Mexico City Metropolitan Cathedral

Background: The Major Church After the Spanish conquest of the Aztec Empire, and after Hernán Cortés returned from exploring what is today Honduras, the conquistadors decided to build a church on the site of the Templo Mayor (or specifically, just southwest of the former temple) of the Aztec City of Tenochtitlan in order to consolidate Spanish power over the newly conquered territory. There is evidence of the existence of a great major temple dedicated to the god Quetzalcoatl, a temple dedicated to the god Huītzilōpōchtli, and other minor buildings. The architect Martín de Sepúlveda was the first director of the project between 1524 and 1532, while Juan de Zumárraga was the first bishop of the episcopal see in the New World. The cathedral of Zumárraga was located in the northeastern part of what is now the cathedral. It had three naves separated by Tuscan columns, the central ceiling had intricate engravings made by Juan Salcedo Espinosa and gilded by Francisco de Zumaya and Andrés de la Concha. The main door was probably Renaissance style. The choir had 48 ceremonial chairs made by hand by Adrián Suster and Juan Montaño in pinus ayacahuite wood. For the construction, they used the stones of the destroyed temple of the god Huītzilōpōchtli, god of war and principal deity of the Aztecs. and, later, named Metropolitan by Pope Paul III in 1547. This small, poor church, vilified by all the chroniclers who judged it unworthy of such a famous new city, rendered its services well that badly for long years. Soon it was ordered that a new temple be erected, proportionate sumptuousness to the greatness of the colony more, but this new factory encountered so many obstacles for its beginning, with so many difficulties for its continuation, that the old cathedral saw passing in its narrow sumptuous ceremonies of the viceroyalty; and only when the fact that motivated them was of great importance would he prefer another church, like that of San Francisco, to raise in its huge chapel of San José de los Indios the burial mound for the funeral ceremonies of Charles V, Holy Roman Emperor. Seeing that the conclusion of the new church was long, its factory was already beginning, in 1584 it was decided to completely repair the Old Cathedral, which would certainly be little less than ruinous, to celebrate in it the Third Mexican Provincial Council. The church was a little longer than the front of the new cathedral; its three naves were not 30 meters wide and were covered, the central one with a step-scissors armour, those on the sides with horizontal beams. In addition to the puerta del Perdón door had another call puerta de los Canónigos door, and perhaps a third was left to the Placeta del Marqués. Years later, the cathedral was small for its function. In 1544, the ecclesiastical authorities had already ordered the construction of a new and more sumptuous cathedral. Start of the work In 1552, an agreement was reached whereby the cost of the new cathedral would be shared by the Spanish Crown, the Comendadores and the Indians under the direct authority of the Archbishop of New Spain. and the early church was demolished at its conclusion. What is now the vestry was where Mass was conducted after the first church was finally torn down. On 21 September 1629, the works were interrupted by the flood suffered by the city, During the 18th century little was done to advance in the completion of the construction of the cathedral; largely because, now completed in its interior, and handy for all the ceremonies that were offered, there had not the urgent need to continue working on what was missing. Although the work had in fact been suspended, some works in the interior continued; by 1737 it was the master builder Domingo de Arrieta. He made, in the company of José Eduardo de Herrera, master of architecture, the stands that surround the choir. In 1742 Manuel de Álvarez, master of architecture, ruled with Herrera himself about the presbytery project presented by Jerónimo de Balbás. In 1752, on 17 September, a cross of iron, with more than three varas, with its vane, was placed on the crown of the lantern tower of this church, engraved on one side and on the other side the prayer of the Sanctus Deus, and in the middle of it a fourth-by-fourth oval, in which a wax of Agnus was placed on one side with its window and on the other side a sheet in which Saint Prisca, lawyer of the rays, was sculpted. The ear of the cross is of two varas, and all its weight is of fourteen arrobas; it is nailed to a quarry base. In 1787, the architect José Damián Ortiz de Castro was appointed, after a competition in which it imposed the projects of José Joaquín García de Torres and Isidro Vicente de Balbás, to direct the construction works of the bell towers, the main facade and the dome. For the construction of the towers, the Mexican architect Ortiz de Castro designed a project to make them effective against earthquakes; a second body that looks piercing and a bell-shaped finishing. His direction in the project continued until his death in 1793. When he was replaced by Manuel Tolsá, architect and sculptor driver of the Neoclassical, who arrived in the country in 1791. Tolsá is in charge of completing the work of the cathedral. He reconstructs the dome that was low and disproportionate, designs a project that consists of opening a larger ring on which builds a circular platform, to lift from there