Sanctuary of Atotonilco facts for kids
Quick facts for kids Sanctuary of Atotonilco |
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| Native name Santuario de Dios y de la Patria | |
Exterior of the Santuario de Jesús Nazareno de Atotonilco
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| Location | Near San Miguel de Allende, Guanajuato, Mexico |
| Built | 18th century |
| Architectural style(s) | Mexican Baroque |
| Visitors | 5000 per week |
| Official name: Protective town of San Miguel de Allende and Sanctuary of Jesús Nazareno de Atotonilco | |
| Type | Cultural |
| Criteria | ii, iv |
| Designated | 2008 (32nd session) |
| Reference no. | 1274 |
| Region | Latin America and the Caribbean |
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The Sanctuary of Atotonilco is a famous church complex in Guanajuato, Mexico. It is also known as the Santuario de Jesús Nazareno de Atotonilco. This amazing place is part of a World Heritage Site, along with the nearby town of San Miguel de Allende.
A priest named Father Luis Felipe Neri de Alfaro built the complex in the 1700s. People say he had a special vision of Jesus, which inspired him. The most important part of the Sanctuary is its beautiful Baroque murals. These paintings cover the walls and ceilings of the main church and its chapels. Antonio Martínez de Pocasangre created most of these murals over 30 years. Because of its stunning art, the Sanctuary is often called the "Sistine Chapel of Mexico." Many people still visit the Sanctuary today for worship and reflection. About 5,000 visitors come every week.
Contents
Exploring the Sanctuary of Atotonilco
The Sanctuary is officially called the “Santuario de Dios y de la Patria,” meaning "Sanctuary of God and Country." But most people know it as the Sanctuary of Jesús Nazareno de Atotonilco. It is located in a small village called Atotonilco. This village is now part of the World Heritage Site along with San Miguel de Allende.
Atotonilco is about 14 kilometers (9 miles) from San Miguel de Allende. The area looks a bit like Jerusalem, with dry grasslands and desert plants. This helps visitors feel a connection to the Holy Land. The region also has many thermal and fresh water springs. Long ago, there were 27 fresh water springs that helped grow gardens around the Sanctuary. Even today, warm water still comes from the ground nearby. One spring is now a spa called Balneario La Gruta.
Architecture and Design
From the outside, the church complex looks very simple. Its tall walls make it seem like a fortress. The outer walls are about 10 meters (33 feet) high. The domes reach 12 meters (39 feet), and the clock tower is about 20 meters (66 feet) tall. The main entrance is also plain. It faces east, towards Jerusalem, giving the whole complex an east-west direction.
To the south of the main entrance is the Casa de Ejercicios and the clock tower. To the north is the Santa Escuela de Cristo. In front of the main entrance is a small atrium. This area was once a cemetery. Now, it has trees and a small fence. The main church has one long room, called a nave, without a dome. Chapels and rooms line both sides of the nave.
Inside the Sanctuary: Art and Stories
The inside walls and ceilings are almost completely covered with murals, sculptures, and paintings. This art style is called Mexican folk Baroque. You can also see influences from local indigenous art. The only parts that are different are the Neoclassical altars, which were added later.
Antonio Martínez de Pocasangre did most of the mural work. José María Barajas also helped. They worked for 30 years, leaving almost no empty space. The painting style looks like Flemish art. This style came from Belgian prints brought by the Spanish. Because of these amazing murals, the complex is known as the "Sistine Chapel of America" or "Sistine Chapel of Mexico."
The main nave of the church tells the story of Jesus's life and death. This story is mostly shown on the ceiling. Near the entrance, there are paintings about the Last Judgment. Higher up, Jesus appears with a crown and a cross, blessing certain people. On the left, you can see the "damned" looking in pain. A wooden screen divides the entrance area. It has paintings of Bible stories and saints.
As you walk along the nave, the ceiling is divided into sections by arches. These arches have verses written by Father Neri. The verses explain the scenes painted on each part of the ceiling. The images start with Jesus and Mary receiving a blessing. Another scene shows Jesus praying in Gethsemane. Then, Judas Iscariot betrays Jesus with a kiss. The north wall shows Jesus being baptized in the Jordan River by John the Baptist.
In the next part, Jesus is in the house of Caiaphas. Seventy-two judges try Jesus, with Pontius Pilate watching. On the north side, Pilate appears again. On the south side, Pilate asks people to choose between Jesus and Barabbas. On the east side, Jesus is whipped while tied to a post. The south wall has a stone altar with gold leaf. It shows Christ tied to a post, covered in whip marks. This image is called the Señor de la Columna.
More scenes show Jesus after being whipped by soldiers. The Virgin Mary, Mary Magdalene, and Mary of Clopas watch from a distance. Then, Christ receives the cross. The next section shows Jesus on his knees with Simon of Cyrene carrying the cross. Saint Veronica wipes Jesus's face with a cloth. The north and south parts show Jesus falling while carrying the cross.
