Sanctuary of Atotonilco
Sanctuary of Atotonilco | |
---|---|
Native name Santuario de Dios y de la Patria | |
Location | Near San Miguel de Allende, Guanajuato, Mexico |
Coordinates | 21°0′17.96″N 100°47′40.43″W / 21.0049889°N 100.7945639°W |
Built | 18th century |
Architectural style(s) | Mexican Baroque |
Visitors | 5000 per week |
Latin America and the Caribbean | |
The Sanctuary of Atotonilco (Spanish: Santuario de Jesús Nazareno de Atotonilco [atotoˈnilko]) is a church complex and part of a World Heritage Site, designated along with nearby San Miguel de Allende, Guanajuato, Mexico. The complex was built in the 18th century by Father Luis Felipe Neri de Alfaro, who, according to tradition, was called upon by a vision of Jesus with a crown of thorns on his head with blood on his face and carrying a cross. The main feature of the complex is the rich Mexican Baroque mural work that adorns the main nave and chapels. This was chiefly the work of Antonio Martínez de Pocasangre over a period of thirty years. The mural work has led the complex to be dubbed the "Sistine Chapel of Mexico."[1] The complex remains a place of worship and penance to this day, attracting as many as 5,000 visitors every week.
Description
The Sanctuary, officially called the “Santuario de Dios y de la Patria” (Sanctuary of God and Country),[2] but is better known as the Sanctuary of Jesús Nazareno de Atotonilco.[3] It is located in the small, rural community of Atotonilco, which had a population in 2005 of 597. Today, this community is formally known as the Santuario de Atotonilco and is part of a World Heritage Site (2008) along with the historic center of San Miguel de Allende.[4]
Atotonilco is located fourteen km outside the town of
Architecture
On the outside the church complex is very plain with high walls that give it a fortress appearance. The outer walls are about ten meters high; the cupolas reach twelve meters and the clock tower is about twenty meters high.[8] The main entrance is also simple under a “mixtilineo” arch that faces east, towards Jerusalem, giving the entire complex an east-west orientation.[9][10] To the south along the main facade is the Casa de Ejercicios and the clock tower. To the north is Santa Escuela de Cristo. In front of the main facade is a narrow atrium, which was once used as a cemetery. Today, it is shaded by trees and surrounded by a small fence. The main church is a single nave without a cupola, lined on the north and south flanks by chapels and chambers.[10] On the north side of the nave, there are the new sacristy, the Rosary Chapel, the chambers of Father Neri, the Belen Chapel/Baptistery and the Reliquary Room. On the south side, there are the Santisimo Chapel, the Soledad Chapel, the Loreto Chapel with its back chamber, the Gloria Escondida Chamber and the Santo Sepulcro Chapel with the Calvario Chapel behind it.[11]
Interior
The walls and ceilings of the interior are nearly entirely covered in mural work, sculpture, inscriptions and oil paintings in a style called Mexican folk
The story of Jesus’s ministry and death according to the
As the visitor moves along the nave towards the main altar, the ceiling is divided into sections by arches. These arches contain verses written by Father Neri which relate to the scene painted on each vault. The images begin with the upper choir with a scene containing Jesus with the
In the next section there is a representation of Jesus in the house of Caiaphas. Seventy two judges try Jesus with Pontius Pilate on the side in the balcony. On the north side, Pilate appears again but the Jewish judges stay outside the Roman magistrate's house because they are observing Passover. The south side presents Pilate presenting Jesus and Barabbas and asking to choose whom to release. On the east side is a scene with Jesus being flogged while tied to a post. On the south wall, there is a Neoclassical altarpiece of stone with gold leaf. This contains an image of Christ tied to a post and bearing the marks of being flogged. This is called the Señor de la Columna.[16]
Next are verses from the Gospels of Matthew, Mark, and John referring to Jesus after he was flogged by soldiers. Another section shows the Virgin Mary, Mary Magdalene and Mary of Clopas watching the punishment of Jesus from afar. Christ then receives the cross.[17] The next section shows Jesus on his knees with Simon of Cyrene carrying the cross and followed by a large crowd and soldiers. Saint Veronica appears in front of Christ, wiping his face with a cloth. The north and south segments show the falls Jesus suffered while carrying the cross while the three Marys look on.[18]
At the
The line along the ceiling of the nave is supposed to trace the path from sin and Hell to the “glory of God’s presence.”