a much higher roof lantern. Integrates the torches, statues and balustrades. He crown the facade with figures symbolizing the three theological virtues (faith, hope and charity). File:'Vista de la Plaza Mayor de Mexico' (1797) by unidentified painter - Museo Soumaya - Mexico 2024.jpg|View of the Plaza Mayor de México, 1797 by anonymous Mexican after Rafael Ximeno y Planes File:Vistas de Méjico y trajes civiles y militares y de sus pobladores.jpg|Plaza Mayor de México (today Plaza del Zócalo), 1830 by Theubet de Beauchamp File:Carl Nebel - Genl. Scott's entrance into Mexico, Plate 45.jpg|''General Scott's entrance into Mexico'', 1847 by Carl Nebel File:La catedral de la ciudad de México.jpg|The Cathedral of Mexico City, 1850 by Pietro Gualdi File:A trip to Mexico, being notes of a journey from Lake Erie to Lake Tezcuco and back, with an appendix, containing and being a paper about the ancient nations and races who inhabited Mexico before and (14784087803).jpg|A trip to Mexico, 1880 by Henry C. R. Becher File:Catedral Mexico 1880-1900.tif |View of the cathedral between 1880 and 1887, when the Aztec sun stone was moved to the Museo de la Calle de Moneda File:Interior de la Catedral de Mejico (5009361029).jpg|Interior of the Cathedral of Mexico City, 1850 by Pierre Frédéric Lehnert File:TLM D241 Interior of the great cathedral.jpg|Interior of the Cathedral, 1884 by Frederick A. Ober File:Interior of the Cathedral, Mexico City, Mexico, showing the rear altar, ca.1905-1910 (CHS-657).jpg|Rear altar at the interior, 1905, California Historical Society Collection File:Interior of the Cathedral, Mexico City, Mexico, showing the path to the Choir, ca.1905-1910 (CHS-655).jpg|Interior of the Cathedral, 1905, California Historical Society Collection ==Exterior==

Facades and portals The main facade of the cathedral faces south. The main portal is centered in the main facade and is the highest of the cathedral's three portals. Statues of Saint Peter and Paul the Apostle stand between the columns of the portal, while Saint Andrew and James the Just are depicted on the secondary doorway. In the center of this doorway is a high relief of the Assumption of the Virgin Mary, to whom the cathedral is dedicated. In October 2007, a time capsule was found inside the stone ball base of a cross, in the southern bell tower of the cathedral. It was placed in 1742, supposedly to protect the building from harm. The lead box was filled with religious artifacts, coins and parchments and hidden in a hollow stone ball. The ball was marked with the date of 14 May 1791, when the building's topmost stone was laid. A new time capsule will be placed in the stone ball when it is closed again. Tabernacle Situated to the right of the main cathedral, the Metropolitan Tabernacle (Spanish: Sagrario Metropolitano) was built by Lorenzo Rodríguez during the height of the Baroque period between 1749 and 1760, It also functioned and continues to function as a place to receive Eucharist and register parishioners. The first church built on the cathedral site also had a tabernacle, but its exact location is unknown. During the construction of the cathedral, the tabernacle was housed in what are now the Chapels of San Isidro and Our Lady of Agony of Granada. However, in the 18th century, it was decided to build a structure that was separate, but still connected, to the main cathedral. It is constructed of tezontle (a reddish porous volcanic rock) and white stone in the shape of a Greek cross with its southern facade faces the Zócalo. It is connected to the main cathedral via the Chapel of San Isidro. The interiors of each wing have separate uses. In the west wing is the baptistry, in the north is the main altar, the main entrance and a notary area, separated by inside corner walls made of chiluca stone and tezontle. Chiluca, a white stone, covers the walls and floors and the tezontle frames the doors and windows. At the crossing of the structure is an octagonal dome framed by arches that form curved triangles where they meet at the top of the dome. The principal altar is in the ornate Churrigueresque style and crafted by indigenous artist Pedro Patiño Ixtolinque. It was inaugurated in 1829. The exterior of the Baroque styled tabernacle is almost entirely adorned with decorations, such as curiously shaped niche shelves, floating drapes and many cherubs. Carvings of fruits such as grapes and pomegranates have been created to in the shape of ritual offerings, symbolizing the Blood of Christ and the Church. Among the floral elements, roses, daisies, and various types of four-petalled flowers can be found, including the indigenous chalchihuite. The tabernacle has two main outside entrances; one to the south, facing the Zócalo and the other facing east toward Seminario Street. The southern façade is more richly decorated than the east façade. It has a theme of glorifying the Eucharist with images of the Apostles, Church Fathers, saints who founded religious orders, martyrs as well as scenes from the Bible. Zoomorphic reliefs can be found along with the anthropologic reliefs, including a rampaging lion, and the eagle from the coat of arms of Mexico. The east facade is less ambitious but contains figures from the Old Testament as well as the images of John Nepomucene and Ignacio de Loyola. Construction dates for the phases of the tabernacle are also inscribed here. ==Interior==

