Santa María la Mayor’s Islamic Roots and Catholic Grandeur

A repurposed mosque, a connection to Hearst Castle, Virgin Mary processional statues and rooftop views in Ronda, Spain. 

The unassuming façade of Santa María la Mayor reflects the adjacent Ayuntamiento (City Hall) and a Moorish minaret-turned-bell-tower. 

After enjoying a late lunch in Ronda, Spain, on the terrace at Don Miguel, the restaurant of the hotel with the same name, we agreed to visit the Iglesia de Santa María la Mayor (Church of Saint Mary the Great). Wally and I were traveling with our friends Jo and José and were delighted to have them as our local guides for the weekend.

The food was good, but the view overlooking the steep El Tajo gorge and Puente Nuevo bridge was even better. The limestone cliffs plunge 390 feet (120 meters) to the Guadalevín River below the bridge connecting the historic old town (La Ciudad) to its modern counterpart (El Mercadillo). 

“Architect Julia Morgan used the bell tower of Santa María la Mayor as the model for the ones at Hearst Castle, the estate of publishing tycoon William Randolph Hearst in San Simeon, California.”

Ronda’s iconic Puente Nuevo, or New Bridge, certainly isn’t “new” — having been completed in 1793 — but it is the most photographed.

As we navigated the cobblestone streets and approached the church, we paused to gaze up at its unusual double-galleried façade, which looks more municipal than religious. The balconies were added during the reign of Felipe II and were a privileged place for nobility to watch the equestrian tournaments held in the square.

José told us that the American architect Julia Morgan used the bell tower of Santa María la Mayor as the model for the pair at Casa Grande, the main house of Hearst Castle, the elaborate hilltop estate of publishing tycoon William Randolph Hearst in San Simeon, California.

Ronda didn’t just leave a mark on Hearst; it also captivated Ernest Hemingway and Orson Welles, both passionate bullfighting enthusiasts who found refuge here. Welles even chose to have his ashes interred in a dry well on the Recreo San Cayetano estate of his good friend, the matador Antonio Ordóñez, on the outskirts of Ronda.

A copy of the gorgeous illuminated Libro de Horas de la Reina Isabel (Queen Isabella’s Book of Hours). For some reason, the original is at the Cleveland Museum of Art. 

Sacred Transformation: The Evolution of Iglesia de Santa María la Mayor 

The church used Ronda’s principal mosque as its foundation. But long before that, the site was allegedly a Roman temple to Diana, goddess of the hunt. 

The conversion from mosque to church began in earnest following the Reconquista of Ronda by Christian military forces in 1485. By the following year, King Fernando II (1479-1516) reconsecrated it as an abbey dedicated to the Virgin of Encarnación.

A statue of Mary as the Queen of Heaven. One interpretation of the crescent moon she’s standing on is that it represents her perpetual virginity.

During the reign of Charles I (1519-1556), its status was elevated to “colegiata” — a collegiate church — led by a clergy of ordained ministers without the direct involvement of a bishop. Its official title is the Real Colegiata de Santa María de la Encarnación la Mayor de Ronda, but locals commonly refer to it as the Iglesia de Santa María la Mayor due to its 19th-century designation as a “high parish” or “parroquia mayor.” Mass is held on Sundays and public holidays at 1 p.m. and on Thursdays at 8 p.m. April through September. 

Traces of its Islamic past are evident in the square-shaped body and arched windows punctuating the bell tower’s brick exterior, which originally served as the minaret of the mosque. It was probably more cost-effective to appropriate and reuse than to completely rebuild. Even so, the renovation of Santa María la Mayor required substantial funding and took nearly two centuries to complete. 

The remains of the mihrab, a semicircular prayer niche covered with stylized Arabic calligraphy and indicating the direction of Mecca, is visible from within the vestibule. Beyond is the gift shop, where we purchased admission for 4.50€ or about $5 per person to gain entry.   

This three-tiered chandelier suspended from the central vault of the Renaissance nave includes 34 lights and 24,700 pieces of sparkling cut crystal.

Split Personality: The Interior of Santa María la Mayor 

Inside, the ornate space feels more like a cathedral than a church. Constructed in two phases, the Gothic half follows the floor plan of the former mosque, while the enlargement initiated after the earthquake of 1580 reflects the evolution of architectural styles that rose in popularity during its extended completion and renovations, including both Renaissance and Baroque elements.

This altar is an impressive example of Spanish Baroque, a style known for its exuberance, grandeur and rich decorative elements.

The Virgin de la Aurora shows Mary in her aspect as Our Lady of the Dawn, a beacon of hope and a source of spiritual guidance for Catholics.

Altar of the Sagrario

The central nave of the Gothic section features an ornate and detailed Baroque giltwood altarpiece. Standing within a niche beneath a Marian crown is the figure of the Inmaculada, the Virgin Mary, standing on clouds. She’s flanked by representations of her mother, Santa Ana; her father, San Joaquín; and the Arcangel San Rafael. Twisted Solomonic columns, covered with delicately carved grapevines and topped by Corinthian capitals, complete the tableau. During our visit, the revered image of the Virgen de la Aurora (Virgin of the Dawn) was displayed on an elaborate paso, or float used for processions.

The Christ child sits upon the shoulders of the giant Saint Christopher and holds a fancy rattle, er, globus cruciger, a small sphere with a cross affixed to its top, symbolizing his sovereign dominion.

Mural of San Cristobalón

The large-scale mural to the left of the altar depicts a larger-than-life San Cristobalón (Saint Christopher), the patron saint of travelers, carrying the baby Jesus upon his shoulders. It was painted by Rondenian artist José Ramos. 

The dramatic statue of Nuestra Señora del Mayor Dolor (Our Lady of Sorrows) depicts the Virgin Mary with her eyes cast heavenward, heart pierced by a sword, her hands clasped in prayer.

Altar of Nuestra Señora del Mayor Dolor

To the right is a highly ornate Churrigueresque-style altar framing a red velvet-lined niche holding the processional figure of Nuestra Señora del Mayor Dolor (Our Lady of Sorrows), which belongs to the religious brotherhood of the Hermandad del Santísimo Cristo de la Sangre. The sculpture depicts the moment when Mary learns that her son will die for the sins of mankind. Her eyes are lifted upwards and her hands are clasped, holding a rosary. Most dramatically, her heart is pierced with a silver sword, and a pair of cherubs flutter menacingly beneath her — one appears to be holding a hammer, and the other, pincers.

The Renaissance-period choir screen is embellished with imagery of the apostles and other saints and has a lectern stand holding a 16th century antiphonal (choir book). 

Coro

The choir screen was a Renaissance addition and features intricately carved cedarwood reliefs depicting the apostles and other saints. It’s no accident that it was placed strategically at the nave’s center as it served as a partition to divide the church into two social classes: aristocrats to the front and parishioners to the back. The lectern stand supports a 16th century antiphonal (choir book), its musical notations intricately inscribed on pages made of vellum. 

The high altar of Santa María la Mayor has an elaborately carved wooden canopy that showcases the Holy Spirit, the Archangel Gabriel and the Virgin Mary.

Baldaquino of the Altar Mayor

One of the most striking elements of the church is the impressive baldaquino, or canopy, located on the high altar under the central dome of the Renaissance nave. Carved from wood, it consists of four slender, finely carved Solomonic columns that support a towering highly decorated cupola topped by an angel. 

The original altarpiece was destroyed during the Spanish Civil War (1936-1939) and replaced by the baldaquino from Nuestra Señora de los Ángeles (Our Lady of the Angels). 

Within the ornate structure are the Archangel Gabriel and the Holy Spirit in the guise of a dove visiting the Virgin to inform her that she will conceive and give birth to Jesus Christ. 

Be sure to climb up to the rooftop, like Duke did, for a view of Ronda from above.

Up on the Rooftop 

We passed through the doorway to the right of the altar and climbed the narrow steps of the winding spiral staircase leading to the roof and viewing deck.

Jo stands on a balcony overlooking the square and the Ayuntamiento, the City Hall.

While we were there, the late afternoon sun cast a soft, warm glow over the terracotta-tiled rooftops of the old city, and it was so clear that we could see the rugged Sierra Nevada mountains in the distance.

Views of the Old Quarter and the mountains beyond from the rooftop

Seen from above, the spiral staircase leading to the rooftop resembles a snail’s shell. 

There’s a long bench if you need to rest or take a moment to enjoy the view. Make sure to peek through the small door at the top of the staircase to take in a bird’s-eye view of the interior of the church.

A figurine of the Baby Jesus with outstretched arms was one of Duke’s favorite pieces in the church’s museum.

Back Down on Earth

After exploring the rooftop, Jo, José, Wally and I returned to the ground floor and wandered through the church museum. It had several glass-front cabinets displaying various religious objects: vestments (clergy apparel), chalices and sculptures, including a life-sized glassy-eyed baby Jesus, which I imagine might get placed in the church’s crèche on Christmas Day. 

