The Museo Casa Estudio has been remarkably preserved and restored. It is open for visitors to come inside and explore, a chance to step into the intimate spaces where Diego Rivera and Frida Kahlo painted, entertained and simply existed together, as apart. Come with us as we explore the entirety of the Museo Casa Estudio and learn more about the artists who lived here and the man who built this revolutionary property!

Guide to the Museo Casa Estudio Diego Rivera & Frida Kahlo

1. Location & Access
2. Admission & Hours
3. About Diego Rivera
4. About Frida Kahlo
5. Juan O'Gorman
6. Modernist Architecture
   • Functionalism
7. Designing the Casa Estudio
   • Life inside the Casa Estudio
   • Studio as Museum
8. Exterior Foyer
   • The Bathrooms
9. Diego's House
   • 2nd Floor Bedroom
10. Diego's Studio
    • Mezzanine
    • Rooftop
    • The Bridge of Diego and Frida's Love
11. Frida's Studio
    • What the Water Gave Me
12. The O'Gorman Guest House
    • Dining Room Mural

Location & Access

The Museo Casa Estudio Diego Rivera and Frida Kahlo is located in the neighbourhood of San Angel, in the far south of the city centre. To access the museum, you can take an Uber or taxi directly into the district’s centre. The Uber fare costs about $7 USD and takes about 20-30 minutes (depending on traffic) from the centre of Mexico City. If you’d prefer to take public transit, you can hop on the metro towards Miguel Angel de Quevedo Station. From here, you’ll have to change to one of the city’s metro buses that will take you directly into the Altavista suburbs where the museum is located.

Admission & Hours

The museum is open from Tuesday to Sunday, 11 am to 5 pm. The price of admission is $40 pesos for adults, but children under 13 and seniors are free. Admission is free for everyone on Sundays.

About Diego Rivera

Diego Rivera and Frida Kahlo are perhaps two of the most well-known artists to come out of Mexico. It is perhaps no coincidence that the two geniuses would find themselves caught in a passionate web of love, art and fiery drama. Diego Rivera was born in 1886 in Guanajuato City, Mexico. When he was born, he came out of the womb along with his twin brother. Sadly, his brother Carlos died two years after they were born. Twins have this unspoken, deep, almost soulful connection with each other and this loss so early in Diego’s life perhaps touched the young boy with trauma and pain that it seems many infamous artists carry with them. Diego started to draw at only three, just after his brother died. Perhaps as a means to express his grief.

Mexican Muralism

His talents only grew from then, and at the age of ten, he went to study art at the San Carlos Academy of Fine Arts in Mexico City. Rivera travelled to Europe after flourishing at the school in Mexico City. It was there he would refine his unique style of painting under the influence of modern artists like Pablo Picasso and looked to the works of Paul Gauguin and Henri Matisse for inspiration. Rivera returned to Mexico City in 1922 as he had been commissioned by the government to head up their new muralism program. The project was created to promote aimed to National pride through murals that told the history of Mexico that even the working class, illiterate masses could interpret.

About Frida Kahlo

While Diego was painting murals all over Mexico City, Frida Kahlo was just a young girl with her own struggles. Frida was born in 1907 in Coyoacan, a small neighbourhood just outside the centre of Mexico City. Similar to Rivera, Frida had her own ordeals early on in life. She was afflicted with polio at only six years old. This meant that her right leg would always be shorter and thinner than the left, a disability that would affect her for the rest of her life.

But Frida never let this illness defeat her spirit despite being kept isolated at home at such a young age. She looked up to her artistic father, who was a famous photographer, and it was him that inspired her to start painting. While at home, her father taught her things she would never learn so early in school, everything from philosophy, literature and, of course, art and photography. When she went back to school, she flourished, as learning was something that truly excited her.

The Bus Accident

But just as her life was taking off once more, she was hit, literally, by another setback. On her way back from school on the day, in the centre of Mexico City, just a few blocks from where Rivera was painting, the bus she was riding on was hit by a streetcar. A large iron handrail pierced her pelvis, broke her spine in three places and crushed her right leg, as well as a litany of other injuries. She stayed in the hospital for months and had to be put into a plaster corset to aid her spine and chest bones in healing. This meant months of bedrest with nothing to do. Nothing to do but paint. Once more, her father encouraged her to turn her pain into art. Despite these life-altering incidents, she responded with the same vigour for the life she refused to lose despite these accidents.

Frida and Diego’s Marriage

After recovering, Frida discovered the thing she wanted to do for the rest of her life, and that was to paint. She was insistent on becoming the best painter she could be, so she sought out the advice of the greatest Mexican painter she knew, Diego Rivera. Rivera was immediately taken aback by this energetic and bold girl and her obvious talent. Despite being married already (to two different women), Frida and Diego started a relationship. They would be married in 1929 at a wedding her parents entitled “the marriage between an elephant and a dove.“

The couple were immediately taken out of Mexico City and moved to the United States. Rivera had to paint several commissions in San Francisco, Detroit, and New York for the famous Rockefellers. But they knew they would return home to Mexico City and wanted a beautiful hacienda to come back to. This is where their friend, architect and artist Juan O’Gorman would come in!

Juan O’Gorman

O’Gorman had been studying functionalism, inspired by the Swiss designer Charles-Édouard Jeanneret, known as Le Corbusier. O’Gorman was enthusiastic about bringing this modernist style to his home in Mexico City. He saw Mexico City as being a hub for modern thinking and exquisite architecture. The old Hacienda Goicoechea, now the famous San Angel Inn, had sold off the large expanse of their land to become residential housing. O’Gorman loved the neighbourhood and purchased the land currently being used as the tennis courts of the nearby hotel. 

Modernist Architecture

O’Gorman had plans to turn these two plots into the first modernist home in Mexico City. But when he displayed his plan it was very controversial. Most homes here are super traditional, fitting into that 18th century colonial style, and this new modernist vision wasn’t an appealing sight to the neighbours. But despite them turning their noses up at this new technique, O’Gorman solidered on. He built one home as a proof of concept. This home still stands today as the Museo Casa Estudio’s guest house.

Functionalism

Functionalism was a style defined by buildings that were designed around their purpose and function and revolted against excess decoration that didn’t serve a objective. In many European functionalist buildings, glass, steel and concrete were essential elements in their construction. In Mexico, in addition to these materials, O’Gorman wanted to incorporate clay and natural plants into the buildings. Instead of building fences out of wood or wrought iron, he planted rows of tall cacti along the roadside. These elements were native to the environment and followed the functionalist ethos. He would use other plants to create borders that looked almost like they had naturally grown up around the house.

Another element significant in functionalism is using practical elements as expressive decoration. A great example of this is the exposed helicoidal staircases that swirl up the sides of the houses. The stairs are a means of access and yet bring an interesting spacial element to the house’s exterior. Water tanks and drainage pipes also provide dynamic structural details around the house. These were all painted a contrasting orange colour and created this framing effect. Instead of looking too industrial, they manage to have their own architectural charm. But they are, in fact, used for rainwater drainage so are not just ornamental.

Diego’s house features a saw-tooth roof design. This design, while it might look decorative, is actually used to allow natural light into the interior while blocking out the heat of direct sun exposure. This was a technique popular inside industrial factories as early as the 16th century, before electiral lighting could be used to illuminate the interiors. It remains today as one of the most ingenious techniques to bring natural light into the interiors.

Designing the Casa Estudio

When Diego and Frida saw what O’Gorman had created, they quickly decided to purchase the entire property and commissioned him to build them twin buildings. Each one would act as both a residence and a studio, unique to each artist. The two buildings were designed as a pair but also as two oppositional designs. Tied together through the consistent elements of functionalism and a bridge that brought the building together at the top.

Diego’s studio is painted off-white and rust-red. Simple, natural colours. On the other hand, Frida’s studio is painted the same ethereal cobalt blue as her Casa Azul. Both studios feature floor-to-ceiling windows, giving the interior spaces an indoor/outdoor feeling. But are protected from the elements, meaning you can paint inside while feeling like you’re out en plein air. The ideal of these twin structures is eerily similar to Diego and his brother Carlos. Connected together despite the fates of their lives going in two very different directions.

Life inside the Casa Estudio

Construction on the houses ended in 1932, and the couple moved in 1934. Diego and Frida lived here from 1934 to 1939. In 1939, they divorced, and Frida moved home to Casa Azul. Diego kept the house and continued living and painting here during their separation. After their divorce, the couple actually got back together, only 9-months later. But even after this reconciliation, Frida preferred to remain in the Casa Azul.

After Frida’s passing in 1954, Diego would continue to live in the studio house full time. He treasured his time in his home until his death on November 24, 1957. Rivera died in his studio, and his body remained there as friends and family came to sit vigil inside to mourn the loss. After this, his body was moved to the Palacio de Bellas Artes for his grand state funeral. 

Studio as Museum

After his death, Diego’s daughters inherited the houses. When they moved in, their went about drastically changing some of the most iconic aspects of the house and making many ugly additions. They removed the cacti and installed a stone fence. They also demolished the bridge that connected the buildings, one of the most important aspects of the house. Years later, the houses were gifted to the Instituto Nacional de Bellas Artes to be enjoyed by the public. Restoration began in 1995 to bring back the original nature of the homes and preserve their architectural value. All the additions and fencing were removed, and the house seemed to breathe a sigh of relief.

