Morelos. the Yautepec murals 1

Asunción Yautepec is one of the least known of the Dominican missions in Morelos, although it was the second to be founded after Oaxtepec.  Enclosed by a large atrium, Yautepec has a modest mission, but of massive construction. 
   The church is very plain inside and out. Although dated 1567 by a plaque, the facade is neoclassical in design—a post colonial reworking.  Aside from a colorful painted under choir of uncertain date, the majority of the murals are found in the adjacent convento. These are mostly monochrome and date from the 16th century.  
   This first post looks at the church murals, the second at the frescoes in the convento.

The Underchoir Murals
The only remaining mural of note inside the church is the painted, ribbed ceiling of the sotocoro or under choir.  This elaborate, mudéjar inspired pattern incorporates a series of complex ornamental roundels or “bosses,” many of heraldic design. Some feature the Christic monogram IHS, and others include Augustinian insignia, lions and eagles, and a Coronation of the Virgin—all linked by broad, multi striped bands in predominantly red and blue hues.

 

  

text © 2020 Richard D. Perry. color images by the author, Niccolo Brooker and others.

Please visit our earlier pages on the murals of Morelos: Tlayacapan; Cuernavaca, Tlaquiltenango; Oaxtepec;  Tlaltizapan;

Atlatlahuacan; Tepoztlan; 

Puebla. La Casa del Dean murals:The Friezes

The Friezes
As noted earlier, one of the most intriguing aspects of the  Casa del Dean murals is the extraordinary friezes that frame the processions above and below, in particular the various animals portrayed.

   Although overall, the friezes follow the traditional grotesque pattern seen in the monasteries: stylized forms of flowers, vines and cornucopia, angels and mythical beasts, etc, elements like native birds, monkeys, serpents and even wild men, add piquant touches to the conventional designs. 

 

However, it is the array of anthropomorphic animals displayed in the cartouches embedded in the friezes that especially capture the viewer’s attention. Most of those shown are native to the Americas. All are portrayed seated, some on traditional petate thrones, and engaged in a variety of indigenous ritual activities —writing, singing, playing musical instruments, and drinking chocolate or pulque.

The physical portrayal of these creatures with their pre hispanic emblematic significance, added a powerful layer of meaning for the indigenous viewer. 

text © 2020 Richard D. Perry.  

 images © Juan Carlos Varillas and Niccolo Brooker. 

principal source: La Casa del Dean...New World Imagery in a Sixteenth-Century Mexican Mural Cycle Penny C. Morrill. 2014. U. of Texas Press 

Puebla. La Casa del Dean murals:The Triumphs

16. Love  17. Chastity  18. Time

19. (Wild Man)  20. Death  21 Eternity.  

22. Salon Three mural! 

The Salon of the Triumphs
Like that of the Sybils, the tradition of the Triumph goes back to Roman times, when the ceremonial military adventus into the city was a common spectacle. But it was not until the publication of the Triumphs by the 14th century Italian poet Petrarch, that this tradition was visualized in detail and linked to the story of Man and Christ.
   Petrarch’s poetic metaphor of the personified stages of life, with its universal resonance, ensured it immediate popularity, especially with its suitability to public processional and colorful pageantry.
   As in the Salon of the Sybils, the mural segments are continuous, although the background landscapes change with each scene. Five of the conventional Triumphs are portrayed in the Salon in order: Love, Chastity, Time Death and Eternity. As described by Petrarch, each Triumph is shown mounted in a wheeled chariot drawn by a variety of appropriate beasts:

The Triumph of Love
Clad in white and drawn by two elegant white horses, Love leads the procession. A subtle personification of Venus, she holds aloft a heart. Eros with his bow and arrow stands atop the chariot, set in a springlike, pastoral landscape. 
   Along the rocky path, a king, a soldier, a friar and a young woman are trampled beneath the wheels—all conquered by love.

The Triumph of Chastity
Chastity triumphs over Love and holds the palm of victory. Drawn by a pair of unicorns and preceded by a group of Virtues, her chariot traverses a rough and stony path strewn again with recumbent figures. 
   The landscape is more varied here, showing boats and a ship along a waterway in front of a large town.

The Triumph of Time
The winged figure of an aging bearded Saturn personifies time in this mural. Leaning forward on his cane he is about to devour his son Jupiter. Only an hourglass rests on his stripped down cart which is drawn by two stags. 
   Among the trampled figures and broken columns is a fallen angel. Behind, elegantly dressed figures disport in front of an imposing manor house with towers.