The Iglesia de Santa María la Mayor is a short distance from the Puente Nuevo, but its location in the leafy park-like Plaza Duquesa de Parcent feels a world away from the overcrowded tourist area. –Duke

Colegiata Santa María la Mayor 

Plaza de la Duquesa de Parcent s/n 
29400 Ronda Málaga
Spain  

 

Torre Campanario de Córdoba: Scaling the Heights of the Town’s Tallest Landmark

The 9th century minaret-turned-bell-tower of the Mezquita offers spectacular 360-degree views of the UNESCO World Heritage Site. 

We chose to visit just before sunset to get some of that golden hour glow.

In the heart of Córdoba’s Historic Quarter stands a towering sentinel: the Torre Campanario de la Mezquita-Catedral de Córdoba, or the Bell Tower of the Mosque-Cathedral of Córdoba. Rising 54 meters high — equivalent to a 16-story building — this remarkable landmark claims the distinction of being the city’s tallest structure. 

Formerly a mosque minaret, the bell tower stands as a living testament to Córdoba’s fascinating and diverse past. Visitors can climb to new heights and experience breathtaking vistas from the two uppermost levels of the tower. 

The original minaret didn’t stand in the exact location of the bell tower, but it was close by and accessible from within the Patio de los Naranjos

A Brief History of the Minaret of the Great Mosque 

But first, let me take you back to the year 957, during the period of Muslim rule in southern Spain (or al-Andulus). Abd ar-Rahman III (891-961), the first caliph of the Umayyad Dynasty in Spain, had a new alminar — a minaret tower — built along the north wall of the mosque. This tower, where the muezzin calls the faithful to prayer, replaced the original one built by Hisham I (757-796) in the 8th century. Hisham’s tower had stood in the Patio de los Naranjos, the Courtyard of the Orange Trees, and was removed when the courtyard was expanded. 

The architectural marvel likely resembled Sevilla’s La Giralda and had a rectangular shaft with a square base, an open-air platform, and a smaller secondary structure topped by an iridescent chevron-patterned bronze dome. At its summit, a yamur — an iron finial with metal spheres of decreasing size — was placed to protect the mosque from evil. 

The original yamur and cross from the Reconquest are displayed alongside a scale model of the minaret built by Abd ar-Rahman III at the Museo Arqueológico de Córdoba. 

However, a century after Abd ar-Rahman III’s reign, the Umayyad Empire teetered on the verge of collapse amid the chaos of civil war. Ferdinand III of Castile and his armies seized this opportunity, taking Córdoba by force on June 29, 1236. This pivotal moment marked the fall of the Great Mosque, which was converted into the Catedral de Nuestra Señora de la Asunción, the Cathedral of Our Lady of the Assumption, dedicated to none other than the Virgin Mary. As a political declaration of victory, a Christian cross was placed atop the minaret’s yamur, a potent gesture marking the reconquest of the Catholic monarchy over its Islamic predecessors, with the alminar serving as the cathedral’s bell tower. 

Vista de Córdoba (View of Córdoba) by François Boussuet, painted in 1863, depicts the Guadalquivir River, the Roman Bridge and a view of the Mezquita-Catedral’s bell tower.

Monumental Changes: The Minaret Becomes The Bell Tower

The Mezquita remained mostly unchanged under the Castilian Christians until 1523, when Bishop Alonso de Manrique petitioned Charles V and obtained his approval to construct the massive Capilla Mayor and Coro Crucero — the main chapel’s cruciform nave and transept — a full-fledged cathedral placed rather unceremoniously at the center of the former mosque. 

An earthquake in 1589 left the bell tower unstable, leading to the decision to encase the structure. It was rebuilt and enlarged in the prevailing Renaissance style, under the direction of Hernán Ruiz III, the grandson of Hernán Ruiz the Elder, who had overseen the construction of the aforementioned Capilla Mayor. The lower half of the tower façade is marked by false windows, an architectural feature with horizontal lintel beams, bottom sills and indentations where a window might have gone. Additionally, it displays the various coats of arms belonging to the Cathedral Chapter, the patrons who financed the refurbishment. 

The fourth tier, or belfry, features a serilana — a window with three openings. This architectural element is distinguished by a central arched window flanked by a pair of rectangular ones and offers a glimpse of the 12 bells within. Above this are two oculi, small ovoid openings echoing the exterior façade of the Capilla Mayor. Construction halted multiple times as funds were redirected to complete the Capilla Mayor. Unfortunately, Ruiz didn’t live to see its completion, but I think he would’ve been pleased with the final outcome. 

Construction resumed in 1616 under the direction of architect Juan Sequero de Matilla. This phase included the addition of the smaller clock tower tier housing a pair of bells used to mark the passage of time. Its exterior is framed by pilaster columns topped by a triangular pediment, shields bearing the coat of arms of Bishop Diego de Mardones and arched windows in the middle of each side. 

Almost five decades later, Gaspar de la Peña was tasked with repairing the south and west façades of the bell tower. He added the circular cupola to the clock tower and a figure representing Córdoba’s patron saint, San Rafael, attributed to sculptors Pedro de Paz and Bernabé Gómez del Río, at the top. 

While the tower has undergone various restorations, the most comprehensive conservation effort to date commenced in 1991, when the building was closed, not reopening until 2014.

Where else would you get the best view of this charming town than from its tallest building?

How to Visit and Climb to the Top 

Following our early morning visit to the Mosque-Cathedral, we made a beeline to the kiosks beside the bell tower to secure tickets to climb it later that day. Wally purchased tickets for the 6 p.m. time slot (each priced at 3€, or about $3 at the time), figuring this would allow us to experience the enchanting “golden hour,” that magical time just before sunset.

This is how you access the staircase of the bell tower. Groups of 20 go every half hour.

Tickets can also be bought online. Tours commence every half-hour, running daily from 9:30 a.m. to 6:30 p.m. Don’t assume you’ll be able to go right up the tower; tickets tend to sell out well before each time slot. Only 20 people are permitted to enter per group, and you must leave after the allotted 30 minutes. 

Keep in mind that tickets for the bell tower do not include entry to the Mosque-Cathedral, and vice versa.

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RELATED: Learn more about Córdoba’s must-visit La Mezquita with its mesmerizing arches.

How many pictures can elicit gasps of astonishment like this one?

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Before purchasing tickets, be aware of the following restrictions: Entry isn’t permitted for children under 7, those aged 7 to 14 must be accompanied by an adult, and elderly or individuals with health issues are advised against the climb. 

You can gaze upon the Courtyard of the Orange Trees and the Mosque-Cathedral from one side of the bell tower and a view of the narrow streets of the Historic Quarter on the other. 

The View From Above

Upon our return to tour the tower, we accessed it via Calle Cardenal Herrero and passed through the Puerta del Perdón, also known as the Gate of Forgiveness. Allegedly, pilgrims passing through this special passage received forgiveness for all their sins. The opulent Baroque-style vaulted ceiling is adorned with intricate plasterwork that includes cherubs, episcopal heraldry, tondos (circular reliefs with the images of the four Evangelists), and garlands of blue and gold flowers.

Crafted from pine and adorned with gorgeous geometrically patterned bronze plaques, the towering doors of the Gate of Forgiveness bear commemorative inscriptions as well as an elaborate door knocker. 

There’s no elevator, and the ascent is 191 steps. It was manageable, though, for a couple of middle-aged guys in decent shape. Besides, you can pause at various levels on your way up if you’d like. 

At one such place, we stopped to look down at a shimmering metal dome, before realizing it was the top of the old minaret! 

The minaret’s original cupola, adorned by a Christian cross, can be seen as you climb the bell tower.

The magnificent views of town and the Patio de los Naranjos definitely make the tower worth adding to your itinerary. Stop to gaze out on each side, gaining a different but equally impressive vista from every direction.

Who’d have thought that this what the rooftop of the cathedral looks like?!

Wally preferred the fourth tier, where you can marvel at the machinations of the bell chamber. Each bell has a different tone and name — La Esquila, La Asunción and San Zolio, to list a few. Some are marked with their year of manufacture and some bear the insignia of the bishop who commissioned their casting. 

Each of the bells is said to have its own nickname.

Don’t worry. Wally was just pretending the bells were ringing. 

While gazing out at the city, we couldn’t help but notice a sweet aroma of caramelized sugar wafting up from the street below. After we had climbed back down, we walked along the street to investigate — and determined that it had originated from Sabor de España, a confectionery shop. It specializes in treats, prominently featuring glossy cherry-red candied apples in their street-side window, along with caramelized nuts and turrón nougat.