Exterior Foyer

One of the most wonderful things about functionalist-style houses is that they sit on stilts. These stilts are called pilotis, slender columns that support an upper level. When you walk into the property, the entire exterior courtyard feels like an open-air foyer. But with wonderful shaded areas under those upper levels to escape the sun’s heat (essential in Mexico City!) This open air foyer really exposes the incredible landscape architecture that O’Gorman created around the property. It feels like a gorgeous garden floating below.

Another enchanting thing to study while walking around the exterior are the exposed staircases. The spiral staircase which curls its way up the side of Diego’s studio is a wonderful geometric cement column contrasted against the solid red walls. The stairs almost have this musical-like curvature that flows out of the house.

The only exterior staircase in Frida’s house leads from the second-floor studio up to the rooftop. She would use this pathway to cross the thin bridge which connected to Diego’s house. Especially considering her frail condition and problems with her legs, it’s impressive she would brave such a dangerous-looking crossing. Especially when it originally was designed without any handrails!

The Bathrooms

Standing in the coutyard, you’ll see a smaller blue building, set behind Frida’s house. It looks almost like a minature version of her studio. Today, this tiny structure houses the public washrooms that visitors can use during their stay. Although you might think this was an addition when the museum was built, this building is original! It was designed by O’Gorman as a photography studio meant for Frida’s father. Even now, just as then, nothing is wasted. Functionalism reigns eternal.

Diego’s House

You enter Diego’s House first, via the exterior spiral staircase. The large, mostly empty room you enter on the first floor was used initially for Diego to display the artworks he had up for sale. His personal art gallery. Today, the space houses just a few remaining pieces from Diego’s collections of Pre-Columbian artifacts. Today the majority of his collections are housed in the Museo Anahuacalli.

During their marriage, the Museo Anahuacalli was a pipe dream of both Rivera and Kahlo. They both adored collecting these precious pieces of Mexican history and wanted to share them with the public. Rivera had started construction on this project just before his death. But it was O’Gorman who would see it through as the chief architect in charge of achieveing Rivera’s vision. Much of Rivera’s muralism was influenced by these pre-Columbian figurines. In Rivera’s art we can see the intense facial expressions and powerful geometric shapes reflected in these figurines.

2nd Floor Bedroom

Head back up the stairs, either using the smaller interior staircase or the outer curved stairs. The second level is where we find the painter’s studio and bedroom. The little room you’ll see upon entering is Rivera’s tiny bedroom. In functionalist buildings proportions of bedrooms were much smaller than we would expect. This was because they were seen as rooms only used for sleep and therefore didn’t require a great use of space. This preserved more capacity in areas like the studio which was where the artist spent most of his time.

Plus, the painter wasn’t a fan of sleeping unless it was with women. The room is designed to have only a tiny row of windows along the ceiling. This allowed only a small amount of light to flow inside. This meant the artist could get some sleep no matter what time of day.

The room is still laid out like it’s awaiting the return of it’s owner. Diego’s shoes are sitting on the floor as if he is about to get out of bed. Besides this, there are also his bedpans left here since his death. Atop the bedframe is Diego’s suitcase, as he was a world traveller. On the bedside table, you can also see a collection of his keychains and wallets. All the while the room is watched over by a series of papier-mache figures.

Diego’s Studio

Stepping from the hallway, make your way into the great studio. Immediately you’ll be overcome by the light that pours into theroom from the double-height windows on the north wall. From inside you can also study the effect of the saw-tooth roof windows that fill even the ceiling with light. Diego’s studio is bursting with natural energy. The trees on the other side of the windows almost look like they’re growing inside the house. The separation from indoors to outdoor is only a thin veil in here.

The studio still contains the original brushes and pigments which Rivera used to make his murals. They sit beside his easel like he is about to walk back into the room mid-painting. The painting on the easel is a portrait of Dolores Del Rio, a famous Mexican actress. Diego once said of Del Rio;

The most beautiful, the most gorgeous of the west, east, north and south. I’m in love with her as 40 million Mexicans and 120 million Americans who can’t be wrong.

Diego Rivera

Books, artisan ceramics and pottery, and little curios line the green painted shelves at the back of the room. Glass jars are silhouetted against the window panes. Inside powdered pigment still sit, waiting to be turned into paints. Diego’s studio really feels like a highly intimate space. Each one of the objects was bought by Diego as they caught his eye or gifted to him by a friend and lovingly put on display to be treasured. One of the most interesting decor found on the shelves is a copy of Diego Rivera’s death mask. Allowing him to still watche over all those and anyone who enters.

Judases

Filling the corners of the studio are these huge papier-mâché figures. Images of devils, skeletons and expressive people lean against the walls like inanimate puppets. These are called “Judases” and are popular formed of Mexican folk art. They were originally created as a part of the celebrations before Easter. The figures were made to look like the image of Judas, the Traitor. They would then take this resemblance of the great betrayer and set him on fire, to rid the world of his evil spirit. As years passed and the tradition became more popular, the figures began to take the forms of other, also unfavourable people or things. This could be anything from images of devils, demons, politicians, criminals and, in some cases, even disliked shopkeepers. Today the papier-mache dolls are stuffed with fireworks and blown up on the street. Much to the enjoyment of the onlookers.

But Rivera didn’t blow them up. Instead, he kept them as souvenirs of the local artisans. Although the simple craftsmen who made them might not have seen them as high art, Diego saw these as treasures to keep forever. Their highly expressive faces now look out over visitors from all studio corners.

Mezzanine

Walking back up the stairs, you enter the small mezzanine that looks over the studio. A small table between the two chairs is set in the corner, the perfect place to relax and watch the great painter at work. On the table is a portrait of Diego’s beloved, Frida. One can imagine this would have been where Frida herself would have stood to look down on her husband after coming over from her side of the house. Sometimes finding him hard at work…and other times, and sadly so, in the throes of passion with another woman, much to her dismay. In fact, it may have been right here that Frida discovered Diego cheating on her with her younger sister Cristina. There is no doubt that this house was a place of intensity from all angles.

The mezzanine is also home to Rivera’s office, just in the corner, beside the door to the rooftop. His green leather desk features a old phone, a typewriter and more pre-Colombian art covering the walls.

Rooftop

From the small office, you step out onto the rooftop, the neighbourhood of San Angel opening up all around you. During the Springtime, the purple flowers of the Jacaranda trees light up the skyline.

The Bridge of Diego and Frida’s Love

Although Frida and Diego had a passionate relationship, this firey love also resulted in both positive and negative intensity. When things were good, they were great, but when it was bad, it was very, very bad. So for both their sakes, having a separate working space where one could get away from the other was imperative. But the two buildings are connected by a large bridge on the top. O’Gorman named the bridge “the bridge of Diego and Frida’s love.” A symbol that, at the end of the day, they still found a way to come together and connect. Even when things were dire.

A narrow bridge connects the two buildings, the red-painted railings all you have to hold onto as you cross over. While Frida’s staircase has been closed down, too dangerous for the public to continually cross, you can imagine how the two lovers must have met up here to look out over the city and take in the night air. Even today the rest of the buildings in the area remain at a lower level to the rooftop of the Museo Casa Estudio, making you feel like you have this private oasis all to yourself.

Frida’s Studio

To get into Frida’s studio, you need to walk back down to the courtyard and enter on the ground level. Sadly, there is not much to see inside Frida’s house. Much of what once existed here has been moved to the Frida Kahlo museum in the Casa Azul. If you’re interested in learning more about the life and art of Frida Kahlo, you should definitely check it out, just over in Coyoacan. But there is one reason to go into the house: see the bathroom on the second floor. Sounds odd but stay with me!

What the Water Gave Me

This is where Frida lay when she was inspired to paint “What the Water Gave Me” in 1938. Like toys in a child’s bathtub, Frida painted the images that swam in her mind on top of the water. Memories of her life float around her; the only slice of reality is the cast iron bathtub framing the scene and her little toes sticking out of the water. The bathtub which inspired this scene can still be found in the house. If you’re a bather like me, you’ll know sitting in the bath really is where the imagination comes alive. It’s the best place to sit and think. Shower people will disagree with me I’m sure, but for me, a bath is a perfect way to relax and reflect. And it seems like Frida agrees.

The O’Gorman Guest House

The third large building on the property, located slightly below the other two homes, was the couple’s guest house. It was here that family and friends could stay in their own private apartments. But when the house was being built, it was used almost as a test for O’Gorman’s vision. To separate this house from the main studios, you’ll see another line of cacti fencing and steps leading down, surrounded by lush agave plants.

Construction on his house started in 1929, two years before the dual studio. The most impressive part of the building is the study on the first floor. Three of the four walls inside this part of the house are covered in floor-to-ceiling glass panels. And in fact, the entire glass wall opens up like a giant window. It’s pretty dangerous by today’s standards, as you can just walk right off, but what an impact it makes! The windows open up the space, and it feels like you’re floating in the air. The panels of glass are slightly more opaque on the lower four panels to give some privacy to the interior while still filling it with light.

The exterior ground level connects to the study via a wide-sweeping spiral staircase. Once more, without handrails. Looks gorgeous but can’t be very practical. A more private (and safe for visitors) internal staircase takes guests inside the private spaces which contain a small bedroom, bathroom, dining room and kitchen.

Dining Room Mural

One of the other exciting things to study here in the house is the remnants of the dining room mural that was once painted onto the walls. The mural was called “There is quite a difference between philosophy and science,” painted by O’Gorman. It depicts a stunning and vibrant Mexican landscape dotted with images of science and industry. On the left of the frame, there is an image of a fragile skeleton. This is juxtaposed with a beautiful naked Mexican woman who sits opposite. She sets aside a cup bursting with gorgous fresh fruits. The message is that one must have progress to flourish and grow. Otherwise, you will wither and die, like the old skeleton.