At the main altar area, you can see scenes of Palm Sunday, the crucifixion, and Jesus's death. The main altar was made between 1812 and 1820. It holds the image of Jesus of Nazareth, placed there by Father Neri in 1748. This wooden sculpture wears a cloth tunic. Its face style was common in the 1700s and came from Seville, Spain.
The ceiling art in the nave is meant to show a path from sin to the "glory of God." This glory is shown in a special room behind the main altar. It is called the Camarín de la Gloria (Chamber of Glory). This room was built between 1740 and 1748. Here, the story from the nave murals ends with the Resurrection of Jesus. This circular room has a dome. Light from above represents the Glory of God. Below, angels, musicians, and statues of the Apostles are arranged in a circle. The Virgin Mary is also there as Queen of the Apostles. Below them are statues of important Catholic founders like Augustine of Hippo and Francis of Assisi.
On the north side of the nave, there are two chapels with murals. The Belén (Bethlehem) Chapel is about the birth of Jesus. It was built between 1759 and 1763. Its altar is a 19th-century Neoclassic design. The ceiling shows angels singing about the Messiah's arrival and shepherds adoring the child. Both angels and shepherds hold signs with the Apostles' Creed. There is also a scene with the Holy Trinity and the crowned Virgin Mary.
The Capilla del Rosario or Rosary Chapel was built in 1763. Its ceiling is divided into four parts. One part shows a naval battle between Spanish and Ottoman ships. This refers to the Battle of Lepanto, where the Virgin of the Rosary is believed to have helped the Spanish win. Another part shows a ceremony for the Virgin Mary in Rome. The main altar is gilded and holds the Virgin's image. There are 15 small scenes about the mysteries of the Rosary. The walls have images of saints. Inside this chapel, you can find portraits of Father Neri and his parents. There is also a self-portrait of Pocasangre, showing his indigenous features.
Other Important Rooms
On the south side, there are six other important rooms. The old sacristy ceiling shows scenes from Father Neri's life and the Sanctuary's building. It also has 12 oil paintings of the Apostles. There is a painting of Anthony of Padua by Juan Correa. Two paintings compare Jerusalem with San Miguel de Allende and the Sanctuary.
The Capilla de Soledad or Chapel of Solitude was built between 1740 and 1748. Its main altar has the Virgin of Sorrows, crying for the crucified Jesus. On the south wall, there is a sculpture of Saint Peter crying because he denied Jesus. This chapel is the darkest in the complex, with very little light from the windows.
The Capilla de Loreto or Loreto Chapel was built in 1754. You cannot enter this chapel directly from the main nave. You must go through the current sacristy or the Capilla de Soledad. This chapel's size and shape are exactly like other Loreto chapels in Mexico. These chapels are based on the Chapel of Loreto in Ancona, Italy. One wall has a mural of an angel telling Mary about her pregnancy. There are also other scenes about the Virgin and child Jesus.
The area called “La Glora Escondida” or "The Hidden Glory" is hard to reach. It is a partly hidden rectangular room. Pocasangre decorated it with scenes about the Final Judgment, Hell, and sin. It shows eight sins, each with a different animal head. The north wall has a triptych (three-part painting) where a dying man is surrounded by a priest, an angel, and demons fighting for his soul. The demons are defeated in the end. The only window shows a scene from the Final Judgment. On the left, there are paintings of Hell's torments.
The Capilla del Santo Sepulcro or Chapel of the Holy Burial was built between 1759 and 1763. The murals here, started in 1760, focus on Jesus's death, burial, and resurrection. This area connects to the Chapel of the Calvary behind it. This chapel has an image of a resurrected Jesus, still lying down. It is special because of its bloody face and the many precious stones on it. These stones have stayed despite attacks on the church over time. The roof has rose windows and four large shell reliefs. The walls are painted with figures like the Four Evangelists and many angels.
The Capilla de Calvario or Calvary Chapel is the largest chapel in the complex. It was built between 1763 and 1766. It was the last chapel Father Neri had built, though he did not live to see it finished. It has a cross shape with domes. Its decoration is mostly Mexican Baroque, with large oil paintings and groups of painted statues. The columns have poems written by Father Neri. The three altars hold the best sculptures. These sculptures show the crucifixion, agony, and descent of Christ after his death.
The choir area was built between 1759 and 1763. Pocasangre originally painted it, but little remains due to later repainting. Most paintings in this space are from 1867. The area has a wooden organ used for services.
Two parts of the complex do not connect directly to the main nave: the Escuela Santa de Cristo and the Casa de Ejercicios. The Casa de Ejercicios is a place for prayer and meditation. It was built based on the ideas of Ignatius of Loyola. These ideas involve spiritual "exercises" to help Catholics strengthen their faith. This type of building came to Mexico around 1665. Father Neri had this building constructed 100 years later. This building is mostly separate and decorated differently. It only has poems and writings to help with meditation. When Father Neri died, 7,541 men lived and studied there. Today, about 30 people live there, and 75,000 visit each year.
