The Sanctuary of Atotonilco (Spanish: Santuario de JesÃÆ'ºs Nazareno de Atotonilco [atoto'nilko] ) is a complex of churches and World Heritage Sites, designed in conjunction with the nearest San Miguel de Allende, Guanajuato, Mexico. The complex was built in the 18th century by Father Luis Felipe Neri de Alfaro, traditionally called by the vision of Jesus with the crown of thorns on his head and carrying the cross. The main feature of this complex is the rich Mexican Baroque mural masterpiece that adorns the nave and the main chapel. This is primarily the work of Antonio MartÃÆ'nez de Pocasangre over a period of thirty years. The work of the mural has made the complex nicknamed "The Mexican Sistine Chapel". This complex remains a place of worship and penance to this day, attracting as many as 5,000 visitors each week.
Video Sanctuary of Atotonilco
Description
The Sanctuary, officially called "Santuario de Dios y de la Patria" (Sanctuary of God and Country), but better known as the Sanctuary of JesÃÆ'ºs Nazareno de Atotonilco. Located in the small rural community of Atotonilco, which has a population in 2005 of 597. Today, the community is officially known as Santuario de Atotonilco and is a World Heritage Site (2008) along with the historic center of San Miguel de Allende.
Atotonilco is located fourteen kilometers outside the city of San Miguel de Allende in an area that is a combination of dry grassland and desert filled with pine trees, sweet acacia and mesquite. The emergence of the landscape has been compared to Jerusalem, which gives believers connection to the Holy Land. The area also has a large number of hot springs and fresh water. When the sanctuary was built, there were 27 fresh springs to support the gardens around the complex. Today, hot water still rises from the ground just one km from the sanctuary, and another spring at the community entrance has been covered by an artificial cave and used as a spa called Balneario La Gruta.
Maps Sanctuary of Atotonilco
Architecture
Outside the church complex is very simple with a high wall that gives it a castle look. The outer wall is about ten meters high; cupola reaches twelve meters and the clock tower is about twenty meters high. The main entrance is also simple under the arch of "mixtilineo" facing east, towards Jerusalem, giving the whole east-west orientation complex. To the south along the main facade are 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 grave. Today, he is shaded by trees and surrounded by a small fence. The main church is a single nave without domes, lined on the north and south by chapels and chambers. On the north side of the nave, there is a new sacristy, the Rosary Chapel, the Father Neri spaces, the Belen/Baptistry Chapel and the Return Room. On the south side is the Santisimo Chapel, the Soledad Chapel, the Loreto Chapel with its back room, the Gloria Escondida Room and the Chapel of Saint Sepulcro with the Calvary Chapel behind it.
Interior
The interior walls and ceilings are almost entirely covered in works of murals, sculptures, inscriptions and oil paintings in a style called Mexican Baroque folk, although adat influence can be seen. The only exception to this is the later Neoclassical altar. Much of the work of the mural was done by Antonio MartÃÆ'nez de Pocasangre with some done by JosÃÆ'Â © MarÃÆ'a Barajas during a period of thirty years with hardly any empty space remaining among the many pictures. The painting style mimics the Flemish painting known through the Belgian print that Spain was brought from Europe. This mural masterpiece has led the complex to be called "The American Sistine Chapel" or "The Mexican Sistine Chapel".
Throughout the main part of the church, especially along the ceiling, the story of Jesus' ministry and death according to the Gospel is told. In the entrance area, there is a picture relating to the Last Judgment. At the highest part Jesus looks crowned and with a cape carries a cross and blesses certain chosen people with his right hand. On the left side, is "damned", tied up, with their faces showing their suffering, big ears and horns. The entrance is divided by a wooden screen to block out the light with two doors in front and one door on each side. Screens are made of square blocks, each painted with allegory, Bible passages and images of saints.
As the visitor moves along the nave towards the main altar, the ceiling is divided into sections by the arch. This arch contains passages written by Father Neri that deal with scenes painted on every vault. The picture begins with the top choir with scenes containing Jesus with Mary receiving blessings. Another scene is Jesus praying in Gethsemane, receiving comfort from angels. Another scene has Judas Iscariot with a demon on his back and is followed by soldiers as he betrays Jesus with a kiss. In the fourth scene, Peter attacked Malchus with a sword, cut off his ear and then Jesus replaced the ear. The north wall has the Baptism of Jesus in the Jordan River, accompanying John the Baptist.