Verdict: Make time to visit the bell tower. The panoramic views of the city are worth experiencing and for us, it was the perfect way to wrap up our day of sightseeing in this wondrous city. –Duke

 

The Mezquita: Córdoba’s Mesmerizing Mosque-Cathedral Hybrid

The Great Mosque of Córdoba, a UNESCO World Heritage site in Andalusia, endures as a monument to Spain’s cross-cultural harmony. 

Ancient Rome, Islamic Spain and Catholicism all come together in the breathtaking Mezquita in Córdoba.

It’s all about those arches. They seem to multiply into infinity, creating a seeming mirror maze of red and white latticework. It’s one of the iconic images that make Córdoba a must-visit stop on any trip to the south of Spain. 

The Mezquita in Córdoba is the perfect symbol of what Duke and I love about Andalusia. You have Roman influences, Islamic stylings and a Roman Catholic overlay. It’s a magical part of the world, where these three cultures blend together into architecture that can’t be found anywhere else but southern Spain. 

Case in point: Córdoba’s Great Mosque, known as the Mezquita, perpetually rising from its ashes like a phoenix over 10 centuries through a fascinating interplay of Roman, Islamic and Christian construction. 

“King Carlos I lamented his decision to allow the construction of the cathedral, saying, “They have taken something unique in all the world and destroyed it to build something commonplace.”

That’s a bit harsh.”

Parts of the massive structure’s exterior retain their Islamic architecture.

Abd ar-Rahman and the Start of the Mezquita

To understand Córdoba and the history of this amazing structure, we must travel to the Middle East and meet Abd ar-Rahman I, a member of the Umayyad dynasty in Damascus, Syria. Things aren’t going so well for the prince. His family was massacred by the Abbasids, rivals for Islamic rule, and Abd ar-Rahman fled, hiding out in the farthest corner of the Muslim world. That is, the south of Spain. 

He ended up in Córdoba. After wresting control of the city from the Visigoths, Abd ar-Rahman began eyeing the church of San Vicente, the largest in town. Not surprisingly, it had been been built upon the ruins of a Roman temple (you’ll notice a trend). Abd ar-Rahman purchased half of the church from the Christians to start, before eventually buying the rest. 

Then, in 786 CE, he tore down the church to construct his most important project: a massive cathedral mosque. 

The History of the Mezquita

The designers ran with those mesmerizing horseshoe arches, a style borrowed from the Visigoths, placing them atop recycled columns from the original Roman ruins. The distinctive red and white is a result of alternating brick and stone. The repetition of the arches was an attempt to evoke the infinite nature of Allah. I’d say they succeeded. 

“The aesthetics of the new Cordoban mosque, to which Muslims from far and wide throughout history would forever write odes, was typically Anadusian from the start: part adaptation of local, vernacular forms and part homage to Umayyad Syria, forever the source of hereditary legitimacy,” María Rosa Menocal writes in The Ornament of the World. 

“The Cordoba mosque continued to be built, and added to, for the next 200 years, until nearly the year 1000, but the characteristic look of the place, the horseshoe arches that sit piggybacked on each other, themselves dizzyingly doubled in alternations of red and white, were established from the start,” she continues.

Abd ar-Rahman II, great-grandson of his namesake (792-852), expanded the Great Mosque and added a new mihrab, a niche where Muslims face to pray. 

Then, Abd ar-Rahman III (891-961) enlarged the patio and built a new minaret, which stood 130 feet (40 meters) tall. 

All those red and white arches, designed to mimic infinity, are truly hypnotic.

His son, Al-Hakam (915-976), continued his father’s work — in fact, he’s responsible for the most impressive renovation of the space. He had new columns built, alternating pink and blue marble. Domes were added to let in light, while painted wood beams decorated the ceiling. The 11 naves were extended, and a larger qibla wall built (this is supposed to be the cue to facing Mecca, but more on that later). Oh, and there was a secret passage for the caliph to enter the mosque from his adjoining palace. 

Gorgeously painted wooden ceiling beams

At the end of the 10th century, Córdoba had become a bustling city. To accommodate the growing population, Almanzor (938-1002) made the courtyard bigger and added eight naves. These are the most austere of the bunch. Ultimately, the Mezquita could hold 40,000 worshippers. It was the largest mosque in the world at the time. 

It wasn’t just used for prayer, though; it was the center of Cordoban life. Judges made rulings near the mihrab. Teachers taught children under the arches. And traveling pilgrims were allowed to sleep there. 

Religious Reversal: From Mosque to Cathedral

In 1236, King Ferdinand III conquered Córdoba, returning the city to Christian rule. The mosque transitioned to the cathedral of Santa María, even as many Islamic elements endured. The Main Chapel is located under the skylight. 

King Henry II built the Royal Chapel to provide tombs for Castilian monarchs. This was done in the Mudéjar style, a delightful blend of Gothic and Islamic, using Muslim architects and carpenters. 

An area with pointed arches was built to give light and height for the choir as well as the church bigwigs. 

The structure remained largely the same until 1528, when King Carlos I gave permission to tear out the center of the mosque to build a proper cathedral, much to the dismay of many in Córdoba. Turns out he ended up agreeing with them. When the king visited, he lamented his decision, saying something along the lines of, “They have taken something unique in all the world and destroyed it to build something commonplace.” 

That might be a bit too harsh. This is still one impressive place of worship.

The choir stalls were built in the Baroque style of mahogany wood from Cuba. As in many Catholic churches, naves line the walls, containing small chapels. 

(FYI: Much of this history comes from a kid’s book we bought in town: La Mezquita de Córdoba by Manuel González Mestre, with fun illustrations by Jacobo Muñiz López.)

The Mihrab: Where Intricate Beauty Meets Spiritual Significance

While wandering the Mezquita, look for the mihrab. Among the monument’s ornate riches, none capture the cross-cultural transformation quite like the exquisite mihrab, located along the back wall on the right side. It’s considered the most sacred part of a mosque. 

Strangely enough, though, this qibla doesn’t actually indicate Mecca. Instead, it faces south. One theory is that it was a reference to the direction where Mecca would be from Abd ar-Rahman’s hometown of Damascus. Then again, it’s also thought that the streetscape didn’t allow for the qibla to face east as it should have, and instead was chosen to align with the Guadalquivir River.

When Córdoba was conquered by the Christians, they not only repurposed the mosque, they also recognized the mihrab’s beauty and spiritual importance — and actually preserved it! It’s a surprising moment where two faiths coexist within the same sacred space.

Intricate mosaics, geometric patterns and calligraphy intertwine to create a tapestry of colors and shapes that leaves visitors in awe. 

The Patio de los Naranjos: An Oasis of Tranquility

Chances are you’ll begin your exploration of the Mezquita in the Patio de los Naranjos, the Courtyard of the Orange Trees. For one thing, it’s where you line up to buy tickets. 

This tranquil oasis, with its fragrant blossoms and centuries of history, offers a contrast to the architectural wonders inside. And it’s not just orange trees — there are also olive trees, palms and cypresses. 

In its long history, this courtyard been a place for reflection, prayer and community gatherings. And there was a section where Muslims would perform their ablutions, or ritual cleansings, before entering the mosque. 

Visiting the Mezquita

Recognizing the Mezquita’s cultural and historical importance, UNESCO designated it a World Heritage Site in 1984. This status is a testament to the ongoing efforts to protect and preserve the architectural marvel, ensuring that future generations can continue to be inspired by its grandeur.

Pro tip: The early bird gets the arch. 

We went early in the morning to see the Mezquita before mass was held. It’s free, so you don’t need to bother with tickets. (If you don’t go at this time, be sure to get your tickets as soon as possible. They cost 13 euros. I think it’s a good idea to book a day in advance if you have the time, but most travel sites say you don’t need to worry about it selling out. Call me paranoid.)

We figured the pre-mass time was a good way to escape the massive tour groups that would invade the space later in the day. To do so, you don’t go through the Patio de los Naranjos as you normally would. You enter through the Puerta de Santa Catalina. The one downside is that you don’t have a lot of time to explore. Get there right at 8:30, cuz security guards will kick you out around 9:20 so mass can begin. 

This trick is considered the worst-kept secret in Córdoba, so keep in mind that word has gotten out. But it’s still supposed to be better than most other times. If you can’t make it early, or want more time, try booking the end of the day.

More Metamorphoses: Temple to Church to Mosque to Cathedral 

Like the ceaselessly repurposed structures within its walls, the Mezquita represents the fluid nature of Spain’s cultural and religious history. As both mosque and church, this house of worship symbolizes Andalusia’s legacy as a place where Ancient Rome, Islam and Catholicism converge. For over 10 centuries, the awe-inspiring Mezquita has shifted shapes and uses but has endured. That’s typical of this wondrous part of Spain. –Wally

Saints, Statues and Semana Santa: A Tour of Iglesia de Santiago Apóstol’s Treasures

The oldest church in Málaga has a Picasso connection and is home to legendary Holy Week statuary, including El Rico, who pardons prisoners, and El Cristo de Medinaceli, who grants wishes.  