The fresco was only discovered in 2012 when a restoration team found traces of the original mural. When the house was sold off after Diego’s death, the mural was removed from the wall, purchased by the Banco Nacional de México for its private collection. Today you can see a photograph of the real painting beside the sketches found on the house’s walls. While I’m sure it’s well preserved in the bank’s museum, it would be more impressive to see it in situ here in the dining room. Maybe one day!

Thank you for joining us on this self-guided tour of the Museo Casa Estudio of Diego Rivera and Frida Kahlo. The Museo Casa Estudio is a wonderfully immersive space to explore, and I hope this guide helped you learn more about all the secrets hidden in plain sight. Let me know in the comments what your favourite discovery was!

Happy Travels, Adventurers

The post Everything you Need to Know About the Incredible Museo Casa Estudio Diego Rivera & Frida Kahlo in Mexico City first appeared on The Creative Adventurer.

To find the best of what this neighbourhood in Mexico City has to offer follow this walking tour through the streets of Roma Norte!

Table Of Contents

1. Location
2. History of Colonial Roma
3. Architecture
4. Map of Walking Tour
5. Panadería Rosetta
6. Plaza Río de Janeiro
7. Edificio Rio de Janeiro
8. Iglesia de la Sagrada Familia
9. Casa Universitaria del Libro UNAM
10. Puebla Street
11. Pomona Street
12. Fuente de Cibeles
13. Bazar El Oro
14. Avenue Insurgentes
15. Orinoco
16. Mercado Roma
17. Avenida Álvaro Obregón
18. El Parián 
19. Librería Ático
20. Edificio Balmori
21. Cafebrería El Péndulo Roma
22. Casa Prunes
23. Plaza Luis Cabrera
24. Roma Museums
25. Restaurante Rosetta
26. Helados Cometa
27. Gin Gin Álvaro Obregón

Location

The neighbourhood of Roma Norte, also called Colonial Roma, is located south of the Paseo de la Reforma. And just below the Historic City Centre. Roma Norte’s central location makes it an ideal place for tourists. From here you can easily reach all the best spots in the city in no time!  The Colonial Roma is so large that the area has been divided into the North and South. Avenue Yucatan is the main street that separates Roma Norte and Roma Sud. Each area has developed their own distinctive character. There is also a third district called La Romita. Today, we are taking a tour of Roma Norte. Roma Norte is by far the most lively and largest neighbourhood in the area.

History of Colonial Roma

Roma was one of the first upper-class neighbourhoods built in Mexico City. And I don’t just mean built in the 20th century. In 1529, the area that now makes up Roma was granted to Hernán Cortés by the Spanish Crown. During the colonial period, the Counts of Miravalle continued to control the area. This brought in more and more wealthy Spainairds into the neighbourhood. And with them the need for lavish residences.

Eduardo Walter Orrin

But it wasn’t until the 19th century that we start to see the creation of the Roma we find today. And we have the strangest person to thank for the overall look and feel of the neighbourhood. And that is Englishman Eduardo Walter Orrin. Orrin made his wealth in the Circus of all places. The Orrin Circus arrived in Mexico City in 1872 after touring the US and South America.

The circus was a HUGE success in Latin America. It was so popular that Orrin was able to afford to build a permanent venue. The circus operated inside, what is now the Teatro Blanquita in the Centro Histórico, for over 26 years! When Eduardo Orrin finally closed the circus, he turned his eyes on real estate development. And there was no place more promising than the area just south of the historic centre…what we know today as Roma Norte!

The Creation of Roma

In the late 19th century, the wealthy elite of Mexico City were fleeing the crumbling Centro Histórico. The Centro Histórico was literally sinking into the ground and the old architecture was deteriorating rapidly. The aristocracy of Mexico City were looking for wide-open spaces in which to build their mansions. They dreamt of modern, colonial architecture. Orrin, whose circus operated in the historic centre, heard these cries. So Orrin went about purchasing land to the south.

The name “Roma” was also Orrin’s idea and came from Circo Romano (Roman Circus.) Although somewhat dissimilar to today’s circus, the Roman Circus was the inspiration for his own money-making enterprise. Even the streets around Roma were inspired by the circus. Many of the roads were named after the Mexican cities where the Orrin Circus had travelled. You’ll find Puebla, Oxaca, Colima, Córdoba, Morelia and more!

Porfirio Era

Porfirio Diaz and his government were also interested in aiding the creation of this upper-class neighbourhood. The president was enthralled with the European cities he visited on his travels. He longed to make Mexico City as impressive as those European cities he so badly envied. Diaz and his government provided rich and modern infrastructure to the new colonial. This included running water lines and sewers. Sewers were a truly modern convenience that, at the time, only was available in the Roma neighbourhood!

Roma soon became a European aristocratic enclave. Inspired by the elegant boulevards of Paris, the street in Roma were widened. And many of the main streets were installed with double rows of trees. Medians were built in the centre of the roads to provide relaxing pedestrian walkways. In the 1940s and 1950s, the area drew in the best of the best of Mexico City. Artists, businessmen and politicians arrived in style. Famous chilangos such as Álvaro Obregón, David Alfaro Siqueiros and former president Mexico Luis Echeverría all found themselves living within these “walls”. 

The Great Downfall of Roma

But in the 1950s, after WWII, the city began instituting lower rent regulations in these neighbourhoods. This act brought in more lower-class residents. The wealthier class railed against these newcomers, and many started to leave the area. More exclusive and luxurious areas like Polanco began to pop up. Drawing the remainder of the upper class out of Roma for good.

In addition to the new residents, taller buildings began to pop up around the colonial mansion. “Ruining” the look of the peaceful “town,” causing a further exodus. But the tall buildings weren’t just an eyesore; they were unknowing starting to disturb the ground below them.

This all came to a head on September 19th, 1985, at seven in the morning. An earthquake with a magnitude of 8.0 hit Mexico City. Thousands of buildings were levelled, and over 10,000 people lost their life. In Roma alone, 472 buildings were partially or entirely collapsed. The neighbourhood fell into complete disrepair. The population declined from 95,000 inhabitants in 1970 to 35,000 in 1995.

Reconstruction efforts were slow in these lower-class neighbourhoods. Regulations were put into place that no new apartment buildings could be constructed or older constructions adapted. This was to ensure the area remained intact until it could be repaired. But, by happy accident, this ended up preserving the remaining historic buildings for future residents and travellers.

The Renaissance of Roma

In the last 10 years, the area has started to slowly become more and more gentrified. We are witnessing the rebirth and renaissance of Colonial Roma. Low rents and beautiful architecture brought the hipsters who have started to transform the streets once more. Today the area is home to some of the cities trendiest cafes, incredible street art, awe-inducing pastries, curated cocktails and top-class restaurants.

Architecture

Porfirian Art Deco

There are two main identifiable architecture styles in Roma; Porfirian Art Deco and Colonial Revival Style. The iconic architecture of Roma is marked by the fact that the new residents rejected the traditional Mexcian Baroque architecture found in the historic centre. That iconic red tezontle stone was replaced with wrought iron, crucial for highlighting the Art Deco elements.

French and Italian influences were also incorporated with Gothic and Moorish designs. Today, this combination of design styles is called “Porfirian architecture,” named after President Porfirio Diaz. Traditional Mexican brick and ceramics were replaced with modern metal and glass. Houses in this style were constructed up until 1910. 

Colonial Revival Style

After the Mexican Revolution (1910-1920), the houses and buildings took on a Neo-Colonial or Colonial Revival Style. The era after the Revolution served as the antithesis to the Porfirian. The new President Venustiano Carranza‘s government even gave out federal tax exemptions to those who built houses in the colonial-revival style. These neo-colonial houses displayed a sense of nationalism and featured plateresque elements, pinnacles and mixtilinear arches. Architects brought back traditional materials such as tezontle, cantera and Talavera tiles.

As we walk along the streets, see if you can spot the various styles as we go!

Map of Walking Tour

Panadería Rosetta

There is no better place to start your morning in Roma Norte than at Panadería Rosetta. Panadería Rosetta is a café that combines the best of French and European traditions with Mexican ones. The café offers a daily selection of baked goods. So there is always something extra special to try depending on what day you come by. They offer both sweet and savoury bread and sandwiches, cakes, muffins and more! Everything hidden away in their little glass cases is to die for. Their baked good is so delicious that this bakery delivers their goods to dozens of cafes around town. But I like coming right to the source!

Plaza Río de Janeiro

Grabbing your coffee and pastries to go, head north along Orizaba Street towards the stunning Plaza Río de Janeiro. Plaza Río de Janeiro (or Rio de Janeiro Square) was originally named Plaza Roma but it was renamed in 1922. Mexico was invited to attend the Brazilian centenary celebration in 1922 and wanted to pay tribute to their brotherly city. So they decided instead of building an entirely new park, they would just rename this one for them.

The columns of cacti that line the park’s edge create these wonderful architectural elements created out of the natural environment. The park’s pathways swirl and curl around the central parkette. Creating this almost mesmerizing and yet peaceful atmosphere.

Michelangelo’s David

One of the park’s most interesting features is the replica statue of Michelangelo‘s David. It stands in the centre of the park looking over the central fountain. One might wonder why there is an Italian statue smack dab in the centre of the park dedicated to Brazil. In truth, there is no connection between the two. Simply, the city architects of the time were on a quest to turn Mexican parks into European squares. Going so far as creating these exact replicas. We will see more and more along the rest of our tour so keep an eye out!