On the north side of the nave, there are two chapels with mural work and other decorations. The Belén (Bethlehem) Chapel is dedicated to the
Annexes
On the south side there are six annexes of note. The vault of the old sacristy contains scenes from the life of Father Neri and the construction of the Sanctuary. There are also 12 oils on canvas of the Apostles. Prior to the restoration of the Camarín de la Gloria (Chamber of Glory), the oils on canvas covered medallions on the walls. There is also a painting of Anthony of Padua by Juan Correa as well as paintings of a number of important churchmen and more by anonymous painters. Two paintings compare Jerusalem with San Miguel de Allende and the Sanctuary.[22]
The Capilla de Soledad or Chapel of Solitude was built between 1740 and 1748. The main altar contains the
The Capilla de Loreto or Loreto Chapel was built in 1754. There is no direct access to this chapel from the main nave of the church; it is necessary to enter from the current sacristy or through the Capilla de Soledad. The dimensions and shape of this chapel exactly match the Loreto chapels in the monastery of Tepotzotlán and in the church of San Felipe Neri in San Miguel de Allende. The three chapels are based on the layout of the Chapel of Loreto in Ancona, Italy. One wall is painted with a mural of an angel announcing to Mary her pregnancy. There are also various depictions related to the Virgin and the child Jesus.[24]
The area known as the “La Glora Escondida” or "The Hidden Glory" is located on the north side of the choir area, but it is difficult to access. It is a partially hidden rectangular area. It was decorated by Pocasangre[25] with depictions related to the Final Judgment, Hell and sin. There are not Seven Deadly Sins, but eight represented by eight swords topped with the head of a different animal. The north wall contains a triptych where a dying man is surrounded by a priest, a guardian angel, and several demons vying for his soul. In the end, the demons are defeated. The only window is on the right which shows a scene from the Final Judgment which is based on an engraving by Gustave Doré. On the left side, there are depictions of the torments of Hell.[26]
The Capilla del Santo Sepulcro or Chapel of the Holy Burial was built between 1759 and 1763. The murals here were begun in 1760 and center on the death, burial, and resurrection of Jesus. This area connects the Chapel of the Calvary, which is behind it, by a kind of bridge anchored to the walls. This chapel contains an image of a resuscitated Jesus but still reclined which is notable for the bloody face and the number of precious stones that have been placed on it. These stones have remained despite the various attacks the church has suffered over its history. The roof is trapezoidal decorated with rose windows and four large reliefs of shells. The walls are painted with numerous figures such as Four Evangelists, the Four Fathers of the Church, and a large quantity of angels and cherubs. There are also allusions to the Four Cardinal Virtues, and medallions with scenes of the Resurrection.[27]
The Capilla de Calvario or Calvary Chapel is the largest of the complex and was built between 1763 and 1766. It was also the last that Father Neri had built although he did not live to see its completion. It has a cross layout and is topped with vaults and a cupola. Its decoration is almost purely Mexican Baroque with monumental oil paintings and groups of painted statues that are placed on the floor, walls and ceiling. The columns contain inscriptions of poems written by Father Neri. The three altars contain the best of the sculptures and enclose the transept. These sculptures depict the crucifixion, agony, and descent of Christ after his death.[28] The choir was built between 1759 and 1763. It was originally painted by Pocasangre, but little remains due to subsequent re-paintings and the enclosure of the space when the “Casa de Ejercicios" or meditation room was added. Most of the paintings in this space date from 1867. The area contains a wood organ used to accompany services.[29]