In the next section there is a representation of Jesus at Caiaphus's house. Seventy-two judges tempted Jesus with Pontius Pilate beside the balcony. On the north side, Pilate appeared again but the Jewish judges remained outside the Roman judge's house as they were celebrating the Passover. The southern side displays Pilate who presents Jesus and Barabbas and asks to choose whom to deliver. On the east side is a scene with Jesus whipped while tied to a post. On the south wall is a neoclassical stone altar with gold leaf. It contains a picture of Christ tied to a pole and marked with a whipping. This is called SeÃÆ' Â ± or de la Columna.
Next are verses from the Gospels of Matthew, Mark, and John referring to Jesus after he was whipped by the army. Another section shows the Virgin Mary, Mary Magdalene and Mary of Clopas witnessing Jesus' punishment from afar. Christ then received the cross. The next section shows Jesus on his knee with Simon of Cyrene carrying a cross and followed by a large crowd and army. Saint Veronica appeared before Christ, wiping his face with a cloth. The north and south segments show the fall that Jesus suffered while carrying the cross while the three Marys saw it.
In the rectory, where the main altar, there can be found the depiction of Palm Sunday, the crucifixion and death of Jesus. The main altar was made between 1812 and 1820. It contains a picture of Jesus of Nazarene, placed there by Father Neri in 1748. The statue is made of wood and dressed in a cloth robe. This face is typical for the type of image from the 18th century and originated from Seville, Spain.
The line along the center of the ceiling should keep track of the path from sin and Hell to "the glory of God's presence." This glory is depicted in a room located behind the main altar called CamarÃÆ'n de la Gloria (Chamber of Glory) or CamarÃÆ'n de los Santos Apostoles (Chamber of the Holy Apostles), built between 1740 and 1748, during the first construction phase. Here is the culmination of the story narrated by the ceiling mural of the main core: The Resurrection of Jesus after His Crucifixion. This space is circled on it with a dome with light from the Iintern at the top representing the Glory of God. From the fall of this fire represents the Holy Spirit and in the hierarchy circular under the dome is an angel, a musician, and representing the heavenly choir at the base of the dome is a statue of the Apostles, together with the Virgin Mary as the Queen of Apostles. Above each statue is a shell-shaped medal representing their martyrdom. Below are the founders of various Catholic monastic orders such as Augustine of Hippo, Francis of Asisi and Saint Dominic.
On the north side of the nave, there are two chapels with mural works and other decorations. The Belen Chapel (Bethlehem) is dedicated to the birth of Jesus. It was built between 1759 and 1763, but the altar is a Neoclassic design dating from the 19th century. It contains a medal that is painted oil. The dome contains a mixture of angels singing the coming of the Messiah, the peace, and a group of shepherds who come to worship the child. Both the angels and the shepherds hold signs with the Apostles' Creed. There is also a scene with the Holy Trinity accompanying the crowned Virgin Mary. To the left, idols fell before the birth of Christ. Capilla del Rosario or Rosary Chapel was built in 1763 and the safe is divided into four triangular segments. The northern segment contains a sea battle where the galleons, with Spanish and Ottoman coats, shoot each other, referring to the Battle of Lepanto. The Virgin of the Rosary is credited with the victory of Spain. On the south side, there is a ceremony dedicated to the Virgin Mary in Rome, led by Pope Pius V. The main altar is plated and contains the image of the Virgin. There are 15 small pieces above the mirror with scenes related to the mystery of the Rosary. On the east and west walls there are images of saints grouped by monastic order. Inside the room, there are portraits of Father Neri, Esteban Valerio de Alfaro and MarÃÆ'a VelÃÆ'¡zquez de Casillta (his parents). Near the window are portraits of Doctor DÃÆ'az de Gamarra and Dominican monk Francisco Alonso de Rivera and self portrait of Pocasangre, which emphasizes its indigenous features. The roof of this inner room is a large shell. Writings such as Ave Maria, prayers, saint names and more are inscribed on the shell ribs.
Annexes
On the south side there are six attachment notes. The old sacristy safes contain scenes from Father Neri's life and the building of the Holy Place. There are also 12 oils on the canvas of the Apostles. Before the restoration of the CamarÃÆ'n de la Gloria (Chamber of Glory), the oil on the canvas covered the medals on the wall. There are also Anthony of Padua paintings by Juan Correa as well as paintings of a number of important church figures and many more by anonymous painters. Two paintings compare Jerusalem with San Miguel de Allende and the Holy Place.
Capilla de Soledad or Chapel of Solitude was built between 1740 and 1748. The main altar contains the Blessed Virgin, weeping for Jesus crucified. On the south wall, there is a statue of St. Peter who wept for Jesus' grief. This chapel is the darkest in the complex like a window that let a little light.
