opened up with a torrential downpour and doused the flames. When the soldiers left, the surviving Christians took the bodies and buried them in an unknown locale.

Fast forward to the Reconquista, when the Catholics started taking back the Iberian Peninsula from the Muslim rulers. A monk named Fray Juan de Carmona told the Catholic kings of a vision he had: Build a church dedicated to Ciriaco and Paula — and they would be victorious in the battle for Málaga in 1487.

It seems just the promise was good enough, for they did end up winning. They then dispatched a letter to Pope Innocent VIII, who approved construction of the Iglesia de los Santos Mártires.

Thus began a cycle of destruction and rebuilding from incidents including a cannonball (1854), earthquake (1884) and looting (1936).

In 1490, Ferdinand and Isabella appointed Ciriaco and Paula the official patron saints of Málaga.

Every June 18, there's a solemn procession through the historic quarter to honor the martyrs.

The church is home to four Semana Santa (Holy Week) brotherhoods.

Iglesia de los Santos Mártires, located in the city center, is certainly worth exploring. –Wally

RELATED: How to Enjoy Feria, Southern Spain’s Springtime Festival