This figure depicts the Immaculate Conception of Mary. She stands atop a crescent moon and the world. Her left foot crushes a serpent, symbolizing the original sin assigned to all humans since Adam and Eve—except, of course, to the pure Virgin. 

You could easily walk past the exterior of the Parroquia de Santiago Apóstol without realizing the wonders that lie within. The church, which is dedicated to Saint James the Apostle, is located on Calle Granada and was under restoration when Wally and I visited our friends Jo and José in Málaga, Spain in 2015. We strolled by it multiple times, completely unaware of its spectacular interior and ended up buying a few whimsical wire and black glass marble ants from a street artist who had set up shop on a mat across from it.

The church’s wooden doors feature viera, or scallop shells, the symbol of Saint James. 

Eight years later, we were back in Spain, and Jo and José suggested adding it to our itinerary. We’re fortunate to know some locals, and we’re never disappointed by what they share with us. Plus, Wally and I love visiting old Catholic churches. These places are not just architecturally stunning; they’re usually brimming with vivid devotional art. And it goes without saying that Spain takes this to a whole other level.

The pointed brick arch of the central doorway framed by tiles arranged in a geometric pattern is all that remains of the former mosque.

From Mosque to Gothic Church 

After digging around a bit, I found out that this particular church was the first and oldest of the four parishes commissioned in Málaga by the Catholic Monarchs, Isabella and Ferdinand II. In fact, it dates back to 1509. The structure fuses Isabelline Gothic (a late Gothic/early Renaissance style) with Mudéjar elements and was established on the site of a mosque during the early stages of the city’s Christian conquest. Remnants of the former mosque were incorporated and are visible in the façade, particularly in the central doorway, where an elegant pointed arch is framed by tiles arranged in a geometric pattern that reads as floral. This arch would later evolve into the distinctive Gothic rib vault. In keeping with Islamic tradition, a minaret was built adjacent to the mosque, which was converted into the church’s bell tower during the late 16th century.

A view of the ornate central nave, dome and altar. The carved central altarpiece holds a likeness of the church’s patron, Santiago Apóstol aka Saint James.

the Interior of the Church of Santiago 

Inside, the Gothic style reveals itself in the vaulted ceilings and chancel of the central nave, which comprises the sanctuary, altar, choir and main chapel. The late 18th century saw the addition of two more naves, embellished in the Baroque style. The handsomely carved altarpiece is fashioned from polychromed (painted in many colors) and gilded wood, and the central niche holds a realistic statue of its patron saint, Santiago Apóstol (Saint James).

A depiction of Mary as the Queen of Heaven

Legend has it that following the death of Christ, James traveled to Galicia in northern Spain to spread the word of Christianity. However, things took a dark turn upon his return to Jerusalem — he was beheaded under King Herod’s order, becoming the first disciple to be martyred.

Málaga local Picasso was christened in this baptismal font, located near the entrance of the church. 

Fun fact: Pablo Picasso was christened in this church on November 10, 1881, and his baptismal certificate is kept here. Although his family moved to A Coruña in the Galicia region of northwest Spain when the artist was 9 years old, he always considered himself a malagueño, that is, someone from Málaga. 

This diminutive likeness of the Virgin Mary, Nuestra Señora del Pilar (Our Lady of the Pillar), stands atop a small column. You can’t see it because it’s covered by the red and gold mantle. 

A Tour of the Art and Semana Santa Statues of Parroquia de Santiago Apóstol

Among the significant religious artworks that can be found in the church’s naves is the Virgen de las Animas (Virgin and the Souls) by Juan Niño de Guevara, a large oil painting depicting the Mary comforting souls condemned to Purgatory. According to popular tradition, the faithful offer prayers to the image and leave bottles filled with lamp oil to keep the flames of the glass votives burning in perpetuity for the souls doing penance before being able to enter the kingdom of Heaven.

This oil painting, Virgen de las Animas (Virgin and the Souls) by Juan Niño de Guevara depicts Mary seated on a throne of clouds, comforting souls condemned to Purgatory. 

Additionally, the statues of the Cofradía del Rico and Hermandad de la Sentencia religious brotherhoods are kept inside this church year-round, except during Semana Santa (Holy Week). That’s when they’re placed on massive tronos, quite literally thrones, weighing up to 2 tons and are carried through the streets of Málaga by penitents and members of their religious fraternity.

This nave holds the processional images of Jesús de la Sentencia (Jesus of the Judgement), María Santísima del Amor Doloroso (Holy Mary of Sorrowful Love) and San Juan Evangelista (Saint John the Evangelist) which belong to the religious brotherhood of the Hermandad de la Sentencia. 

There are the venerated mannequin-like processional figures of María Santísima del Amor Doloroso (Holy Mary of Sorrowful Love) and Jesús El Rico (Jesus the Rich). To impart a heightened sense of realism, glass was used for the eyes, hair for the eyelashes and ivory for the teeth. 

Jesús El Rico (Jesus the Rich) hides behind María Santísima del Amor Doloroso (Holy Mary of Sorrowful Love), which belong to the brotherhood of the Cofradía del Rico. El Rico pardons one prisoner each year.

The Ultimate Get Out of Jail Free Card 

El Rico has extended pardons as an act of grace every Holy Wednesday, a tradition that traces its roots back to 1759. The practice of extending a second chance to a prisoner originated during the plague epidemic that swept across Europe during the reign of Carlos III. 

It’s said that a riot erupted after inmates learned that Holy Week processions would be canceled due to contagion fears. In response to the news, prisoners mutinied, broke out of jail and carried the life-sized statue of Jesus through the streets of Málaga, praying for salvation from the plague. Rather than fleeing afterward, they chose to return to prison. Impressed by their act of piety, the king decided to grant the Cofradía del Rico brotherhood, the guardians of El Rico, the right to release one prisoner every year. To this day, El Rico symbolically performs this act.

On the first Friday of March, the venerated figure of El Cristo de Medinaceli is taken from his niche, redressed and placed upon a gilded platform. Devotees kiss his feet, leave three coins and make a wish for each — only one of which will be granted.

Make a Wish Foundation

If these treasures in this historic church aren’t enough to pique your interest, there’s one more notable devotional figure worth mentioning within the Iglesia de Santiago Apóstol: El Cristo de Medinaceli (Christ of Medinaceli). It received its name because the original was owned by the Duke of Medinaceli.

Every first Friday of March, devotees queue up outside the parish doors and wait their turn to kiss the statue’s feet. They also place three coins — they have to be of the same value — at his feet and make three different wishes. Be careful, though: Only one of your wishes will come true.

One of the most dramatic aspects of the Iglesia de Santiago Apóstol (and that’s saying something!) is the blue hue of this elaborate dome. 

This relief depicts a crowded take on the Last Supper. 

If you’re in the neighborhood, and you don’t stop by and admire the Semana Santa statues here, you’ll wish you had. –Duke

Iglesia de Santiago

Calle Granada, 78
29015 Málaga
España

 

Gorgeous Guanajuato: The Ultimate Day Trip From San Miguel de Allende

A one-day itinerary for travelers looking to experience the best of Guanajuato City, including the Museo de las Momias, the Teatro Juárez and the funicular to the Pipila Monument and overlook.

If you’re staying in San Miguel de Allende, you’ve gotta take a day trip to Guanajuato — and we’ve got the perfect itinerary for you.

Even if you’re not into displays of desiccated corpses, the charming and colorful capital of Guanajuato, Mexico has plenty to offer. It makes for a delightful day trip from the tourist hotspot San Miguel de Allende. 

“The sights in Guanajuato are equal parts beautiful and bizarre.”

A Brief History of Guanajuato

Originally inhabited by indigenous groups, the region was conquered by the Spanish, and the town of Guanajuato was incorporated in 1554. 

Like San Miguel, Guanajuato was an important and wealthy colonial city due to the region’s large silver deposits. It played a pivotal role in Mexico’s struggle to break the Spanish yoke. The city was the site of the first major battle of the Mexican War of Independence, which took place in 1810. Guanajuato also played a significant role in the Mexican Revolution, which began in 1910 — it was the site of the first battle (which the revolutionaries won).

Hop to it! Follow this walking tour of charming and quirky Guanajuato.

Guanajuato Day Trip Itinerary

With this tried-and-true one-day itinerary, you’ll experience the best of colorful and quirky Guanajuato, taking in the top attractions, flavors and vistas that this charming city has to offer.

Start your day at the Mummy Museum, then head to the Plaza of the Frogs before strolling along the main street of town. Here are the places we recommend stopping at, before ending with a funicular trip to overlook this incredible mountain town. With its vibrantly painted buildings and lively plazas, Guanajuato is one of Mexico’s most beautiful colonial towns.