The Triumph of Death
An ambiguous monkey/satyr playing a guitar over a doorway heralds this grim tableau. The chariot is crowded by the Three Fates, who prepare to cut the Thread of Life, almost overshadowing the gray, skeletal figure of Death himself with his scythe.
   Two oxen pull the cart, again trampling various unfortunates beneath its wheels. In the background a funeral procession approaches the cemetery of a church, possibly that of San Francisco Tlaxcala.

The Triumph of Eternity
Seated on her chariot above the clouds, the modestly attired but dignified figure of Eternity holds her scepter gesturing towards the hazy, star spangled celestial zone ahead. 
   Amid the clouds, two preening peacocks effortlessly draw the chariot forward. Spiral torchieres atop the chariot suggest the Heavenly Jerusalem. No other persons or earthly appear in this final panel.

text © 2020 Richard D. Perry.  

 images © Juan Carlos Varillas and Niccolo Brooker. 

principal source: La Casa del Dean...New World Imagery in a Sixteenth-Century Mexican Mural Cycle Penny C. Morrill. 2014. U. of Texas Press 

Puebla. La Casa del Dean murals: The Sybils.

1. Synagoga 2. Erythraea 3. Samia 4. Persica 5. Europa!  6. (Plaza Coat of Arms) 7. Cumaea 8. (Shell Niche) 9. Tiburtina 10. Cumana 11. Delphica 12. Hellespontica 13. Phrygia 14. (Coat of Arms) 15. Phrygia.

The Salon of the Sybils 

The first room is now known as the Salon of the Sybils. A continuous mural depicts twelve women, fashionably costumed in a contemporary style typical of the Spanish upper class, riding side saddle on horseback in procession, along a path. Each is clad in voluminous blue and white robes, crowned with coronets and holding her appropriate standard, referring to her associated prophecy.
   Above each Sybil in the procession is emblazoned a medallion illustrating a particular scene from Christ’s Nativity and Passion, as foretold by her, each inscribed with the relevant biblical citation. Although the Sybilline Prophesies were pagan, originating in the early Roman cult of Apollo, they were adopted in Christian theology as foretelling the Coming of Christ, much like episodes in the Old Testament were thought to prefigure the events of the New Testament.
   The fact that the Sybils are shown in procession and on horseback, suggests a strong connection with the traditions of religious spectacle and drama that played such a large role in the evangelization programs of the New World.
   The accompanying landscape is also continuous, with rivers, mountains, forests and villages, alive with indigenous plants, birds, insects, animals as well as native people in their daily activities—elements that are further intensified in the extraordinary friezes that frame the procession above and below. 


Synagoga
The procession starts to the right of the window opposite the entry. led by Synagoga, who personifies the Old Testament, riding a humble mule rather than a fine arabian. She is blindfold and raises a broken standard depicting the Laws of Moses, of which she also hold the tablets.

Erythaea
Heralding the Incarnation, and accompanied by an Annunciation scene in the upper left, she holds up a banner showing the Lily of Purity.

Samia
A cradle appears on her banner, which together with the Nativity scene, indicates her role as the prophetess of Christ’s birth.

Persica

A lantern is the attribute of the Persian Sybil, who is associated with the Woman of the Apocalypse trampling the Beast in the left roundel—a figure widely thought to symbolize the Virgin Mary.

Europa
The sword on Europa’s banner signifies the Massacre of the Innocents, which prompts the Flight of the Holy Family into Egypt, illustrated in the inset above.

Cumaea
The last of Nativity series, the banner of the Cumaean Sybil shows an indigenous slip knot, signifying Christ’s divinity. The humble Virgin appears with the Christ Child in the medallion.

Tiburtina
The Tiburtine Sybil raises a banner with a severed hand, symbolizing Christ’s humiliation—the first of the Passion related prophesies. The Mocking of Christ is shown in the circle.

Cumana?"
Here, this sybil is shown in association with Christ at the Column in the roundel above.

Delphica
A Crown of Thorns adorn the standard of the Delphic Sybil, a Passion instrument also illustrated in the Mocking scene beside it.

Hellespontica
The Crucifixion is the theme here. The cross appears on the Sybil’s banner and the inset shows the Calvary scene.

Phrygia
Although incomplete, this last figure in the procession may be Phrygia. The tomb emblazoned on her banner signifies her prophesy of the Resurrection.
Inset to the right is the Plaza family coat of arms.

text © 2020 Richard D. Perry.  

 images © Juan Carlos Varillas and Niccolo Brooker. 

principal source: La Casa del Dean...New World Imagery in a Sixteenth-Century Mexican Mural Cycle Penny C. Morrill. 2014. U. of Texas Press 

Puebla. La Casa del Dean murals Introduction.