Edificio Rio de Janeiro

On either side of the park, you’ll find some incredible examples of old colonial and art deco mansions. Their stone and wrought iron Juliet balconies looking out towards the park are draped in their own set of greenery. The most important house surrounding the park is the Edificio Rio de Janeiro. It is found on the east side of the park. Easily identifiable by the large green awning and art deco lettering that marks its entrance. While the building is today called ‘Edificio Rio de Janeiro’ years ago, the house went by a very different name…

La Casa de las Brujas  

While the lower, street-level exterior is covered in wrought iron and art deco elements, these were added in the 1930s. The original castle-inspired red-brick building was built in 1908. The house was called the La Casa de las Brujas (The Witch’s House). It was nicknamed as such due to the pointed tower located in the corner of the building. It was thought to perfectly resemble a pointed witch’s hat. But the witch symbolism doesn’t stop there! Many people thought that the windows below the “hat” resembled a human face. The (now) bricked up ovals were the yes, the lintel was the nose and the pointed balcony the mouth. To get the effect, you need to look at the house from the northwest corner. And trust me, it’s hard to miss!

Rumours began to spread that only a witch could have devised such a creation. Stories say her name was La Pachita. And she would watch people coming about their business in the park from her windows. Perhaps looking for victims or buyers of her next spell. But sadly, the truth is much more boring. The house was designed by architect Enrique Sánchez Sedeño. He was working under the Porfiriato and was influenced by European designs. He drew on elements from Gothic architecture and Viennese-style windows to create the house we see today.

Iglesia de la Sagrada Familia

Continue past the park, up Orizaba street, towards the Iglesia de la Sagrada Familia. This church sits on the corner of Puebla street. The exterior of the church is awe-inspiring, filled with rich neo-romanesque decorations. This was the first church in Colonial Roma in 1910. One of my favourite aspects of the church is the neo-Gothic rose window above the entrance. The window is surrounded by ornate stone carvings of palm leaves. The stunning Italian-made stained glass windows are also filled with organic designs of plants and flowers. As the entirety of Roma feels like a living garden, the church fits right into that blooming environment.

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Casa Universitaria del Libro UNAM

Kiddie corner to the church is the Casa Universitaria del Libro UNAM, another iconic building from the history of Roma. It was built in 1920 and originally designed as an elegant residence for Joaquín Baranda MacGregor, a preeminent politician. The mansion was created by the same designer as the church. He chose for this house the art deco style so popular at the time. Today the house is iconic for its green wrought iron scalloped gates and bright green shutters. The building is a venue for various academic activities and book publications from the Universidad Nacional Autónoma de México.

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If you have the chance to pop your head inside, definitely take advantage of that opportunity! The entrance features a large irregular hexagonal hall, with a central staircase leading up to a great stained glass. The stained glass features the church of San Francisco Javier in Tepotzotlan, one of the most beautiful churches in Mexico.

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Puebla Street

Continue walking west along Puebla Street. This street’s sidewalks are famous for being packed with street vendors. Here is my quick guide on how to sample them safely:

• Choose freshly squeezed juice over agua frescas
• Eat in the morning to ensures food hasn’t been sitting out all day.
• Always eat food that you can see is being freshly cooked.
• Eat from vendors where the chef doesn’t handle the money or wears gloves when touching it.
• Avoid uncooked vegetables and fruit that may have been washed in unfiltered water
• Choose the stands which have a line – a good sign they are reputable and the food is turned over quickly.
• Sanitize your hands before eating
• Avoid salsas and crema at street food stalls. It’s hard to tell if it has been left out in the sun without refrigeration.

Pomona Street

Take a shortcut down Pomona Street. At #30 you can spot a gorgeous example of green Talavera tiles brought in by the colonial revivalists. A great photo op spot! Despite being an utterly residential street, there are some of the most fantastical slices of architecture here. Study the inset entrance at #46, guarded with huge and ornate wrought iron bars. Exiting onto the Calle de Durango, walk west towards the large roundabout, our next stop.

Fuente de Cibeles

Popping out of the quaint side street, you’ll exit onto the busy Plaza Villa de Madrid. In the center of this large roundabout is a mammoth circular plaza featuring a dramatic fountain. The Fuente de Cibeles made a replica of the original fountain of the same name found in Madrid. The city to which the plaza is also named. The community around the plaza were primarily residents originally from Spain. They wanted to bring something to Mexico City that represented their homeland. It was designed as a symbol to link both cities in their shared brotherhood. 

The Goddess Cybele

The fountain features the goddesses Cibele. She is the mistress of wild nature, sitting in her bronze chariot. Cibele is pulled by her companions, her two pet lions. They are a male and female, representing fertility. Cibele also is the godess of protection, also symbolized in the fearsome lions. She carries an oversized key in her hand, which indicates her power over earth. In the other hand, she carries a sceptre, a symbol of her power over the seasons.

Fittingly, as Cibele represents the seasons, she is surrounded in Springtime by Mexico City’s most impressive seasonal features; the Jacaranda trees. The best time of to see the Jacaranda trees is during later March and early April. This is when they are in full bloom and create a halo of purple blossoms all around the plaza. The plaza is surrounded by some very hip cafes and restaurants. It is a great place to return to while away a lazy afternoon.

Bazar El Oro

On Saturdays and Sundays, the Bazar El Oro pops up on the corner of El Oro and Colima street. Just down the road from the Fuente de Cibeles. It’s a wonderful and eclectic neighbourhood market filled, with shops set up under brightly coloured tarps. Everything from traditional quesadillas to clothing, accessories, music, and coffee is on sale here!

Avenue Insurgentes

From here, we will take a short walk down the busy six-lane Avenue Insurgentes. Insurgentes is the longest avenue in Mexico City, at 28.8 kilometres or 17.9 miles! It passes through almost every neighbourhood; Condesa, Roma, Del Valle, Napoles, San Ángel and Pedregal until it reaches the southern suburbs. The name ‘Insurgentes’ comes from the Insurgent Army (Ejército de Los Insurgentes.) This army fought for Mexican independence from Spain during the in the early 19th century. Their efforts are the reason Mexico City is free from European control today. Giving them such a large memorial street is a wonderful way of remembering their sacrifice.

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Orinoco

If you were hesitant to try the street tacos, the famous Orinoco Taco is the perfect place to grab lunch. This is one of the most popular taco shops in Roma Norte. Best known for their famous trompo or taco al pastor. Taco al pastor or “shepherd style” tacos are made from spit-grilled pork. The dish was created after Lebanese immigrants introduced shawarma to Mexicans. The pork is marinaded in adobada (red chile) paste and spit roasted with a large pineapple placed on top.

When it is served, it is companied by sliced onions, cilantro and the all-important roasted pineapple. Added to give it that hint of sweetness. Taco al pastor is my favourite kind of taco, and there is no visit to Mexico City without trying them. You should really try all three traditional varieties to decide which one is your favourite. Pair the meal with an agua fresca and, of course, a side of Chicharron (fried pork rinds.)

Mercado Roma

If you’d rather grab something more substantial, make a detour along Insurgentes. Walk along for about eight minutes until you reach C. Querétaro. Just a few steps from the intersection is the food paradise of the Mercado Roma. The sprawling three-story “market” is more of a food hall. There are no fruit and vegetable stands here. Instead, you’ll find upscale tapas, vegan tacos, a rooftop beer garden and boutique-style dessert stands. The aim of the market was to bring the concept of a gourmet market together with the local community. You can sit around communal tables and perhaps even make a few new friends inside. 

Avenida Álvaro Obregón

To continue the tour, head back to Insurgentes, and walk east via the Avenida Álvaro Obregón. Many people refer to Avenida Álvaro Obregón as the “main street” in Roma Norte. The best way to explore this street is to step into the pedestrian median. Walking between the two lanes of traffic. The design of the street was meant to replicate French boulevards, which also featured central medians.

Along the median, you can stop and sit on one of the many benches. Take a moment to relax under the trees or study the sculptures found along the way. The central walkway is home to bustling art and an antique market which pops up on the weekends.

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Remember Michalengo’s David we saw before? Well, the sculptures along this street are also replicas of famous Italian works of art. They feature characters from Greek and Roman mythology. There are twelve sculptures in total. The fountains include copies of Mirón‘s Discobolus, Michelangelo‘s Bacchus and the Venus de Milo.

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El Parián 

Just past Jalapa Street, stop just inside El Parián, the art-nourveau arcade. This incredible colonial building features eye-catching art-nouveau-style windows. Framing the windows are incredibly detailed stoned carving with charming characters encircling the building.

Stepping inside, you’ll be able to admire the newly renovated covered shopping arcade. Shops line either side of the passageway. The interior is drenched in light, thanks to the glass ceiling above your head. The new arcade features a fantastical tiled floor, art deco-style decorations and a wash of greenery. It makes you feel like shopping inside a botanical garden!

Librería Ático

A few doors down from El Parián, you’ll come to a small store piled high are thousands of books. Librería Ático is one of those bookstores that feels lived in, in the best way possible. There is a combination of cheap, used books and antique volumes over 100 years old. While you might not find a huge selection of English language books here, I love perusing the vintage collections. I always search out vintage coffee table books filled with pictures. They make for great conversations pieces. And you can use them to help study your Spanish!