Museo de las Momias

Looking for a bit of spook-tacular fun? The Museo de las Momias has you covered. In our estimation, this is the town’s main attraction. The macabre museum features the desiccated husks of some of the city’s former residents who couldn’t pay their burial tax, were dug up and discovered to be naturally mummified due to the arid climate. It’s a morbidly fascinating experience that’s not for the faint of heart.

LEARN MORE: The Haunting and Horrific Mummy Museum of Guanajuato

Explanada del Panteón Municipal s/n

Plaza de las Ranas

Hop on over to Plaza de la Hermandad, also known as Plaza de las Ranas (Frog Plaza). The centerpiece is a fountain created by French sculptor Gabriel Guerra and installed in 1893. It looks a bit like a swimming pool, but the stars of the show are the whimsical frog statues made of stone that decorate the open plaza. 

Why frogs? The name Guanajuato comes from the indigenous Purépecha words Quanax-Huato, which means “Place of the Frogs.” One theory is that the town took its name from a pair of colossal boulders resembling giant frogs. Seeing this as an auspicious sign, the Purépecha decided to settle here. They were a powerful empire that dominated western Mexico prior to the Spanish conquest. 

Fun fact: Guanajuato was the birthplace of Mexican muralist Diego Rivera, who referred to himself as “el Sapo-Rana,” the Frog-Toad. 

Galereña Dulces Típicos de Guanajuato

Want something sweet? Next stop: Galereña Dulces, a candy store that’s been around since 1865. They’ve got all kinds of traditional Mexican sweets — but don’t get your hopes up about mummy gummies. Much to our dismay, those don’t exist. 

The cellophane-wrapped caramel-colored confections we found are actually known locally as charamuscas. They’re a type of hard candy made from spun boiled cane sugar twisted into a mummy figure shape. Which, now that I think about it, these gnarly, crunchy versions are actually more fitting. 

Avenida Benito Juárez 188

Empanadas MiBu

Feeling a bit peckish? Time for a snack at Empanadas MiBu. I always say: If there’s a Heaven, there will be empanadas up there. These tasty little pockets of joy come in all sorts of varieties, from savory (rajas con queso are my fave) to sweet (you can never go wrong with Nutella), and are the perfect snack to munch on while exploring the city. They’re made to order and served in paper bags, making them the perfect handheld food to eat on the go. 

Avenida Benito Juárez 65-A

Jardín Reforma

Escape the hustle and bustle of the city by taking a stroll through this serene park that’s just past Empanadas MiBu. Head through the classical arch into a tranquil oasis that’s surprisingly peaceful for being mere steps off the city’s main drag. The loudest sound you’re likely to hear here is the gurgling of the fountain in the center or the chirping of birds.

Be sure to pop into G&G Cafe, the coffeeshop in the corner of this small park, if you need a caffeine fix. 

Basilica of Our Lady of Guanajuato

Continue down Avenida Benito Juarez until it turns into De Paz. The yellow Basílica Colegiata de Nuestra Señora de Guanajuato, dedicated to the city’s patroness, Our Lady of Guanajuato, is hard to miss. The yellow edifice stands proudly on the historic Plaza de la Paz (Plaza of Peace), the main square. However, unlike most Spanish colonial cities, the plaza is not a square but a triangle, to better fit Guanajuato’s hilly geography. 

The church’s façade was designed in the Mexican Baroque style and is adorned with carvings of saints and features two bell towers and a red clay dome. The interior is just as impressive, with soaring arches, intricate gold leaf detailing and a stunning main altar that encompasses the local likeness of the Virgin Mary. 

Calle Ponciano Aguilar 7

Teatro Juárez

While you’re in the vicinity, stop by the Teatro Juárez, a majestic Neoclassical theater, built from 1872 to 1903. Bronze statues of the Greek Muses, who represent the arts and sciences, stand on the roof.

We didn’t get a chance to go inside, but it looks impressive, awash in red velvet and gold details, with a colorful ceiling motif in the Neo-Mudéjar style, a nod to the mix of Spanish and Arab design popular in the South of Spain.

The landmark hosts a wide variety of performances, from concerts and operas to plays, international movies and dance. It has served as the main venue of the Festival Internacional Cervantino since 1972. 

De Sopena 10

Funicular and El Pipila Monument 

End your stroll through town with a ride on the funicular. The station is close by the Teatro Juárez. A cable car system built in 2001 takes you up the hill to an overlook and costs 60 pesos (about $4) for a roundtrip ticket. We had to stand in line for a bit, but it was worth the wait. The ride up is pretty fun — but the view is breathtaking. I was utterly captivated by the hilly landscape and the colorful, densely clustered  patchwork of buildings that stretched out before us. I leaned against the railing and gazed out at it for a long time. It’s easy to see why the enchanting city center is a UNESCO World Heritage Site.

Pro tip: When facing the city below, head off to right for a less-crowded viewing platform above the basilica.

Crowds of tourists and locals gather in the shadow of the El Pipila monument, a towering 80-foot statue built in 1939 to commemorate a hero of the Mexican War of Independence.

So who exactly was this Pipila fellow? His real name was Juan José de los Reyes Martínez, who, during the siege of Guanajuato, crawled towards the Alhóndiga de Granaditas, a granary used as a fortress by Spanish troops. He had a large stone slab used to grind corn (a pipila — hence his nickname) on his back. Once he reached the door, he used the stone to break it down, allowing the rebel forces to enter and defeat the Spanish troops.

De La Constancia 17

Outside the Mummy Museum, we watched a performance of men in drag mock-fighting. The sights in Guanajuato are equal parts beautiful and bizarre.

SMA Day Trip

All told, we spent about four hours in Guanajuato. We hired a driver from San Miguel de Allende through our hotel’s concierge. The ride is an hour and a half each way. We got dropped off at the Mummy Museum and then texted our driver at the end of the day once we on our way back down on the funicular.

From truly disturbing to truly delightful, Guanajuato is a day trip not to miss. –Wally

Pretty in Pink: Parroquia San Miguel Arcángel

Discover the strange history of this iconic church, the lively Jardín it overlooks and the riotous Festival of San Miguel. 

Parroquia San Miguel Arcángel, an icon of San Miguel de Allende, Mexico

“It’s just like the Disney Castle!” 

It’s a refrain you’ll hear often when you show pictures of the iconic church in San Miguel de Allende. Only, for my money, it’s cooler, cuz it’s pink — and I’d much rather be in Mexico than Disney World. 

“The church was designed by a self-taught indigenous stonemason named Zeferino Gutiérrez, who was inspired by a postcard of a Belgian church.

Apparently, Gutiérrez had never seen a cathedral in person, so he just winged it, scratching his design in the sand with a stick. ”

You’ll never tire of seeing the Parroquia San Miguel Arcángel (they really need to come up with a solid nickname). And the good news is, almost every time you head out to explore the charming colonial town, you’ll find yourself passing by the church and the main square, known locally as el Jardín. 

Behind the church is a quaint cobblestone street.

A Towering Legacy: Construction of San Miguel’s Most Famous Landmark

The exact date of construction is a matter of debate. There’s a convoluted history on the church’s website, stating that the first iteration was in 1564 — while others believe it wasn’t completed until the 1700s. The church has undergone so many renovations and additions over the years that it’s difficult to discern what the original structure looked like.

Perhaps all those renovations is why San Miguel Arcángel is a delightful mishmash of different architectural elements. The exterior features a Neo-Gothic façade that was added in the late 19th century, while the underlying structure is more Mexican Baroque. 

San Miguel de Allende is for lovers.

But let’s face it: The real stars of the show are the towering spires. They’re the stuff of legend, designed by a self-taught indigenous stonemason named Zeferino Gutiérrez, who was inspired by a postcard of a Belgian church. Apparently, Gutiérrez had never seen a cathedral in person, so he just winged it, scratching his design in the sand with a stick. 

Whatever the case, the end result is magical — he created those fantastical, otherworldly spires that look like they belong in a fairytale.

Part of its undeniable charm is the fact that it’s pink. The stones used in the Parroquia San Miguel Arcángel’s façade are cantera, a volcanic rock likely sourced from nearby quarries. Over time, the stones have taken on a more vibrant shade of pink, winning the hearts of visitors and locals alike.

Duke sits on the steps at the side of the church.

The church sort of leans to one side, which has led to various theories about how it came to be that way. Some say it was built askew on purpose to ward off evil spirits or to align with the position of the sun. Others attribute its slant to an earthquake or even the Devil himself. In reality, the tilt is likely due to the sandy soil San Miguel Arcángel was built on, which has shifted over time. This natural phenomenon is known as subsidence and is a common problem in many parts of the world.

In recent years, efforts have been made to stabilize the church and prevent further subsidence. However, the tilt remains a distinctive feature of the Parroquia San Miguel Arcángel and adds to its unique character and charm. Hey, it worked for that Tower of Pisa.