Capilla de Loreto or Loreto Chapel was built in 1754. There is no direct access to this chapel from the main part of the church; need to enter from the current sacristy or through Capilla de Soledad. The dimensions and shape of this chapel are exactly the same as Loreto's chapel in the TepotzotlÃÆ'¡n monastery and in the church of San Felipe Neri in San Miguel de Allende. The three chapels are based on the layout of the Loreto Chapel in Ancona, Italy. One of the walls was painted with a mural of angels announcing to Mary her pregnancy. There are also various portrayals associated with the Virgin and the child of Jesus.
The area known as "La Glora Escondida" or "The Hidden Glory" is located on the northern side of the choir area, but is difficult to access. This is a partially concealed rectangular area. It is emblazoned by Pocasangre with depictions related to the Last Judgment, Hell and Sin. There are no Seven Deadly Sins, but eight are represented by eight swords on it with different animal heads. The north wall contains a triptych where the dying man is surrounded by a priest, guardian angel, and some demons who are vying for his soul. In the end, the demons are defeated. The only window on the right shows the view of the Last Judgment based on engraving by Gustave Dorà ©. On the left side, there is a description of the torments of hell.
Capilla del Santo Sepulcro or Chapel of the Sacred Cemetery was built between 1759 and 1763. The mural here begins in 1760 and centers on the death, burial, and resurrection of Jesus. This area links the Calvary Chapel, which is behind it, with a kind of bridge anchored to the wall. The chapel contains a rescuing but still well-restored image of Jesus for the bloody face and the amount of precious stone that has been placed on it. These stones remain even though the various attacks of the church have suffered during its history. The roof is trapezoidal decorated with rose windows and four large reliefs from the shell. The walls are painted with many characters such as the Four Evangelists, the Four Fathers of the Church, and a large number of angels and cherubs. There are also allusions to the Four Cardinal Virtues, and medals with the Resurrection scene.
Capilla de Calvario or Calvary Chapel is the largest of the complex and was built between 1763 and 1766. It was also the last of Pastor Neri's built though he did not live to see the completion. It has a cross layout and is topped with safes and dome. The decor is almost pure Mexican Baroque with monumental oil paintings and painted sculpture groups placed on floors, walls and ceilings. The columns contain poetry inscriptions written by Father Neri. The three altars contain the best of the statue and attach the transept. These statues depict the crucifixion, suffering, and descendants of Christ after his death. The choir was built between 1759 and 1763. At first the painting was painted by Pocasangre, but little remnants of it due to the re-paintings and cage space when the "Casa de Ejercicios" or meditation room was added. Most of the paintings in this dated room are from 1867. This area contains wooden organs used to accompany the service.
Two parts of the complex that are not connected directly or indirectly to the main center are Escuela Santa de Cristo and Casa de Ejercicios. Casa de Ejercicios is a prayer and meditation facility built in accordance with the principles of Ignatius of Loyola. They are based on a series of spiritual "exercises" designed during the reform to help Catholics strengthen their faith. This type of building came to Mexico around 1665 and, 100 years later, Father Neri built casa de ejercicios. The building is largely separated from the rest of the complex and decorated differently. Only inscriptions such as poetry appear with the intention of providing meditative help. When Father Neri died, there were 7,541 men living and studying there. Today, there are thirty, with 19 women. However, about 75,000 visits each year.
Pilgrimage Sites
Since it was built, the complex has become a place of pilgrimage and procession. The architecture and decorative features reflect the doctrine of Saint Ignatius of Loyola, as constructed with the principles of the Counter Reform in mind. The role of the sanctuary as a place for penance, according to the practice of Ignatius Loyola, began in 1765 with 25 people participating and directed by Father Neri. The sanctuary has become one of the principal places in Mexico to practice the spiritual practice of Ignatius of Loyola, which includes the death of the flesh through caning and fasting. During Holy Week, an estimated 5,000 do this exercise and wear a crown of thorns on their heads. It is one of 33 weeks from the year when visitors, mostly from the center and north of the country, visit Casa de Ejercicios to do penance. The complete cycle of penance, prayer, and meditation lasts for eight days. It can receive up to 5,000 visitors each week.
Every year and since 1812, the image of Jesus, pictured bound to a column and beaten, called SeÃÆ' Â ± or de la Columna, has traveled in a procession between Atotonilco and San Miguel de Allende. In 1812, the picture was asked because of the epidemic that hit the city. Today, and every year on Saturday before Holy Week, travel to San Miguel and return to Atotonilco on Thursday night.