The two parts of the complex which do not connect directly or indirectly to the main nave are the Escuela Santa de Cristo and the Casa de Ejercicios. The Casa de Ejercicios is a prayer and meditation facility which was built according to the principles of Ignatius of Loyola. They are based on a set of spiritual “exercises” designed during the reformation to help Catholics reinforce their faith. This type of building came to Mexico around 1665 and, 100 years later, Father Neri had the casa de ejercicios built. This building is mostly separate from the rest of the complex and is decorated differently. Only inscriptions such as poems appear with the intention of providing meditative help. When Father Neri died, there were 7,541 men who lived and studied there. Today, there are thirty, with 19 being women. However, about 75,000 visit each year.[30]
Pilgrimage site
Since it was built, the complex has been a pilgrimage and procession site.[31] The architecture and decorative features reflect the doctrine of Saint Ignatius of Loyola,[3] as it was built with the principles of the Counter-Reformation in mind. The sanctuary’s role as a site for penance, according to the exercises of Ignatius Loyola, began in 1765 with 25 people participating and directed by Father Neri.[10] The sanctuary has been one of the principal places in Mexico to practice the spiritual exercises of Ignatius of Loyola, which include mortification of the flesh through flagellation and fasting.[32] During Holy Week, an estimated 5,000 perform these exercises and wear crowns of thorns on their heads. It is one of 33 weeks out of the year when visitors, mostly from the center and north of the country, visit the Casa de Ejercicios to perform penance. A complete cycle of penance, prayers and meditation lasts eight days.[33] It can receive up to 5,000 visitors each week.[6]
Each year and since 1812, the image of Jesus, depicted tied to a column and beaten, called the Señor de la Columna, has traveled in procession between Atotonilco and San Miguel de Allende. In 1812, the image was requested due to an epidemic that was plaguing the town. Today, and each year on the Saturday prior to Holy Week, it travels to San Miguel and returns to Atotonilco on Thursday night.[34]
History
The World Heritage Organization calls it an “exceptional example of the exchange between European and Latin American cultures” and “one of the finest examples of
According to tradition, Father Neri arrived here from preaching at missions in
Father Neri bought the entire Hacienda de Atotonilco to build the sanctuary and to have enough productive land to support it.[38] On May 3, 1740, a ceremony was held where the Father blessed the first stone laid to construct the complex.[35] When Father Neri traced the layout of the church, it was the morning of May 3, the day of the Holy Cross, when he is said to have seen three rainbows, one to the east, one to the north and one to the south, leaving the west free. The main altar faces in this direction, towards the Holy Land.[39] The first phase of construction lasted from 1740 to 1748 and included the main nave, the tower, and old sacristy, today the Purisisma Chapel.[40] At the end of this phase, it was consecrated and the image of Jesus the Nazarene was placed.[41] The second phase lasted until 1776 when most of the chapels and other annexes were built.[39] As the complex was built, the mural work was done. The main reason behind this was to reinforce the principles of the Council of Trent and the Counter Reformation.[41] During all of this construction, Father Neri lived at the site until his death in 1776. All that was missing at that time was the Santa Escuela annex, the new sacristy, some hallways and the chaplain’s house, as well as various sculptures, altars and oil paintings. These were added over the next 100 years.[39][41]
According to the will of Father Neri, the complex cost 22,647 pesos. The main church is dedicated to Jesus of Nazareth.[25] Beginning 88 years after Father Neri’s death, there have been attempts in the 19th and 20th centuries to have the priest beatified, but they have not been successful.[42]
The church is connected to the events of the Mexican War of Independence in the early 19th century. Ignacio Allende married Maria de la Luz Agustina de las Fuentes in 1802 in this church.
Since that time the art and architecture of the Sanctuary suffered from deterioration, mostly due to high
See also
References
- ^ Gomez, p. 12
- ^ "Nostalgia y fiesta en San Miguel de Allende Rutas de México" [Nostalgia and party in San Miguel de Allende-Routes of Mexico]. El Financiero (in Spanish). Mexico City. September 29, 2010. Archived from the original on April 28, 2018. Retrieved October 20, 2010.
- ^ a b c "Protective town of San Miguel and the Sanctuary of Jesús Nazareno de Atotonilco". United Nations: World Heritage Organization. Retrieved October 20, 2010.