Edificio Balmori

Across the street from Librería Ático is the Edificio Balmori or Balmori Building. The Balmori Building was built in 1922 and later renovated in 1991 to restore the damage from the 1985 earthquake. The building was designed to feature an eclectic combination of historical styles. The new Colonial Roma aimed to imitate European architecture. But they went about it in their own unique ways. This resulted in the amalgamations of style we see today. Study the building for long enough and you can spot; classical, art nouveau, belle epoque, and even Art Deco decorations.

Cafebrería El Péndulo Roma

If you prefer shopping for newer books, you must make your way over to Cafebrería El Péndulo Roma. Cafebrería El Péndulo is a bookstore chain, found across Mexico City. But each store has its own unique personality. Standing three storeys tall when you walk inside, look up to see all the bookshelves towering over you. It almost feels like entering the M.C Escher version of a bookstore. Péndulo always carries a wide selection of English language books. Real plants are dotted around the shop, bringing life into every corner you step inside.

Casa Prunes

Just south of Cafebrería El Péndulo is the Casa Prunes. The Casa Prunes is hidden away on historic Chihuahua street. Despite its rather obscure location, it is one of the best remaining examples of Art Nouveau architecture in Roma. True art-nouveau has all but disappeared. Save for this location. It is indeed a rare bird. The architects were inspired by the natural forms of the prune tree. You can see the arching branches and even bunches of prunes hanging off the stone window carvings.

Despite its artistic impact, the house was left abandoned for years. Only recently has it been renovated. You can now step inside and enjoy a drink in this chic cocktail bar.

Plaza Luis Cabrera

Continue west along Chihuahua street and then south on Orizaba. Walk until you reach the small but delightful parkette inside Plaza Luis Cabrera. The park is named after politician Luis Cabrera. Cabrera was known for speaking out against the governments of Álvaro Obregón. He fought to protect the rights of the lower-class. The square was designed to mirror Plaza Rio de Janeiro.

Beat Writers in Roma

The park sits on the edge of Orizaba and Zacatecas Street, a popular area in the 1950s for American writers. Authors like Jack Kerouac, William Burroughs and Allen Ginsberg made their pilgrimage to CDMX. Some of the writers were fleeing America for what they saw as a more romanticized, foreign land. Others (Burroughs) were literally fleeing drug possession charges. Either way, they saw Mexico City as somewhere they could indulge in their vices. In the 1950s, Roma was on the decline. These ex-pats could get away living in robust colonial mansions, drinking and eating all day for very little money.

Famously, Kerouac wrote many stories of his adventures using peyote. He and Burroughs would take it together and lie in the grass in the Plaza Luis Cabrera. Regaling each other of what they saw in their hallucinations. But Roma wasn’t all champagne and roses for these writers. William Burroughs lived just off Avenida Álvaro Obregón (where we stopped for tacos). It was here in 1951 that, after one too many drinks, Burroughs life would change forever. He and his wife were playing with his pistol when he accidentally shot her in the head. She died on the spot. Despite being accidental, Burroughs was convicted to a two-year suspended sentence. But the trauma of the incident spurred him on to become a better writer. And perhaps the reason he is so prolific today.

Roma Museums

Looking to find a way to spend the rest of your afternoon? Consider a visit to one of Roma’s many museums.

MODO Museo del Objeto

My favourite museum in Roma Norte is the MODO Museo del Objeto. I love to study vintage packaging, advertising, and graphic deisgn. These items and practical objects, dating as far back as 1810, tell a rich story about the culture and communities they served. The museum started as one man’s personal collection and today contains over 30,000 items. Bruno Newman is a researcher looking into the history of design and communications. This museum is a wonderful chance for him to share his finding with the rest of us!

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Casa Lamm Culture Center

Casa Lamm is now a fantastic gallery and cultural center. But when it was first built in 1911, it served as an aristocratic residence. Although the family never got around to living in it. The mansion was designed to be emblematic of the Euro-Mexican style. Encompassing as many European design elements as possible. But Casa Lamm manages to do it elegantly where all the ornaments somehow feel cohesive.

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After changing hands several times, the house was transformed and saved from utter ruin in 1993. It was turned into the Casa Lamm Culture Center. The centre set out to serve and educate the community in academic and artistic endeavours. Today, students can receive their BA, Master or Doctorates in Art History, Museum Management, Art Curatorship and Creative Writing.

But the public can enter the centre to explore various public areas. There is the fantastic Liberia Pegaso bookstore. Here you can find some incredible books on the art and architecture of Mexico City. You can also explore their various galleries featuring a rotating list of contemporary artists. You can also explore their gorgeous garden filled with exemplary sculptures from famous and up and coming Mexican artists.

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Galleria OMR

If you’re into contemporary, avant-garde art, you should make a point to visit the OMR Gallery. The OMR prides itself on representing emerging and established contemporary artists. Many of these artists are instrumental in the development of Mexico City’s contemporary art scene. The gallery is located inside an industrial-style building perfect for featuring these contemporary works for art. The space blends together the indoors and outdoors. Allowing the art works to pour out into the courtyard to best serve the artistic experience.

Restaurante Rosetta

Make your way back up Orizaba to Colima Street. Colima Street is home to some of the best restaurants in the area. To end your evening in Roma Norte, make reservations at Rosetta restaurant. This incredible culinary experience is located inside an old villa whose courtyard has been restored to serve a the restaurant’s dining room. The entire place is filled with plants, making you feel as though you are dining al fresco. The ambiance is outstanding, and the dishes are ever-changing to suit the season. Locally sourced produce is reflected in the ever-changing menu. I always lean towards the chef’s inventive takes on traditional Mexican cusine. Dishes like white mole with fermented carrots and charcoal are the perfect example of this modern take on classical dishes.

Helados Cometa

In my opinion, no meal (especially dinner) is complete without dessert! Head next door to Helados Cometa for some of the best ice creams in the entire city! Everything here is made from scratch. Unlike other shops in the city with an overwhelming menu, their selection is small but flawless. Ensuring every bite is made to perfection. Even their cones are handmade and have an added element of salt which wonderfully complements the sweet cream! Try the honey and pistachio, or rose and pistachio (pretty much anything with pistachio!)

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Gin Gin Álvaro Obregón

For those who don’t want the night to end, or like me, want to poke their heads into every building, you can safely bar hop along with the Avenida Álvaro Obregón. Gin Gin Álvaro Obregón is my favourite bar thanks for their out-of-this-world, skeletal decor! Their cocktail menu is IMMENSE, and highlights (as is the name of the bar infers) gin! As the night wears on, a DJ will sometimes play live music. While this can get very loud, if that’s your vibe, you’ll really enjoy yourself.

There are many other places to explore and discover, but this brings us to the end of your guided tour of Roma Norte! I hope you enjoyed yourself and learned more about this fantastical slice of Mexico City. Let me know in the comments what other neighbourhoods we should explore next!

Happy Travels, Adventurers!

The post Ultimate Self-Guided Tour of Trendy Roma Norte in Mexico City first appeared on The Creative Adventurer.

One of the best parts of Mexico City is its sheer size. While some people find this to be a downside, as it might feel overwhelming, I think it’s a huge plus! The various districts and neighbourhoods allow you to feel like you’re visiting a hundred different cities, all in one place. La Condesa is the peaceful botanical garden. Roma Norte is the hipster foodie quarter. Polanco is a luxury shoppers dream. Coyoacan is a bohemian wonderland. Last, but not least, the Historic Center (or Centro Historico) is the place where it all started! The streets in the Historic Center are brimming with ancient and colonial architecture. It is a place of discovery and authenticity. If you’ve never been to Mexico City before, you need to plan on spending at least one full day exploring this part of town.

Table Of Contents

1. Access
2. Start of the Walking Tour: Alameda Central
3. Palacio de Bellas Artes
4. Palacio Postal
5. Pastelería Ideal
6. Torre Latinoamericana
7. Avenue Francisco I. Madero
8. Casa de Los Azulejos
9. Sanborns
10. Church of San Francisco
11. Palacio de Iturbide
12. Taquería Tlaquepaque
13. Dulcería de Celaya 
14. Mexico City Cathedral Metropolitan
15. Templo Mayor Museum
16. Palacio Nacional
17. Zócalo
18. Gran Hotel Ciudad de México
19. Azul Historico

Access

The Historic District is bordered by the Zócalo to the east and the Paseo de la Reforma to the west. Insurgentes and Av. Juárez are located to the north and San Angel to the south. The best way to get around Mexico City (in my opinion) is by using Uber. Not only is Uber extremely safe, but you also don’t need to worry about getting ripped off. Fare are displayed upfront before confirming your ride. There is no fussing for cash either as you pay via a credit card stored on the app.

Rush hour traffic is REAL in Mexico City. Honestly, traffic is pretty dense throughout the entire day but it’s definitely worse before and after work hours. I would advise arriving at our starting location before 9 am. This ensures you don’t have to deal with too much of the rush hour traffic.

There is also a metro station located right near our first stop. If you prefer to take public transit, that is definitely an option as well. The Metro in Mexico City is SUPER cheap and surprisingly easy to navigate. However, it is also hectic and crowded. The safety of the Metro system gets a mixed reputation. For the most part, I generally recommend Uber to ensure you have the most stress-free experience possible. But if you decide to ride the metro just use all the safety tips below.