Altars in 1822 at the foot of the defunct high altar of the Cathedral. High Altar This disappeared in the 1940s. In 2000, a new altar table was made to replace the previous one. This was built in modernist style by the architect Ernesto Gómez Gallardo. Altar of Forgiveness The Altar of Forgiveness () is located at the front of the central nave. It is the first aspect of the interior that is seen upon entering the cathedral. It was the work of Spanish architect Jerónimo de Balbás, and represents the first use of the estípite column (an inverted triangle-shaped pilaster) in the Americas. This altar was slightly damaged by fire in January 1967, and it was restored. It was gilded and finished by Francico Martínez in 1736 and completed in 1737. There are three main vertical bodies formed by high estipite pilasters. Its size and depth gave rise to the nickname la cueva dorada ("the golden cave"). Additional sculptures were created by Sebastián de Santiago. It takes its name from the statues of saintly royalty which form part of its decoration, In the middle of the altar are six canonized kings: Hermenegild, a Visigoth martyr; Henry II, Holy Roman Emperor; Edward the Confessor; and Casimir of Poland below, and Saints Louis of France and Ferdinand III of Castile above them. In between these kings an oil painting of the Adoration of the Magi by Juan Rodriguez Juarez shows Jesus as the King of kings. The top portion features a painting of the Assumption of Mary as celestial queen flanked by oval bas reliefs, one of Saint Joseph carrying the infant Jesus and the other of Saint Teresa of Ávila with a quill in her hand and the Holy Spirit above her, inspiring her to write. In the upper part above this, there are angels carrying the attributes of the Virgin Mary such as the Sealed Fountain, the House of Gold, the Well of Living Water, and the Tower of David, and at the top is an image of God, the Father. This altar has been under restoration since 2003. Two other canvases, Entering Jerusalem and The Assumption of the Virgin, painted by Juan Correa, are also here. is also dedicated to the Immaculate Conception and was donated by the College of Saints Peter and Paul. This chapel holds the remains of Franciscan friar Antonio Margil de Jesús who was evangelized in what is now the north of Mexico. Chapel of Our Lady of Guadalupe The Chapel of Our Lady of Guadalupe () was built in 1660. It was the first baptistery of the cathedral and for a long time was the site for the Brotherhood of the Most Holy Sacrament, which had many powerful benefactors. It is decorated in a 19th century neo-classic style by the architect Antonio Gonzalez Vazquez, director of the Academy of San Carlos. The main altarpiece is dedicated to the Virgin of Guadalupe and the sides altars are dedicated to John the Baptist and San Luis Gonzaga. Chapel of Our Lady of Antigua The Chapel of Our Lady of Antigua () was sponsored and built between 1653 and 1660 by a brotherhood of musicians and organists, which promoted devotion to this Virgin. Its altarpiece contains a painting of the Virgin, a copy of one found in the Cathedral of Seville. This copy was brought to New Spain by a merchant. Two other paintings show the birth of the Virgin and her presentation. Both were painted by Nicolás Rodriguez Juárez. This chapel is home to the Niño Cautivo (Captive Child) a Child Jesus figure that was brought to Mexico from Spain. It was sculpted in the 16th century by Juan Martínez Montañés in Spain and purchased by the cathedral. However, on its way to Veracruz, pirates attacked the ship it was on and sacked it. To get the image back, a large ransom was paid. Today, the image is in the Chapel of San Pedro or De las Reliquias. Traditionally, the image has been petitioned by those seeking release from restrictions or traps, especially financial problems or drug addiction or alcoholism. The cult to the Niño Cautivo is considered to be "inactive" by INAH. However, this particular image has made a comeback since 2000 as one to petition when a family member is abducted and held for ransom. The earliest is mentioned in a report written to the king of Spain in 1530. Few details survive of the earliest organs. Builders names begin to appear at the end of the sixteenth century. The earliest disposition that survives is for the Diego de Sebaldos organ built in 1655. The first large organ for Mexico City Cathedral was built in Madrid from 1689 to 1690 by Jorge de Sesma and installed by Tiburcio Sanz from 1693 to 1695. It now has two, which were made in Mexico by José Nassarre of Spain, and completed by 1736, incorporating elements of the 17th-century organ. They are the largest 18th-century organs in the Americas; they are situated above the walls of the choir, on the epistle side (east) and the gospel side (west). Both organs, damaged by fire in 1967, were restored in 1978. Because both organs had fallen into disrepair again, the gospel organ was re-restored from 2008 to 2009 by Gerhard Grenzing; the restoration of the epistle organ, also by Grenzing, was completed in 2014, and both organs are now playable. Choir The choir is where the priest and/or a choral group sings the psalms. It is located in the central nave between the main door and the high altar, and built in a semicircular fashion, much like Spanish cathedrals. It was built by Juan de Rojas between 1696 and 1697. Its sides contain 59 reliefs of various saints done in mahogany, walnut, cedar and a native wood called tepehuaje. The railing that surrounds the choir was made in 1722 by Sangley Queaulo in Macao and placed in the cathedral in 1730. The cathedral contains other crypts and niches where other religious figures are buried, including in the chapels. File:Criptacatedralmexico.jpg|The crypt File:Catedral y Sagrario Metropolitano 10.jpg|Prehispanic stela File:CRIPTAARZO.JPG|A crypt File:Catedral y Sagrario Metropolitano 13.jpg|Zumárraga tomb, in the Chapel of Our Lady of Sorrows File:Catedral y Sagrario Metropolitano 137.jpg|Archbishops' niches ==Restoration==