- ^ a b "Historia" [History] (in Spanish). San Miguel Allende, Guanajuato: Municipality of San Miguel Allende. Archived from the original on February 13, 2010. Retrieved October 20, 2010.
- ^ a b Gomez, p. 4
- ^ a b c d e Xóchitl Álvarez (July 2, 2008). "Presenta Santuario de Jesús Nazareno huellas de deterioro" [The Sanctuary of Jesus of Nazareth presents signs of deterioration]. El Universal (in Spanish). Mexico City. Retrieved October 25, 2010.
- ^ "Atotonilco, un destino del Bicentenario" [Atotonilco, a Bicentennial destination]. El Informador (in Spanish). Guadalajara, Mexico. September 12, 2010. Retrieved October 25, 2010.
- ^ Gomez, p. 5
- ^ Manriquez, pp. 5–6
- ^ a b c d e Gomez, p. 10
- ^ Manriquez, p. 6
- ^ a b Manriquez, p. 7
- ^ "Ingresa San Miguel de Allende a lista de UNESCO" [San Miguel Allende enters UNESCO’s list]. El Universal (reprinted in the Office of the President website (in Spanish). Mexico City. Notimex. July 7, 2008. Archived from the original on May 8, 2014. Retrieved October 20, 2010.
- ^ a b c Gomez, p. 21
- ^ Manriquez, p. 9
- ^ Manriquez, p. 11
- ^ Manriquez, p. 12
- ^ a b Manriquez, p. 13
- ^ Manriquez, p. 17
- ^ Manriquez, p. 8
- ^ Manriquez, p. 15
- ^ Manriquez, p. 16
- ^ Manriquez, p. 18
- ^ Manriquez, p. 19
- ^ a b Gomez, p. 16
- ^ Manriquez, p. 22
- ^ Manriquez, p. 20
- ^ Manriquez, p. 23
- ^ Manriquez, p. 21
- ^ Manriquez, p. 24
- ^ Vicente Ochoa (January 1, 1999). "San Miguel de Allende: Un fin de semana en el pasado" [San Miguel de Allende: A weekend in the past]. Palabra (in Spanish). Saltillo. p. 7.
- ^ a b c d e "El Santuario de Atotonilco, respira" [The Sanctuary of Atotonilco breathes]. Milenio (in Spanish). Mexico City. April 11, 2010. Retrieved October 25, 2010. [dead link]
- ^ "5 mil católicos acuden a Santuario de Atotonilco" [5,000 Catholics arrive to the Sanctuary of Atotonilco]. Milenio (in Spanish). Mexico City. April 4, 2010. Retrieved October 25, 2010. [dead link]
- ^ Gomez, p. 26
- ^ a b Manriquez, p. 2
- ^ Gomez, pp. 19–20
- ^ Gomez, pp. 5–6
- ^ a b Gomez, p. 6
- ^ a b c Manriquez, p. 5
- ^ Gomez, p. 7
- ^ a b c d Mónica Arias (July 12, 2010). "Santuario de Jesús de Nazareno de Atotonilco, Guanajuato" [Sanctuary of Jesus of Nazareth Atotonilco, Guanajuato]. Diario de Querétaro (in Spanish). Querétaro. Retrieved October 25, 2010.
- ^ Gomez, pp. 50–51
- ^ World Monuments Fund – Jesús Nazareno Church in Atotonilco
Bibliography
- Rangel Gómez, Samuel (2010). Atotonilco: Santuario de Dios y de la Patria, Relicario del Barroco Mexicano [Atotonilco: Sanctuary of God and Country, Reliquary of Mexican Baroque] (in Spanish). Guanajuato: Universidad de Guanajuato and Amigos de San Miguel, A.C.
- Manríquez, Fernando; Reza Diaz, Julio (2005). Santuario de Atotonilco, Guanajuato: Guía para el visitante [Sanctuary of Atotonilco, Guanajuato:Guide for the visitor] (in Spanish). Guanajuato: Sociedad de Atotonilco.