The Casa del Deán in Puebla, Mexico, is one of few surviving sixteenth century residences in the Americas, built in 1580 by Tomás de la Plaza, the Dean of the Cathedral.  A devoted and learned man with sympathy for indigenous cultures gained during his years as a parish priest in Oaxaca, Tomás de la Plaza played a leading role in the planning and design of Puebla Cathedral.

   After completing his mansion across from the cathedral—its elegant purista facade was also designed by Francisco Becerra, the noted Spanish architect of the cathedral— in 1584 Tomás de la Plaza assumed additional debt in order to commission the extensive murals, only a fraction of which now survive.

   Although much of the house was tragically demolished in recent times, two of the upper rooms remain, along with their magnificent frescoes. 

   Their rediscovery and narrow escape from destruction in the 1950s and most recent restoration in 2010 revealed visionary works of art that rival European frescoes of the early Renaissance, while incorporating numerous native elements that identify them with indigenous visual traditions. 

   As we shall see, although not monastic murals, some of their content and their graphic style is related to other early monastery murals.

   

Sybils

1. Synagoga 2. Erythraea 3. Samia 4. Persica 5. Europa!  6. (Plaza Coat of Arms) 7. Cumaea 8. (Shell Niche) 9. Tiburtina 10. Cumana 11. Delphica 12. Hellespontica 13. Phrygia 14. (Coat of Arms) 15. Libyca

Triumphs

16. Love   17. Chastity  18. Time

19. (Wild Man?) 20. Death  21. Eternity 

22. Salon Three mural

The Murals

These masterful frescoes, although based firmly in Renaissance works derived from classical antiquity as are all  monastic murals, are nevertheless entirely the work of one or more native tlacuilos or elite artists, most likely trained in nearby Huejotzingo, whose outstanding native school was founded by Franciscan pioneer Juan de Alameda. 

   The murals, now in remarkably good condition considering their hazardous history, are contained in the two principal rooms, with some fragments in a third chamber. Both rooms are lined with large, colorful narrative murals on related but distinct themes, largely unique in Mexican mural art—one devoted to the Sybils, and the other to Triumphs.

Our next post will review the Sybils.

text © 2020 Richard D. Perry.  

 images © Juan Carlos Varillas and Niccolo Brooker. 

principal source: La Casa del Dean...New World Imagery in a Sixteenth-Century Mexican Mural Cycle Penny C. Morrill. 2014. U. of Texas Press 

Yucatán: San Bernabé Ixil

The church at San Bernabé Ixil is a virtual twin to its neighbor at Cholul. As at Cholul, the rugged 17th century church was grafted onto a 16th century open chapel, which is now the sanctuary.

The facade was reworked in more recent times with the addition of the two belfries. The limestone relief of the patron St Barnabas holding a cross and the Gospel of St Matthew is the notable surviving colonial remnant in the church front.

Like Cholul too, Ixil retains sections of polychrome murals around both the sanctuary arch and the apse, most likely dating from the late 1700s.  Although unsophisticated in their draftsmanship, they are richly colored in varying shades of red, blue and orange.

Above the archway,  between the folds of a framing, rust red curtain, the figure of St. Barnabus, the patron saint, is flanked by floral urns and two heraldic angels perched on clouds playing horns.

 

In the apse, God the Father looks down from the painted vault, and at the rear, another pair of angels on clouds hold ribbons inscribed Oración (Prayer) and Silencio (Silence). The figures are complemented with passages of elaborate floral decoration and polychrome friezes.

     

Another striking mural, on the nave ceiling, depicts a cross with the Host and a dove set above a globe encircled by a serpent.

text © 2020 Richard D. Perry

images by the author and © Niccolò Brooker. all rights reserved

Cuitzeo: Nativity with The Three Kings

In accordance with our usual custom we dedicate our first post of the year to a Nativity scene with the Three Kings.  This year we look at a mural in the upper cloister of the great Augustinian priory of Cuitzeo, in northern Michoacán—whose murals are among the outstanding colonial art treasures of this recently restored church and convento.
   As noted this mural is one of the few surviving frescoes located in the lunettes above the doorways in the upper cloister. All are painted in warm grisaille tones with red, gold and turquoise accents. 

Although in less than pristine condition the mural has been partially restored to clarify some details: Mary holds the infant Jesus at right accompanied by a standing Joseph in a bowler hat, as the Three Kings kneel or stand in front bearing their gifts.

 

A distinctive outcropping, perhaps a local geographical landmark, is shown to their left.
text © 2020 Richard D. Perry
images courtesy of Robert Jackson & Niccolo Brooker