The Parroquia San Miguel Arcángel has seen some violence over the years.

The Cristero War and the Parroquia San Miguel Arcángel 

The San Miguel Arcángel parish has seen some real action over the years. For one thing, it was witness to the bloody Cristero War of the 1920s. This violent conflict pitted Catholic rebels against the anti-clerical government of Mexico, with both sides fighting tooth and nail for their beliefs. San Miguel Arcángel wasn’t spared from the brutality — bullets and bombs left the church’s walls scarred and pockmarked. In addition, some of the priests of San Miguel Arcángel were killed or exiled during the conflict. 

The church was later repaired, a testament to the resilience of the locals and a symbol of Mexican history and faith.

The interior of the Parroquia San Miguel Arcángel didn’t go entirely as planned.

A Work in Progress: The Interior of Parroquia San Miguel Arcángel 

While I’m utterly smitten with the whimsical exterior of the Parroquia San Miguel Arcángel, the interior ain’t too shabby, either. It also features a variety of architectural styles, including Gothic, Baroque and Neoclassical. The high ceilings and intricate details create a sense of grandeur and awe. The main altar is adorned with gold leaf and features a statue of San Miguel, aka Saint Michael the Archangel, the church’s namesake. 

Wally thinks this would be a great place to propose to someone.

Off to the side is a smaller chapel adorned with surprisingly modern murals that look Cubist. 

A chapel in the back corner of the church has a Cubist-esque mural showing indigenous Mexicans on one side and Catholic monks on the other.

As impressive as the interior is, though, it’s not quite finished — or what was first intended. In fact, the original plans for the interior were much more grandiose, but due to a lack of funding and resources, many of the ideas were never fully realized. 

On the side of the church is a statue of Fray Juan de San Miguel, who founded the city and was, in turn, named for Saint Michael the Archangel.

Saintly Swordsman: The Legend of San Miguel

So who exactly is the archangel the church is named for? 

Well, with a name like Miguel, which means “Who Is Like God,” it’s not surprising that he’s the commander of the heavenly host. He’s often depicted with a sword, ready to do battle against Satan and his minions. 

San Miguel is also the patron saint of police officers and soldiers. 

Plaza Allende, commonly known as the Jardín, is the bustling center of this charming colonial town.

The Heart of San Miguel: Exploring the Jardín, the City’s Vibrant Central Park

Parroquia San Miguel Arcángel overlooks the main town square, the Jardín, formally known as Plaza Allende. This lively square is the beating heart of San Miguel de Allende. If you’re looking to people-watch, hear a mariachi band, pose with the giant puppets called mojigangas or grab some street food (we had elotes one night that were delicious), this is the place to be. 

Dancing by the gazebo

A mariachi trumpeter

Mariachi bands entertain the crowds in the plaza in front of the church.

The Jardín is situated right in the center of town, which makes it a prime location for all sorts of festivities and events. It’s flanked by the church on one side, and rows of shops and restaurants on the others, so there’s always something to see and do.

Grab dinner at the elote stand.

Wally digs into his elote.

But the Jardín wasn’t always the lovely green space it is today. In fact, it used to be a marketplace where vendors sold everything from produce to livestock. It wasn’t until the early 20th century that the town decided to convert it into a park, complete with benches, a gazebo and trees that have been trimmed into circles.

If you can, time your trip to coincide with the Feast of San Miguel at the end of September.

Feast of San Miguel and the Crazy Castillos of the Town’s Biggest Fiesta

Duke and I happened to be in SMA during the Feast of San Miguel — but, as odd as it might sound, no one told us about it! Thank God we happened to be walking through the Jardín and noticed that they were erecting wooden scaffolds in front of the church. 

We looked at a flyer pasted to the wall that listed local events. Lo and behold, it was none other than the town’s biggest frickin’ festival! 

There was a café on the corner we’d been wanting to check out, so we popped in there and got some drinks while we waited for the festivities to begin. 

The week-long Festival of San Miguel, aka La Alborada, takes place around September 29, the saint’s feast day, usually culminating on the following weekend. 

The festival’s firework show was the most impressive we’ve ever seen — in part because of the gorgeous backdrop of the church spires.

And what a festival it was! A crowd gathered in front of Parroquia San Miguel Arcángel, and mariachis played their tunes. But the pièce de résistance were the castillos, those towers we had seen, rising up like giant matchstick sculptures in front of the church. 

Local craftsmen build these towering infernos, using skills and techniques that have been passed down through generations. It’s truly a sight to behold. 

The castillos are a wonder to behold.

When they’re lit, stand back — and let the sparks fly! The pyrotechnicians manning the castillos are like mad scientists, firing off bursts of firecrackers in all directions, painting the night sky above San Miguel Arcángel in a kaleidoscope of colors amid ear-splitting booms. The fireworks on the castillos emit high-pitched wails, spin like Catherine wheels, and form images and words. The whole spectacle was unlike anything we had seen before. 

Forget the drawn-out firework shows you see in the States; this was a machine-gun riot of color and explosions — the best we’ve ever seen. A huge grin was plastered on my face, and I’d turn to my neighbors, strangers united by sharing this marvel, and we’d shake our heads and laugh, unable to believe we were witnessing such magic. –Wally

Parroquia San Miguel Arcángel from el Mirador, overlooking the town of SMA

Parroquia San Miguel Arcángel

Principal s/n
Zona Centro
37700 San Miguel de Allende
Guanajuato
Mexico

 

Oaxaca Day Trip to Tlacochahuaya and Teotitlán del Valle

First stop: the Iglesia de San Jerónimo Tlacochahuaya, with its heavenly rustic painted interior. Then on to Teotitlán del Valle for lunch at Tlamanalli and gorgeous candles from Casa Viviana.

This amazing church in San Jerónimo Tlacochahuaya, with its rustic paintings, is en route to the natural wonder of Hierve el Agua.

To say that there’s a vast amount of things to do and see in Oaxaca is an understatement. So when Wally and I agreed to take a day trip to Hierve el Agua, a natural mineral spring where water collects in clifftop pools, I insisted that we make a few stops along the way. 

Driving is the best way to get around outside of town, and our friend Kevin, an expat living in Oaxaca de Juárez, kindly agreed to rent a car. 

While driving in Oaxaca, you might have to stop to let herds of cattle pass by.

You also might see stray dogs in flagrante delicto.

We set out early and met him and his friend David at Alamo Rent a Car, which was a short walk from Casa Antonieta, where we were staying in Centro. 

After a few minutes of waiting in line and filling out paperwork, we were ready to begin our adventure. It helped having a friend familiar with renting a vehicle in Oaxaca. 

The lowdown: It cost us $75 for the day, including insurance. 

Alamo Rent a Car
Mariano Matamoros 203 A
Ruta Independencia
Centro 68000 
Oaxaca de Juárez

You can’t miss the church — it dominates the small village of San Jerónimo Tlacochahuaya.

Iglesia de San Jerónimo Tlacochahuaya: A Rustic Church Painted With Symbolism 

Our first stop, about a half hour southeast from Centro Oaxaca, was the 16th century Iglesia de San Jerónimo Tlacochahuaya, aka the Templo de Tlacochahuaya, the centerpiece of the village of the same name. Try pronouncing it as “Tella-kocha-huh-why-uh” — a name that basically means “In the Swamp.” This is because the town is located in a valley surrounded by mountains, which makes it prone to flooding. 

The pueblo was founded by a Zapotec warrior by the name of Cochicahuala, which translates to “He Who Fights by Night.”

A sculpture of Jesus on a donkey, representing how he entered Jerusalem, sits in the back corner of the iglesia and is used during a Palm Sunday procession.

We parked the car and walked along the outer wall surrounding the church. I could hear the rhythmic beat and swirling melody of an unseen drummer and woodwind player, which to me sounded a bit like music from a Renaissance Faire. This set the mood for our visit — it was like stepping back in time to an older, slower-paced pre-modern world.   

The church’s main façade is made up of twin bell towers, pilasters (low-relief columns that project slightly from the surface), a split pediment and niches with sculptures of various saints. An image of Saint Jerónimo, or Saint Jerome, the church’s patron, is depicted above the central doorway, with God’s trumpet directed to his ear. 

All of the walls inside the Templo Tlacochahuaya are covered with red, blue and tan painted designs.

This fresco portrait depicts Saint Mark seated atop a winged lion (which is actually a symbol of Venice, Italy).

San Jerónimo’s heavenly hand-painted interiors are a mix of Baroque and indigenous pre-Hispanic imagery. These include plants and flowers that arc overhead like garden arbors. Tones of blue were achieved using indigo extracted from the leaves of the plant and pink blush tones from cochineal, an insect that feeds on nopal cactus and produces the color carmine red.

