Among its other treasures, the church is noted for its remarkable group of wooden altarpieces, fabricated in a variety of styles that span the colonial period. We described these in a previous post.
With the removal for restoration of two altarpieces that faced each other across the raised sanctuary, previously unknown murals were discovered in the niches behind the retablos.
Originally containing statuary, these decorated niches are thought to date from the 16th or early 17th centuries and are dramatically painted in bright tones of crimson, orange and a vibrant “Maya” blue.
On the north side, the area above the sculpture niche is covered with a lively tableau illustrating Christ in Majesty.
Raising his cross, Christ wearing a red sash of triumph presides over a host of saints and martyrs. Larger portraits of individual saints extend down both sides.
As in the previous mural, an orchestra of angels plays overhead.
Above and below the niche, a celestial orchestra of angels sing and play flutes and a variety of string instruments.
Female saints flank the niche on either side, of whom St. Catherine of Alexandria on the left, a Franciscan favorite, is best preserved.
The Baptism of Christ
In the opposite niche, angels hold up a dark blue curtain in the center of which the Baptism is portrayed against a tapestry like fringed red ground.
In the opposite niche, angels hold up a dark blue curtain in the center of which the Baptism is portrayed against a tapestry like fringed red ground.
The naively drawn, near naked figures of Jesus and John the Baptist find an echo in the nude angels holding a lamb and a banner of triumph on either side below, while God the Father looks down from the arch above the niche amid celestial clouds and angels.
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