Be a Smart Traveller

• Don’t wear flashy jewellery or carry expensive handbags
• Keep your money in discreet, zipper pockets and don’t carry too much at one time
• Leave your passport in a safe at the hotel
• Stick to busy streets, well-lit streets
• Ensure your phone plan covers mobile data usage in Mexico. This is a lifesaver when it comes to calling a taxi or just using directions on google maps
• Avoid wandering around at night, instead, take a Uber from location to location
• Avoiding talking to strangers who approach you on the street. Often these are scammers either trying to distract you while they swipe your wallet or just sell you on something sketchy. Kindly just wave them off and continue walking on your way
• Someone strange won’t leave you alone? Walk inside a busy shop
• If you EVER feel unsafe, just call an Uber and you can get picked up and brought to somewhere familiar
• Skip the street taxis and use Uber or other car services instead to ensure a safe ride and reasonable price
• Avoid high-crime areas like Iztapalapa, Tepito, La Lagunia, La Merced, Doctores and Ciudad Neza
• I always carry a photocopy of my I.D. on me in case of emergencies
• Learn a bit of Spanish, goes a long way in many different scenarios

Start of the Walking Tour: Alameda Central

Start your tour as early as you can manage inside the green acres of Alameda Central. This incredible urban oasis is the largest and oldest public park in the Americas. Despite being flanked by busy streets on all sides, when you are wandering inside the gorgeous green canopy of the park’s forest, you feel completely at peace.

History of Alameda Park

The site where the park now stands was once the location of the ancient Aztec marketplace. Today, you’ll still find different vendors bringing out their food carts serving tourists and locals alike. I feel like that same marketplace energy still exists here, just in a slightly different form.

The name for the park comes from the Spanish word “álamo,” which means “poplar tree.” Hundreds of these álamo trees were planted in the garden in 1592. Viceroy Luis de Velasco II ordered the creations of a new public green space for the city’s residents during the start of his regime. He saw the popularity of public green spaces in Europe and wanted the same criteria for his new city.

While the eastern portion of the park was for leisurely promenades, the west end of the park held a more nefarious purpose. This western section was originally built during the Mexican Inquisition. It was known as the “Burning Place.” It was here that convicted witches and people accused of treason were publicly burned at the stake. While you don’t immediately think of Mexico as a place of witch trials, these inquisitions spread worldwide. When the inquisitions ended in 1770, the burning plaza was destroyed and transformed into an extension of the park.

Park Monuments

Like many of the amazing parks in Mexico City, they are more than just trees. The precisely paved pathways lead you around decorative fountains, beautiful statues and incredible monuments. It feels like wandering around an outdoor art gallery. Each of the five fantastical fountains found throughout the park was made in France and were inspired by Greco-Roman mythology.

One of the most important monuments is the “Hemiciclo de Benito Juárez.” This large semi-circle of eight towering marble columns with a central plinth is topped with a group of neoclassical statues. In the center is statesman Benito Juárez himself. Juárez was the 26th president of Mexico and, most importantly, the first president of Mexico who was of indigenous origin. On either side of him are two allegorical female statues representing the fatherland and law. On the pedestal he sits, you can see the inscription “Al benemerito Benito Juárez la Patria.” This translate into “To the meritorious Benito Juárez, the Homeland.”

Over the years, the park has been of such important significance to the people of the city. Most importantly, the park was immortalized by Mexican artist Diego Rivera in his famous work Sundays on the Alameda Central. The mural depicts famous people and events in the history of Mexico, all together in one giant vibrant mural. You can still see this mural in the Museo Mural Diego Rivera ocated in the west end of the park. We won’t be stopping in there today, but later in the tour, we will see hundreds of paintings by Rivera located in-situ where they were first painted.

Palacio de Bellas Artes

Right next door to Alameda Park is the fantastical Palacio de Bellas Artes. The Palacio is doubtlessly one of the most impressive buildings in the historic district. Inside, you can listen to international symphonies, watch emotional ballets, become entranced by the theatre, awe at opera and even hear literature performances. Being a hub for all these performance arts gives the building its nickname, “the Cathedral of Art in Mexico.” 

Architecture 

The Palacio de Bellas Artes’ original design was conceived by Italian architect Adamo Boari. Boari wanted to create an entirely metallic structure, like the modern skyscrapers popping up in America. He loved the neoclassical and art nouveau styles as well and wanted the facade to follow those principles.

Although Boari started work on it in 1904, the building wouldn’t be completed until 1934. Problems with the soil and political unrest all contributed to halting any real progress. The situation was so volatile that Boari ditched the project and fled back to Italy. Mexican-born architect Federico Mariscal took over construction. Mariscal altered much of the design. The most substantial was the abandonment of the steel exterior. Instead, Mariscal used more traditional materials such as stone and carrier marble. But stone and marble are heavy and contribute to the fact that the poor Palacio is sinking into the soft ground a little more every year.

The Facade

The design of the facade is heavily influenced by classical European styles. The images and references don’t have any connection to the Mexican people or their culture. Despite the fact that the new architect was Mexican, he couldn’t change much of the exterior’s plan as the materials had already been purchased. But when we step inside, we can see Mariscal’s real vision for his Palacio.

Walking up to the Palacio, you can see four statues of the pegasuses being ridden by the four muses with Apollo in tow. Initially, these statues used to sit on top of the building. Their weight contributed to the sinking of the building, so they were removed and placed on the ground in the gardens surrounding the Palacio.

Inside the portals on the ground floor are a series of Italian sculptures. Each one depicting various allegorical figures relating to emotions that theatre and art aims to invoke in the viewer. Harmony, pain, rage, happiness, peace and love are all featured here in their mortal form.

One of the most impressive features of the building is the rainbow-hued rooftop cupola. This brightly coloured feature feels so appropriately Mexican, as they embrace colour whenever they can. It stands in such contrast to the white marble exterior designed by the Italian.

Interior Design

When you walk inside (which you can do for free if you just want a peek into the lobby) you can see the powerful Art Deco style that Mariscal dreamt up. Crawling up the sides of the building are sprawling murals surrounded by prehispanic motifs. You can see serpent’s heads curling around the window arches. Mayan deities and their masks, face out on the vertical columns. Even the marble inside is starkly different from the exterior. This marble is a darker and has a red hue giving the interior a more colourful appearance.

On the second floor (if you take a guided tour) you can see the incredible murals painted by José Clemente Orozco, David Alfaro Siqueiros, Diego Rivera, Jorge González Camarena, Roberto Montenegro and Manuel Rodríguez Lozano. Outside the entrance to the amphitheatre are more bronze carvings of the Aztec and Mayan gods Tlaloc and Chaac (the gods of thunder and rain.)

Inside the auditorium, you can study the 200-foot Tiffany glass curtain designed by Mexican artist Gerardo Murillo aka “Dr. Atl.” The glass design represents the volcanos Popocatépetl and Iztaccíhuatl. Surrounding them are images of the Mexican landscape. But to me, it is the heavenly sky above the landscape that is the most powerful aspect of the piece. The opalescent blues shimmer like the rainbow as the light catches it.

Interior Tour

Everywhere you look in the interior, there are artful representations of the Mexican people, their values and cultural references. It is 100% mandatory to poke your head inside to really soak in the views for yourself. If you just want to peek inside, the cost is free, but you’ll only be able to explore the lobby. The price of admission to the entire building is $60mxn per person + $30mxn camera fee if you want to take pictures. Usually, the line-up to get inside is very long, so if you have your heart exploring the interior, the earlier you get here, the better.

Palacio Postal

Directly across the street from the Palacio de Bellas Artes, you can admire the exterior of the Palacio de Correos de México (Postal Palace of Mexico City.) While it might seem strange to visit a post office, this one is truly spectacular. The Postal Palace of Mexico City was designed when the post office became a separate government entity. They wanted to show off their power and created a building with a very eclectic style to make it really stand out! It blended Art Nouveau, Spanish Renaissance Revival, Spanish Rococo style, Elizabethan Gothic, Elizabethan Plateresque and Venetian Gothic Revival all together. The architect of this Frankenstein creation was none other than Adamo Boari, who designed the Palacio Belles Artes. While you’d think trying to blend that all those styles together would result in a mess, it is anything but!

Construction started in 1902, and the building was finished in 1907. Although five years might seem like a while these days, for such a massive undertaking in the early 1900s it seems almost too quick! The frame of the building was designed on a grid of steel beams. This modern inner structure is why the Post Office managed to withstand many of the earthquakes that destroyed other buildings in the area. Military engineer Gonzalo Garita y Frontera supervised the construction of the steel frame. It is perhaps for this reason that the structure is so sound.

Exterior

One of the most iconic parts of the building is the colour of the stone. The stone is called “chiluca,” which has a slightly translucent effect and is exceptionally light in colour. This allows the heavy ornamentation to be juxtaposed by the airy feeling of the stone. The chiluca stone was quarried from the local Tulpetlac mines. This gives the building a bit of local flare despite the overall European-inspired architectural elements.

Decorating the facade is a mixture of Elizabethan Gothic styles. This period in architecture was dominated by twisting columns, heraldic elements, flowery crests, stone cherubs holding scrolls, gargoyles, hundreds of arches and hundreds (if not thousands) of ornamental balls. Highly polished brass and iron dragons, hanging off the side of the building, shine in the sunlight as you walk along the exterior.

One of the interesting details of the building is the windows that look out onto the street. Take a closer look and you’ll see that the windows on each level are all different designs. Each of these unique window styles is set inside a familiar arch. This gives the facade a more cohesive appearance despite all the different things going on.