A Place for Pilgrimage
Since it was built, the complex has been a popular place for pilgrimages and processions. Its design and decorations show the ideas of Saint Ignatius of Loyola. It was built with the principles of the Counter-Reformation in mind. The Sanctuary became a place for penance, following Ignatius Loyola's exercises, in 1765. Father Neri led the first group of 25 people.
The Sanctuary has been one of the main places in Mexico to practice these spiritual exercises. These can include practices like self-discipline and fasting. During Holy Week, about 5,000 people perform these exercises. Some even wear crowns of thorns. This is one of 33 weeks each year when visitors come to the Casa de Ejercicios for penance. A full cycle of penance, prayers, and meditation lasts eight days. The Sanctuary can welcome up to 5,000 visitors every week.
Every year since 1812, a special image of Jesus, called the Señor de la Columna, travels in a procession. This image shows Jesus tied to a column and beaten. It travels between Atotonilco and San Miguel de Allende. In 1812, people asked for the image to help with a sickness in the town. Today, every year on the Saturday before Holy Week, it goes to San Miguel. It returns to Atotonilco on Thursday night.
History of the Sanctuary
The World Heritage Organization calls the Sanctuary an "amazing example of how European and Latin American cultures mixed." They also say it is "one of the best examples of Baroque art and Baroque architecture in New Spain." Because of its role in the Mexican War of Independence, it is one of Guanajuato’s 61 historic sites.
The area was considered sacred even before the Spanish arrived. This was because of its hot mineral springs. The name Atotonilco means “in hot water” in the Nahuatl language. This refers to the thermal springs. The Chichimecas, an ancient people, came here to perform penance. They would pierce themselves with maguey thorns and wash away their guilt in the hot springs.
According to stories, Father Neri came here after preaching in other missions. While resting under a mesquite tree where the Sanctuary now stands, he dreamed of Jesus. Jesus, wearing a crown of thorns and carrying a cross, told Father Neri that this place should become a site for penance and prayer. Another story says Father Neri was here because he was sick. He was helping at a small church called Capilla de San Miguelito. At that time, local people like the Guachichiles and Pames were not fully Christian. They believed the thermal springs were sacred and healing.
Father Neri bought the entire Hacienda de Atotonilco. He wanted to build the Sanctuary and have enough land to support it. On May 3, 1740, a ceremony was held to bless the first stone. When Father Neri planned the church, it was the morning of May 3, the Day of the Holy Cross. People say he saw three rainbows: one to the east, one to the north, and one to the south. This left the west free. The main altar faces west, towards the Holy Land.
The first part of building lasted from 1740 to 1748. This included the main nave, the tower, and the old sacristy. At the end of this phase, the church was blessed, and the image of Jesus the Nazarene was placed inside. The second phase lasted until 1776. Most of the chapels and other rooms were built then. As the complex was built, the murals were painted. The main goal was to strengthen the ideas of the Council of Trent and the Counter Reformation. Father Neri lived at the site until he died in 1776. Only the Santa Escuela annex, the new sacristy, some hallways, and the chaplain’s house were missing. Various sculptures, altars, and oil paintings were also added over the next 100 years.
Father Neri's will states that the complex cost 22,647 pesos. The main church is dedicated to Jesus of Nazareth. For over 88 years after Father Neri's death, people have tried to make him a saint, but it has not happened yet.
The church is also linked to the Mexican War of Independence in the early 1800s. Ignacio Allende got married in this church in 1802. More importantly, the first flag for the rebel army was taken from here on September 16, 1810. This flag showed the Virgin of Guadalupe. After the war, the community became part of the San Miguel de Allende municipality.
Over time, the art and architecture of the Sanctuary suffered damage. This was mostly due to high humidity from the thermal springs under the ground. The moisture and minerals seeped into the walls and foundations, causing them to crumble. This also damaged the murals, paintings, and sculptures.
Restoration work began in 1994, starting with the chapels. To highlight this effort, the site was listed in the 1996 World Monuments Watch by the World Monuments Fund. About half of the oil paintings and all the murals were saved. Money for the work came from different places, including the government and private groups. After fixing water damage, a sealant was applied. More restoration work happened in 2010 for Mexico’s Bicentennial. Walls and roofs were aired out, and old wells were cleaned to help water drain away from the foundation. Channels were built in the foundation for the same reason.
The remains of the Sagrado Corazon Chapel were removed. It was not part of the original building and blocked light. The arch to the La Higuera courtyard was uncovered. However, the tree in this courtyard remains. It was planted to remember the Sanctuary's founder. This courtyard was rebuilt to help bring light and drainage to keep the complex dry.
See also
In Spanish: Santuario de Jesús Nazareno de Atotonilco para niños