The sinking ground and seismic activity of the area have had an effect on the cathedral's construction and current appearance. Forty-two years were required simply to lay its foundation when it was first built, because even then the Spaniards recognized the danger of constructing such a huge monument in soft soil. Fire of 1967 On 17 January 1967 at 9 pm, a fire caused by an electrical short circuit caused extensive damage to the cathedral. On the Altar of Forgiveness, much of the structure and decoration were damaged including the loss of three paintings; The Holy Face by Alonso López de Herrera, The Martyrdom of Saint Sebastian by Francisco de Zumaya and The Virgin of Forgiveness by Simon Pereyns. The choir section lost 75 of its 99 seats as well a painting by Juan Correa along with many stored books. The two cathedral organs were severely damaged with the partial melting of their pipes. Paintings by Rafael Jimeno y Planas, Juan Correa and Juan Rodriguez Juarez were damaged in other parts of the cathedral. After the fire, authorities recorded the damage but did nothing to try to restore what was damaged. Heated discussions ensued among historians, architects and investigations centering on the moving of the Altar of Forgiveness, as well as eliminating the choir area and some of the railings. In 1972, ecclesiastical authorities initiated demolition of the choir area without authorization from the Federal government but were stopped. The government inventoried what could be saved and named Jaime Ortiz Lajous as director of the project to restore the cathedral to its original condition. Restoration work focused not only on repairing the damage (using archived records and photographs), but also included work on a deteriorating foundation (due to uneven sinking into the ground) and problems with the towers. The Altars of Forgiveness and of the Kings were subject to extensive cleaning and restorative work. To replace the lost portions on the Altar of Forgiveness, several paintings were added: Escape from Egypt by Pereyns, The Divine Countenance and The Martyrdom of Saint Sebastian. The organs were dismantled with the pipes and inner workings sent to the Netherlands for repair, while the cases were restored by Mexican craftsmen with work lasting until 1977. Reconstruction of the choir area began in 1979 using the same materials as existed before the fire. In addition, any statues in the towers that received more than 50% damage from city pollution were taken out, with replicas created to replace them. Those with less damage were repaired. Some interesting discoveries were made as restoration work occurred during the 1970s and early 1980s. 51 paintings were found and rescued from behind the Altar of Forgiveness, including works by Juan and Nicolas Rodriguez Juarez, Miguel Cabrera and José de Ibarra. Inside one of the organs, a copy of the nomination of Hernán Cortés as Governor General of New Spain (1529) was found. Lastly, in the wall of the central arch of the cathedral was found the burial place of Miguel Barrigan, the first governor of Veracruz. The boxes contained written inscriptions dedicated to specific saints and also indicated that the boxes were found previously by a group of masons and painters in 1810, and reburied. ==Cultural value==

ruins added by the Spaniards The cathedral has been a focus of Mexican cultural identity and is a testament to its colonial history. People often gather there to worship and attend religious services. es|left Located on the Zocalo, it has, over time, been the focus of social and cultural activities, most of which have occurred in the 20th and 21st centuries. The cathedral was closed for four years while President Plutarco Elías Calles attempted to enforce Mexico's anti-religious laws. Pope Pius XI closed the church, ordering priests to cease their public religious duties in all Mexican churches. After the Mexican government and the papacy came to terms and major renovations were performed on the cathedral, it reopened in 1930. The cathedral has been the scene of several protests both from the church and to the church, including a protest by women over the Church's exhortation for women not to wear mini-skirts and other provocative clothing to avoid rape, and a candlelight vigil to protest against kidnappings in Mexico. The cathedral itself has been used to protest against social issues. Its bells rang to express the Archdiocese's opposition to the Supreme Court upholding of Mexico City's legalization of abortion. Probably the most serious recent event occurred on 18 November 2007, when sympathizers of the Party of the Democratic Revolution attacked the cathedral. About 150 protesters stormed into Sunday Mass chanting slogans and knocking over pews. This caused church officials to close and lock the cathedral for a number of days. The cathedral reopened with new security measures, such as bag searches, in place. ==See also==