Interior

Stepping inside, you are immediately taken aback. Just like the exterior, the interior is awe-inducingly covered in ornamentation. Filigree cresting surrounds the entire building like a living piece of ivy, spreading out from every corner and growing out of control. The marble floors glimmer and shine. They are polished to the point of looking like a mirror, so they reflect the radiant bronze ironwork on the window frames and staircases.

The main staircase descends down from two different directions from a central landing. The stairwell is bathed in bright sunlight from the large leaded glass dome that caps the top of the building.

Facing the staircase are a series of shields that crown the finishes of the interior arcade. These shields represent the various countries that were part of the Universal Postal Union at the beginning of the 20th century. This building is so iconic to Mexico that it inspired the design for the “Department of Family Reunions” in the Pixar film Coco.

Pastelería Ideal

For the perfect breakfast, especially for those on a budget, head over to Pastelería Ideal. This bakery is one of the most popular shops in the district. In fact, you might have even seen their colossal blue and white boxes all over the city. Many coffee shops around town buy their sweets directly from this bakery. So come morning, delivery services speed thousands of pastries around town. The bakery was founded in 1927 and has been opened in this very spot ever since. They have since opened up three other locations, but this is the original. The building in which it is located was actually once a part of an old Franciscan monastery! You can still see details of the original walls of the De Profundis Room inside the upper floors of the bakery.

This bakery has everything from traditional Mexican bread and pastries, cakes and cookies to Parisian puff pastry, viennoiseries, and more! All of this is served up on huge platters towering with treats. Just grab a try and use the tongs provided to serve yourself up some pastries. Once you’re done piling up (they make great breakfast pastries, too), take your collection to the counter. There they will pack them up for you and give you a ticket to pay. After you’ve paid, they’ll deliver you your baked good, all perfectly wrapped up to go.

Torre Latinoamericana

At the end of Madero street is the great Torre Latinoamericana. This enormous skyscraper looks down over the Historic Center like its great protector. While the skyscraper might seem pretty modern for a stop on the “Historical” neighbourhood tour, the view you get from the top is really what makes visiting this place worthwhile. The Torre Latinoamericana stretches 166 meters (545 ft) up to the sky. The building was designed by some of the countries best engineers to ensure it could withstand the seismic activity that is prevalent in the area. It stood the test of time in 1985 when the building withstood the 8.1 magnitude earthquake that brought such immense damage to the rest of the Historic District.

The building opened to the public in 1956 as Mexico’s tallest building and remained as such until 1982. Back then, skyscrapers were really architectural miracles. The other historic buildings in the neighbourhood were immediately looked over by locals and visitors in favour of the steel and glass tower. Today, it almost feels like the opposite. Most of us live in steel forests and are clamouring to see more of the baroque stone structure of the past.

Observation Deck

You have the option to travel up the tower to experience the fantastic views all across Mexico City. The building’s 44th floor is home to a large open-air observation deck. On a clear day, you can see all across the city and even over to the snow-capped volcanoes of Iztaccíhuatl and Popocatépetl. From up above, you can really see how Mexico City is indeed located in a valley. Ticket to go up the tower cost 150 pesos (7 USD) per person.

Avenue Francisco I. Madero

Exit the tower and take a walk along the main pedestrian street Avenue Francisco I. Madero. While today the street is very touristy with many international chains dotting the shop fronts, there are still many historical buildings to see along the way. You just need to know where to look. The street is named after the great Francisco Ignacio Madero González. Madero was a Mexican revolutionary, writer, statesman and the 37th president of Mexico. Sadly, Madera was assassinated in 1913, only two years into his Presidency.

Casa de Los Azulejos

On the corner of Avenue Francisco I. Madero and Condesa, you’ll immediately be drawn to the blue and white tiles of the Casa de Los Azulejos or The House of Tiles. Madero Street was once the most highly sought-after real estate in Mexico City. The original residence was built for the wealthy Count of the Valle de Orizaba in the 16th century.

But the now-iconic colourful tiles weren’t added until 1737. After the Count’s death, the Countess decided to return from her home in Puebla to the capital city. Wanting to feel at home, she brought a large amount of the famous Puebla Talavera tiles with her. Puebla tiles were each handmade, and the sheer number of tiles on the facade was a way of showing off the family’s immense wealth, even after the Count’s death. It was a means of showing that Countess was still a power player and didn’t need her husband to run the show.

Talavera Tile

Talavera was a craft brought to Mexico by the Spanish. The Spanish established their workshop in Puebla in the 16th century. They chose Puebla as their industrial hub as it was an excellent location to nearby clay mines used to create the tiles. The colourful tiles were a popular feature inside monasteries and churches. Usually, only the most wealthy homes could afford to decorate their houses with them. While some Puebla tiles were painted with images of animals, birds and flowers, the most common variety contained simple geometric patterns.

Sanborns

Florid stone carvings decorated the windows, doorways and balconies around the rest of the building. Carved into the stones are French porcelain crowns to denote the status of the house as a royal of the residence. The Count’s family eventually sold off the property in the 20th century. It was purchased by Frank Sanborn and his brother Walter. It was there that they would open their first soda fountain shop and drugstore. They named it the ‘Sanborns American Pharmacy‘ and it opened in 1917. Sanborns transformed the residential interior open-air courtyard into a restaurant with a large stained-glass roof overhead. The customer could dine inside the inner courtyard and enjoy the gorgeous antique murals that cover the walls, remnants of the 17th century home.

One of the best places to get a great photo-op is along the tiled exterior is on Condesa Street. This less busy side street has tiles that stretch along the entire passage and provide an unobstructed view of the building. The food inside the restaurant isn’t anything to write home about but it is definitely worth going inside to take a look at the interior courtyard. Sanborn’s is still a small shop, so you can also go inside to buy yourself a little souvenir or bottle of water to give yourself an excuse to tour the interior.

Church of San Francisco

Further along the street, on your left, is the large stone archway and steps leading down into the Church of San Francisco. The Church of San Francisco or the Iglesia de San Francisco was the original headquarters of the Franciscan friars. When Cortez first came to Mexico City, this spot was where he found Moctezuma II’s royal zoo. After the colonization, the zoo destroyed and the land used to build the largest and most influential monasteries in Mexico City. Initially, the church and its monasteries spread out over 32,224 square meters! This would have taken up almost the entirety of the city block around the area.

Balvanera Chapel

Today, the only remnant of the original complex is this small church built in 1710. The reason for the steps down into the church is because, like the rest of Mexico City, the building is sinking. You can’t even walk in through the original entrance as that has been walled up. Today, the direct access to the church is through the Balvanera side Chapel. The chapel’s facade was given a facelift by Lorenzo Rodríguez, who also designed the front for the Metropolitan Cathedral’s Tabernacle.

Walking inside, the most impressive feature of the chapel is the sizeable gilded altarpiece dedicated to the Virgin of Guadalupe. Her faded image is placed in the center of the golden altar. Walking up a few steps into the central part of the church, you are greeted by another great gilded altarpiece. A few of the little elements inside that I love are the stained glass windows with the red cross in the center. Although they aren’t highly sophisticated, I love the very stark imagery of that repetitive red cross illuminating the clerestory.

While the chapel walls are relatively plain, hung to decorate the large expanses of stone are these vast paintings. These paintings depict scenes from the life of San Francisco de Assísi, for whom the church and the Franciscan order are named. Each one of the paintings highlights one of Saint Francisco’s greatest virtues. See if you can spot them all.

Palacio de Iturbide

Head back down to Madera street until you reach the Palacio de Iturbide, just before the Calle de Filomeno Mata. Surrounded on either side by modern buildings, this ancient structure really stands out. The Palace was built in 1779 as a wedding gift from Count of San Mateo Valparaíso to his daughter. Apparently, the Count was worried his daughter’s new husband was going to squander his daughter’s dowry. So instead, the Count built the house using the entirety of the dowry to ensure the new husband wouldn’t be able to lose it.

Agustín de Iturbide, the Mexican army general and politician, lived here during the Mexican War of Independence from Spain. And it was actually inside the Palace where he accepted the crown of the First Mexican Empire. Because of this seminal moment, the building earned the nickname the “Palace of Iturbide“. The building is made out of that iconically Mexican tezontle and cantera stone. The facade was designed in a high gothic style featuring organic and geometric motifs such as flowers, vines, leaves, and even a mermaid. On either side of the entrance are two graceful male figures that look almost as though they are holding up the balcony above.

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Taquería Tlaquepaque

If you’re looking for a cheaper alternative for lunch, make a quick detour over to Taquería Tlaquepaque. Taquería Tlaquepaque is your best budget option. This street taco establishment serves up plenty of options. But the very best one, in my opinion, is the tacos Al Pastor served with onions and pineapples atop a pile of roasted pork. Such a perfect sweet and salty combination.

Dulcería de Celaya 

Make a quick stop up the street at Dulcería de Celaya where you can grab yourself some delicious Mexican candies. Dulcería de Celaya is a tiny, old shop selling traditional Mexican candies and sweets since 1874. Walking into the shop, it feels like nothing has changed in over 100 years. When the family-run shop first started selling candy, it was made in a small, improvised factory using wooden shovels, copper saucepans and a minature oven. They could only produce so much per day, often only one tray of candy. But the sweets were so popular that they would sell out day after day. As the demand rose, they managed to expand their production to meet the needs of the city.

Even today, they produce candy in much the same way as it was made in the beginning, still out of that tiny kitchen. When you walk in the doors, the smell of fresh pineapples, strawberries, guavas and coconut fills the air. It’s intoxicating. The candy is very well priced, so even if you don’t’ recognize anything, just let the smells guide you and try whatever your eye is drawn to.