We had driven all the way here — we weren’t going to let a Do Not Enter sign prevent us from popping in.

Offerings of flowers fill one smaller altar inside the chruch.

The main altarpiece is a stunning example of Plateresque style, which comes from the Latin word platearius, which means “silversmith.” A gilded golden masterpiece, the retablo includes a painting depicting the moment when Christ’s body was removed from the cross to be taken away for burial, and is attributed to Juan de Arrué, one of the most renowned religious artists of Mexico’s colonial era. 

Wooden carvings, oil paintings, gilded frames and simplistic paintings create lovely vignettes.

A statue of the Virgin Mary with the Sacred Heart

We had only been inside for a short time before we were chased out by one of the church’s caretakers. The man spoke to us rapidly in Spanish that was too difficult for me to understand. Kevin mentioned that he thought the man may have been asking for a donation. In hindsight, it probably was due to the fact that there was a No Pasar sign posted at the entrance, which I had missed but Wally had pointedly ignored as we entered. 

Iglesia de San Jerónimo Tlacochahuaya
Calle Unión 17
San Jerónimo Tlacochahuaya

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The Mendoza sisters cook indigenous Zapotec cuisine at their restaurant, Tlamanalli.

A Taste of Zapotec Tradition at Tlamanalli 

After visiting the church, we got back into the car. As we headed out of town, we saw two dogs having sex. We weren’t sure what kind of omen that was. At any rate, we were headed to our next stop, Teotitlán del Valle, 20 minutes away, and a short detour to the northeast. The artistic enclave is known for its high-quality woven goods — and candles (but more on that later). 

Duke, Kevin and Wally sit on the staircase in the center of Tlamanalli.

First up: a delicious lunch at Tlamanalli. The restaurant came highly recommended by our primary care physician, Ross Slotten, who shares our passion for travel. The restaurant has been serving patrons for over three decades. 

Using ancient culinary techniques and recipes that have been passed down through generations, Tlamanalli is co-owned and run by Maestra Abigail Mendoza Ruiz and her sisters, Marcelina, Rufina, Rosario and Adelina. The menu pays homage to indigenous Zapotec cuisine, a legacy that Mendoza Ruiz is recognized for internationally. The space, which is low-key and humble, feels like a large home, a deeply personal space that honors their familial bond. 

The menu is limited and written on a small chalkboard. Wally and I each ordered the quesadillas de calabaza (pumpkin quesadillas) and washed it down with a cold beer. 

The menu is written on a chalkboard —and note that you can only pay in cash.

Tlamanalli makes a great stop for lunch (and shopping) en route to Hierve el Agua.

A prominent feature of the establishment is its large open kitchen, which was designed by Mendoza Ruiz. The restaurant is off to one side of the central staircase, and the other side is a shop selling a wide variety of handmade items. We can never say no to artisan-made goods and ended up purchasing a plate with a mermaid sporting perky raised-relief breasts, a candle holder in the shape of an axolotl and a small winged ceramic devil ensnared by a serpent. 

The adorable Abigail Mendoza Ruiz, whipping up dishes with her sisters in the restaurant’s open kitchen.

The restaurant is spacious and offers ample seating. However, we weren’t visiting during peak season, and due to the popularity of the spot, you might want to plan ahead and make reservations. 

Open: 10 a.m. to 4 p.m. 

Reservations recommended 

Tlamanalli
39 Avenida Juárez
Teotitlán del Valle

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Gorgeous handmade candles at Casa Viviana

Waxing Poetic About a Master Candlemaker: Casa Viviana 

The real reason I wanted to visit Teotitlán was to meet the master candlemaker at Casa Viviana. 

The legendary artisan and her family live on a quiet unpaved road. The only indication that we were at the right spot was a sign hanging outside an unassuming door leading into the living quarters, workshop and store.

But when we arrived, the front door was locked. We knocked loudly — I really didn’t want to go away disappointed — and eventually the door opened and we were led into the central courtyard. 

Turns out we had interrupted a family celebration. But Doña Viviana Alávez, the matriarch of the family, graciously welcomed us into her shop. 

Viviana herself came out to help us, briefly leaving a family party. We love the local tradition of connecting two long braids with ribbons.

Viviana is recognized as one of the grand masters of Oaxacan folk art. Her family has been making handmade beeswax candles for over 300 years. These remarkable works of art are mostly used for traditional celebrations, including baptisms, engagements, weddings and funerals. 

Many of Viviana’s candles are bought for special occasions.

When we visited, Viviana didn’t have any big tapers left — the elaborate 4-foot-tall constructions I had seen in images and videos online. (Perhaps it was for the best — I’m not sure how we would have gotten one home.) 

She did, however, have a variety of small intricate flower candles. The candles are known as velas tradicionales de concha, for the delicate shell-like shapes of their ornamentation and are made from wax that is cut, shaped and dyed with natural colorants like cochineal (red), indigo (blue) and pericón (yellow), which are added to the beeswax. 

After some deliberation, we purchased a few of the small traditional velas to give as gifts as well as one shaped like a lily and one shaped like a cactus that came in a small ceramic pot for ourselves. The candles came to about $7.50 each — a small price to pay for these works of art. 

The maestra herself: Viviana holds two of her works.

We passed a loom with nopal cactus paddles above it (those white bits are actually cochineal bugs used to make red dye).

Open: 11 a.m. to 6 p.m. (but maybe call ahead)

Casa Viviana 
Absalo s/n
Teotitlán del Valle 

With our purchases safely packaged by Doña Viviana, we said our goodbyes and returned to the car. It was time for us to continue our trip to the popular tourist destination of Hierve el Agua. –Duke

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.

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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

 

Daufuskie Island History and Artisan Tour

Hop in a golf cart and see the real-life Yamacraw Island, South Carolina, including the school where author Pat Conroy taught and the history museum, with stops at Daufuskie Soap Company and the Iron Fish. And stop by the Old Daufuskie Crab Company before catching the Daufuskie Island Ferry back to the mainland.

Daufuskie doesn’t have a bridge to the mainland, so your only option to visit is by boat.

For years, Wally and I have wanted to visit Daufuskie. The remote southernmost Sea Island is tucked away between Hilton Head, South Carolina and Savannah, Georgia. 

What was the appeal? The small island retains the rich history of the Gullah-Geechee people, descendants of West and Central African slaves brought to the region and forced to work on Lowcountry plantations. It also boasts a small but thriving makers community — but I’ll get to that later.  

There’s no bridge connecting Daufuskie to the mainland, and the only way to reach it is by ferry or water taxi. Last year, rain prevented us from going, and before that it was closed to tourism due to the coronavirus pandemic. 

A day trip to Daufuskie is a good excuse to get out on the water. The Daufuskie Island Ferry leaves from this dock by a distinctive failed restaurant just over the bridge from Hilton Head.

This December we booked a guided History and Artisans Tour with local operator Tour Daufuskie and took the 45-minute ferry ride from Buckingham Landing just off of Hilton Head. Roundtrip rides cost $50 per person. 

Gullahs, descendants of slaves, once made up most of the population of Daufuskie. Now few remain. Their cemeteries were by the water so their spirits could travel back to Africa.

What Daufuskie?! 

According to local lore, Daufuskie got its name from the Gullah “Da Fus Cay,” meaning “the first key (or island).” However, we were disappointed to learn that the name actually comes from the island’s first inhabitants, the Muscogee, or Creek, Indians. In their language, daufa means “feather” and fuskie “pointed.” Combine the two, and you have something that translates to “Pointed Feather,” a reference to the island’s distinctive shape. 

Once Wally and I disembarked at Freeport Marina, we met our guide Ryland, who was waiting for us at the end of the boardwalk. We were provided with golf carts and given a quick tutorial on how to use them. There are very few cars on the island. Golf carts and bikes are the preferred modes of transportation.

At the first stop, Ryland told us a bit about the island’s history. Ancient piles of oyster shells, and artifacts such as pottery fragments and arrowheads left by the indigenous Muscogee and Yemasse tribes were discovered by archaeologists on Daufuskie — with some dating as far back as 7000 BCE. 

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This old schoolhouse now serves as the first stop on a tour of the history of Daufuskie — and acts as the community’s library.

An Education at the Jane Hamilton School

Our tour began at the Jane Hamilton School, part of the Billie Burn Museum complex. The one-room schoolhouse was built in the late 1930s using blueprints provided by Julius Rosenwald, head of the Sears, Roebuck and Company mail order empire. Rosenwald was a philanthropist who met renowned educator and prominent African American thought leader Booker T. Washington and recognized the need for educational facilities for disadvantaged Southern Black children. This sparked a transformative collaboration between the pair, and a program emerged to construct modest educational buildings, which later became known as Rosenwald Schools.

Kids used to go to school here until 5th grade, when they’d have to work their family’s farm full time.