History
The World Heritage Organization calls it "a great example of exchanges between European and Latin American cultures" and "one of the best examples of Baroque and Baroque architecture in New Spain (sic)." Due to its role in the Mexican War of Independence, it has been listed as one of 61 historic sites of Guanjuato. The area was considered sacred before the arrival of the Spaniards because of the hot mineral springs. The name Atotonilco is common in Mexico, especially in the central highlands, with the most famous in Jalisco. The name comes from the Nahuatl phrase "in hot water" which refers to the hot springs. Chichimecas came to this special place to perform a ritual of penance, stabbing themselves with rough spikes and washing away guilt in the hot springs.
Traditionally, Father Neri arrived here from preaching on a mission at Dolores Hidalgo. While resting under a mesquite tree where the sanctuary is now, he envisioned Jesus wearing a crown of thorns and carrying the cross. Jesus told Father Neri that it was his will that the area be converted into a place for penance and prayer. Another version of the story reveals that Father Neri is here because of his poor health and being helpful in a small church called Capilla de San Miguelito, still found on the banks of the Laja River. At the time, the original Guachichiles and Pames were not completely converted to Christianity and regarded the hot springs in the sacred regions and drugs. It is also considered a preferred place for rituals that include fornication. One reason for building a church is to counteract this practice.
Father Neri bought the entire Hacienda de Atotonilco to build a sanctuary and possess enough productive land to support it. On May 3, 1740, a ceremony was held in which the Father blessed the first stone built to build the complex. When Father Neri traced the layout of the church, it was the morning of May 3, the day of the Holy Cross, when he was said to have seen three rainbows, one east, one north and one in the south, leaving the west free. The main altar faces this direction, toward the Holy Land. The first phase of construction lasted from 1740 to 1748 and included the main central part, the tower, and the old sacristy, today the Chapel of the Priesthood. At the end of this phase, he is consecrated and the image of Jesus of Nazareth is placed. The second phase lasted until 1776 when most of the chapels and other additional buildings were built. When the complex was built, the mural work was done. The main reason behind this is to strengthen the principles of the Council of Trent and Counter Reform. During all of these developments, Father Neri stayed on site until his death in 1776. All that was lost at the time was the attachment of Santa Escuela, the new sacristy, the aisles and the priest's house, and the various statues, altars and oil paintings. This is added over the next 100 years.
According to the will of Father Neri, the cost of the complex is 22,647 pesos. The main church is dedicated to Jesus of Nazareth. Beginning 88 years after Father Neri's death, there have been attempts in the nineteenth and twentieth centuries to have the priest be beatified, but they have not succeeded.
The church is connected with the events of Mexican War of Independence in the early nineteenth century. Ignacio Allende married Maria de la Luz Agustina de las Fuentes in 1802 in this church. More importantly, the initial banner for the newly born guerrilla army depicting the Virgin Guadalupe was taken from here on September 16, 1810. After the war, the community became part of the municipality of San Miguel de Allende.
Since then the art and architecture of Sanctuary suffered damage, mostly due to high humidity. This moisture comes from hot springs flowing underground where the complex is located, and which also has a high mineral content. Humidity and minerals seep into walls and foundations, causing them to collapse and causing damage to murals, oil paintings and sculptures. The restoration work began in 1994, beginning with chapels. To highlight this effort, the site was listed in World Monuments Watch 1996 by the World Monuments Fund. About half of the oil paintings and all the mural works are saved. Funds for work come from a variety of sources, including state and federal governments, World Monument Funds and private sources such as American Express. After repairing the water damage on the walls and roof, the sealant was applied. Further restoration work was carried out in 2010 as part of preparations for the Mexican Bicentennial. Walls and roofs are airing and old wells are cleaned to allow drainage away from the foundation. Channels built in the foundation for the same purpose. The remains of the Corona Sagrado chapel were destroyed. It is not part of the original construction and has blocked light into parts of the complex. The arch to the page of La Higuera is found. However, the tree planted in this yard remains as planted in the remembrance of the holy founder. This page is reconstructed as it is an important part in providing light and drainage to keep the complex dry.
See also
- Camino Real de Tierra Adentro
References
Bibliography
- Rangel GÃÆ'³mez, Samuel (2010). Atotonilco: Religión del Barroco Mexicano Atotonilco: The protection of God and Countrry, Reliquary of Mexican Baroque (in Spanish). Atotonilco: Santuario de Dios y de la Patria, Relicario del Barroco Mexicano. Guanajuato: Universidad de Guanajuato and Amigos de San Miguel, AC
- ManrÃÆ'quez, Fernando; Reza Diaz, Julio (2005). Santuario de Atotonilco, Guanajuato: GuÃÆ'a para el visitante [ Atotonilco Sanctuary, Guanajuato: Guide for visitors ] (In Spanish). Guanajuato: Sociedad de Atotonilco.
Source of the article : Wikipedia
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