The Jane Hamilton School provided education from kindergarten to 5th grade. As this was built at the tail end of the Great Depression, Rosenwald was unable to provide the raw materials required to build the facility. It was financed using money raised by the island community and erected by local craftsmen and workers employed by the government-funded Works Progress Administration (WPA) — with some help from the children themselves. 

The school year started in September and ended in March, Ryland informed us. Most Gullah families could not afford to send their children to the mainland to continue their education. Once they completed 5th grade, they were expected to work on the family farm full time. (This prompted some kids to purposely fail to prolong their education, according to our guide.) Today the former school is home to the Gullah Learning Center and the community library. 

The Daufuskie Island History Museum was once a Baptist church.

An Alligator and Gullah Bible at the Daufuskie Island History Museum

The next stop was Mount Carmel Baptist Church Number 2, so named because the first was destroyed by a hurricane in 1940. It’s now home to the Daufuskie Island History Museum. Among the artifacts on display are a taxidermied 11.5-foot alligator, a 19th century Gullah Bible, Indian arrowheads and a restored 1890s pump organ. The museum also has a nook that sells books about the island’s history. 

Wally poses by Al, the taxidermied alligator on display.

The history museum has a jumble of artifacts, including a charming pump organ and a Bible written in Gullah. Here’s John 3:16: “Cause God lob all de people een de wol sommuch dat e gii we e onliest Son.”

Sarah Hudson Grant’s Buggy: A Labor of Love

Our final stop in the museum complex was a small structure sheltering the one-horse buggy of Sarah Hudson Grant. When women went into labor on Daufuskie, they would ask for Mrs. Grant aka Granny to come. She became a midwife in 1932 and was married to the island’s undertaker. When he died in 1962, she stepped in and took his place. Grant charged $5 to deliver a baby or $10 to deliver a baby and do a week’s worth of laundry after. 

The horse-drawn carriage used by legendary midwife Sarah Hudson Grant was restored by Amish craftsmen (who painted it black, which they felt was much more proper than red).

Over a 37-year period, Grant “grannied” 130 babies on Daufuskie without losing one — and as the undertaker, she was the last to bid farewell to many. The Gullah said, “Granny bring ’em ’n she tek ’em away.”

With no medical instruments or doctors on the island, locals would holler from one property to another to alert her as to who was going into labor and where — at which point, she would hook her horse Tillman up to the carriage and hurry off to deliver the baby.

Ryland told us that electricity didn’t reach the island until the 1950s, with the first telephone following two decades later, in 1973.

Grant retired in 1969. 

Billie Burn Museum Complex
44 Old Haig Point Road 

The local Baptist Church is the oldest original building on Daufuskie and has been restored twice.

You Gotta Have Faith: The First Union African Baptist Church

The First Union African Baptist Church was built in 1884 and is the oldest original building on the island. It has served as a place of worship and faith for over a century and was built on the grounds of the former Mary Fields cotton plantation.

The structure has had two major facelifts. The first was in 1952, when the island received electricity. Fixtures were converted from gas to electric, and the second was in 1982, when the foundation was reinforced, as over time the structure had begun to slowly sink into the ground. Even today you can still notice a tilt to the walls and doors.

To become a member of the parish, you had to go on a spirit quest into the woods to commune with God.

When the parish was first established, it wasn’t a traditional church, where you could simply show up and attend. You would have to go to the church leaders and tell them you were interested in joining the congregation. They would instruct you to find a quiet place in the woods to pray, and while there, you would hopefully receive a message from God. You’d report back, and a spirit guide would be summoned to interpret your vision. If they weren’t convinced, you’d have to try again, because God (and the church) wasn’t quite ready for you. 

Members of the congregation had assigned seating. Men sat on one side and women on the other. The church was the head of the community, in charge of law enforcement, finances and school openings. If you did something that made the community angry, you would be seated in the back, so that everybody knew you were being scorned.

The Praise House on the grounds of the church was a gathering place for slaves, where religious services were held.

Praise You at the Praise House

Tucked to the side of the First Union African Baptist Church stands a simple, weathered wood structure. It’s a reproduction of the original “praise house” that stood there for more than a century. These structures were intentionally built small to prevent large gatherings of slaves, as plantation owners feared that they could easily be overthrown or killed. 

When the house was open, the deacon or worship leader would stand on the top step or in the doorway, and most slaves would gather to sit outside on the grass. Those members of the congregation inside the praise house would rhythmically stomp upon the wooden floors, creating a communal drum of sorts. 

Singing was an important element of the services and hymns were often sung in round, a short musical piece in which multiple voices sing the same melody but start the song at different times. Services also included songs known as call and response, where the leader would sing out a phrase that was answered by the congregation. These buildings might have been called praise houses, but because of the cacaphony heard during services, plantation owners referred to them as shout houses.

First Union African Baptist Church
School Road 

Daufuskie Soap Company started out on a porch like other artisan workshops on the island.

Peachy Clean at Daufuskie Soap Company

Part of the tour was to visit local artisans (those makers I mentioned earlier). One of them is Jan Crosby, who makes soap, lotions and other body care products inspired by the scents of the island. Before we entered the shop, Ryland told us it was originally named Daufuskie Peach — a nod to Crosby’s native roots in Georgia. Like most artisans on the island, she started out by creating a workshop on her porch. Tired of people expecting a fruit stand, Crosby has since changed the name. We purchased a bar of sandalwood soap. 

Daufuskie Soap Company
228 School Road

Stop by Daufuskie Blues to see some amazing patterns — and ask for a demonstration.

Indigo Immersion at the Mary Fields School 

A short golf cart ride from the church is the Mary Fields School, where local celebrity Pat Conroy taught schoolchildren in 1969. The historic schoolhouse was built in 1933 and now contains Daufuskie Blues, a shop selling indigo-dyed clothing. 

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For 20 years, the school had no cafeteria or lunchroom. Eventually one was built in the back, and it’s now School Grounds Coffee. We greatly appreciated the chance to get a caffeine fix on an island that doesn’t offer much in terms of places to eat.

The two-room schoolhouse where Pat Conroy once taught is now an indigo shop, art studio and coffeeshop.

Kindergarten through 3rd grade were taught by Mrs. Brown in one room, and 4th through 8th grade by Frances Jones in the other. When Jones retired in 1969, she was replaced for one year by the late novelist Conroy. Fresh out of grad school, he wanted to come to Daufuskie to teach, inspire and motivate students. But his methods were unconventional — and controversial. He would regularly take students over to the mainland to places like Bluffton, Savannah and even Washington, D.C. At the end of his first year teaching, Conroy was fired. He went on to write an autobiographical book about his time at the Mary Fields School called The Water Is Wide, adapted into a movie starring Jon Voight named Conrack, which is how the Gullah children pronounced Conroy’s name. 

Conroy never returned to teaching, but he did keep in contact with his students and continued to write. Ryland added that even though Conroy was forced out of the school, he made out all right, going on to have a successful literary career, penning bestselling books like The Great Santini and The Prince of Tides.

Daufuskie Indigo
School Grounds Coffee
203 School Road

Chase Allen’s artwork has gotten quite popular and won an American Made award from Martha Stewart Living.

Reeling in Art at the Iron Fish

Our final stop was the Iron Fish, where a whimsical menagerie of fish, mermaids, stingrays and other coastal creatures fashioned from distressed sheet metal are displayed in the open-air gallery owned by artist Chase Allen. 

Allen has an outdoor workshop on the island.

Payment is on the honor system.

Allen asks patrons to pay by the “honor system”: Leave a check in the box on his front porch or make a mobile payment through Zelle. 

The Iron Fish 
168 Benjies Point Road 

The Old Daufuskie Crab Company has a great outdoor space — but it was too cold to enjoy when we visited in December. It’s one of only a couple of restaurants that stay open all year.

Lunch Stop at Old Daufuskie Crab Company

Our two-hour tour wrapped at 1 p.m., so Wally and I wanted to grab some lunch before catching the 2:30 ferry back to the mainland. We decided it’d be best to get back by the harbor, so we stopped into the Old Daufuskie Crab Company. We ordered beers and a basket of spicy shrimp — but passed on the “scrap iron,” an Arnold Palmer-esque cocktail made with moonshine. 

Old Daufuskie Crab Company
256 Cooper River Landing Road

Ryland, with Tour Daufuskie, was a storehouse of interesting local knowledge. The poor guy is only one of a few people his age on the island.

A visit to Daufuskie is a great day trip if you’re in the Hilton Head or Bluffton area. You get to be on the water, tool around in golf carts and learn some fascinating Gullah history. And you couldn’t hope for a better guide than Ryland. We enjoyed spending time with him and were impressed with his knowledge of the island. While the weather was a bit cold on our visit in December, we were happy to finally have made it to Daufuskie. We’ll be back. –Duke

 

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RELATED: Gullah History of Hilton Head

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

 

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