Mexico City Cathedral Metropolitan

The crowning glory of the Historic Center of Mexico City is the enormous Cathedral of the Assumption of the Most Blessed Virgin Mary into Heavens. The stone monument dominates the border of the huge Plaza del Zócalo. While its full name is “Cathedral of the Assumption of the Most Blessed Virgin Mary into Heavens,” it also goes by the much shorter nickname “Metropolitan Cathedral” or “Mexico City Cathedral.” The enormous church has stood here for over 400 years, being constructed from the literal bones (or stones) of the Templo Mayor.

The towering ornate church is considered one of the masterpieces of Mexican architecture and is Latin America’s largest and oldest cathedral. If you’re visiting Mexico City, you absolutely need to make a stop inside! Explore the interiors and wonder at the amazing monuments, chapels, architecture and incredible atmosphere found inside the Mexico City Cathedral. I have an entire guided tour of the Cathedral to help you better understand all the different aspects of its history and architecture. It’s pretty in-depth since I truly think it is one of the most spectacular places to visit. But if churches aren’t your thing (which I totally get), you can just poke your head inside and head back out to the Zocalo.

Templo Mayor Museum

Ancient Templo Mayor. Over the years, after many successful excavations and archeological digs, much of this historic site has been uncovered. It is now able to be viewed once more by the public inside the Templo Mayor Museum. The museum is definitely worth visiting as it displays some of the most significant treasures and relics of the great Aztec people. I would advise returning here on another day as a proper walk-through takes about 2-4 hours to explore. For our tour, the most exciting details of the ruins can be viewed from the street without going inside.

History of the Temple

The entire modern metropolis of Mexico City was built atop the ruins of the ancient Aztec city of Tenochtitlan. In the center of Tenochtitlan was the Templo Mayor, the city’s primary temple complex. The temple’s original name, in the native Nahuatl language, was Huēyi Teōcalli. According to legend, the temple was located where the god Huitzilopochtli gave the Mexican people the sign that they had reached the promised land. This sign was that iconic image of an eagle on a cactus with a snake in its mouth.

This great pyramidal temple was first built in 1325. Unlike Egyptian pyramids, which were primarily large tombs meant only for the Pharaohs, these pyramids were a big part of the life of the city. They were composed of four slopped terraces with secret passages inside. On the top of the pyramid was a flat platform where two temples were located. These were dedicated to Huitzilopochtli, god of war, and Tlaloc, god of rain and agriculture.

Inside the temple were the large idols of each god. They were made of amaranth seeds which was a traditional sculptural material in the pre-hispanic era. The seeds were stuck together with honey and even human blood to form the shape of the god. The blood was always given by willing human sacrifices as they wanted to donate a part of themselves to the god. These human sacrifices shocked Cortés when he first visited Tecnochiland. It was one of the events which added to his disdain of their beliefs and led him to think they were a “savage” culture.

The Discovery of the Temple

In 1521, after the invasion of the Spanish, the temple and the rest of the Aztec buildings were destroyed. The Spanish used the site as a spot for their new Cathedral. Hundreds of years past and many people completely forgot about it until it was nothing more than legend. But in 1978, when an electric company was undertaking some excavation work in the area, they discovered these incredible ruins underground. Back then, 19th-century colonial buildings covered the plot of land under which the ruins were hiding. The government of the time thankfully saw the importance of the archaeological site to be of far greater significance than the colonial buildings. They were demolished, and a massive undertaking began, working to uncover the ruins and preserving the treasure found within.

The parts of the temple we can see today are elements of the base of the pyramid and the slope upon which the rest of the pyramid would have travelled. Large sculptures of the gods jut out from the base of the temple. Still to this day, even after being buried underground, you can make out the bright colours that they were painted with when they were first created. These Aztec towns were a rainbow-hued metropolis and a sight to see to be sure.

Palacio Nacional

To finish off our tour of Diego Rivera’s mural, a visit to the Palacio Nacional (National Palace) is in order. The Palacio Nacional is an enormous museum with so much to see and do. But for our purposes, we are just entering to see the courtyard murals. Once we arrive at the Zocalo, we will speak a little bit more about the grand facade but for the time being, let’s go inside to get a look at the courtyard.

Entrance to the National Palace is free, although there is usually a long lineup to get inside. You need to leave a piece of ID with the guards at the door. Since the Palace is still home to the offices of the Mexican President, security is critical. They need to control the number of people and keep track of exactly who is inside. Entrance to the National Palace can be found on Moneda Street.

History of the Palace

The site of the building was once home to Moctezuma II’s Palace. His grand residence was built in 1521. When Cortés first visited the Palace, he described it as having a surprising array of riches. The walls were made of marble, and the facade contained a carved shield of Mexico’s iconic eagle with the snake in its claws. Inside, the building was very modern, with sanitary facilities, fountains, gardens, bedrooms with rich tapestries of rabbit fur and feathers. In addition to being a royal residence for the rulers of the Aztec city, it was also a meeting place for the elder tribe members. Here disputes and discussions would take place to ensure the wealth and happiness of their people.

Sadly, after the invasion by the Spanish, Cortés seized the residence from the Aztecs and used it as his own home. Passing it down to his son in later years. The Palace suffered a devastating fire in 1692 that destroyed much of the original structure. Many of the original stones that could be recovered were used in the reconstruction efforts. However, the design of the new Palace was a much different style. This one was styled in the Baroque fashion of the time. It seemed that over time, every generation added their own touch to the building. And now, it looks more like a patchwork quilt of the ages. 

History of Mexico Mural

Walking inside the National Palace, follow the signs for the ‘History of Mexico Murals.’ These can be found within the great courtyard, surrounded by Baroque arches. Walk up to the main stairwell, where you’ll immediately be struck by this immense masterpiece. The mural depicts the history of Mexico from the dawn of human existence through to the 1920s. Rivera started work on this mural in 1929, many years after his first mural project. The precision and confidence in his technical skills and expressive style are evident in this work of art. Rivera was decisive in using his art to communicate his ideologies about communism and the decisive rejection of the colonizers. He wanted to bring the crimes of the part clearly into the people’s minds to ensure these atrocities were never forgotten.

The main message of the mural surrounds the indigenous Mexican people’s struggles to preserve their culture, National identity and country against the brutal colonizers. Standing at the base of the stairwell, take a minute to appreciate the sheer grandeur of the entire piece. So much of the story is a sad one—a classic tale of good vs. evil. The goodly indigenous Mexicans had one of the most vibrant cultures. Yet, they were practically wiped out by the evil, invading Europeans.

If you squint and look at the entire piece as a whole, the bright colours and expressive shapes look powerful, hopeful and strong, just like the Mexican people. Despite the horrors of the past, the post-revolution population believed in the future of their country. Especially as it became an independent nation. And that their strength and perseverance over the years was what would conquer evil and allow their great country to prosper.

Aztec Hsitory

Walk up the stairs to the landing in the center, and look up at the left side, or North Wall. This part of the mural depicts the indigenous Mexican’s long before the arrival of the Spaniards. They are surrounded by the fantastical Mexican landscape all around them. The blue is almost heavenly above—the large bright sunshine above, casting all of them in celestial light. The Aztecs believed in the sun god, as can be seen in the all-seeing eyes painted onto the sun’s face. Just below the sun, you can also see an erupting volcano with Xiuhtecuhtli‘s “the Lord of Fire” exploding from the mouth of the volcano. In the sky flies Quetzalcoatl, the Feathered Serpent deity and god of the wind and the rain.

Lower Level Depictions

The lower part of the mural is riddled with images of Mexicans fighting against the heavily armoured calvary of the Spanish and French attackers. The beautiful and bright feathered costumes of the Aztec leaders, crushed and fallen under the feet of their enemies. Cortez himself can be seen in the middle of the painting. He is the only mounted soldier with his face exposed. The rest of the attacker’s helmets are closed. But Rivera paints Cortez with his helmet raised so his actions are not anonymous.

Cortez’s armies have modern weaponry making their defeat of the Aztecs a foregone conclusion. Despite them being outgunned and outnumbered, the Aztecs fought valiantly against the Spanish as seen on the right and let corners. All the while, the Aztecs are being watched over by a great golden eagle in the center. The eagle sits perched atop a cactus with a serpent in its mouth. The design of this symbol is rooted in the legend that the Aztec people would build their great city in the spot where they found an eagle eating a snake on top of a cactus. They called that place Tenochtitlan (Mexico City), and to them, it was worth fighting for.

South Wall

The south wall to the left of the main stairwell depicts the future of the Mexican people. The imagery represents the ideals of progress, prosperity and hope for a better future. At the top of the mural is the image of Karl Marx holding his great Communist Manifesto on a large scroll. To the right of this is a man flying the Soviet flag. When the mural was painted, the Mexican people and Rivera himself had solid socialist tendencies and the Soviet flag can be seen throughout imagery from this era.

To the right of Karl is a scene of Mexican workers. They are being attacked and oppressed by a group of police wearing large gas masks. This scene takes place in front of the silhouette of Mexico City’s skyline. While the other two murals are more fluid in their collage-like design, this mural is framed in harsh geometric, metal beams. Inside these almost cage-looking rectangles are pictorial representations of what Rivera saw as negatives social forces in high society. 

At the bottom of the painting, is the image of a woman dressed in bright red. Look closely at her face to see if you can recognize the model. It is none other than his wife, Frida Kahlo. Frida holds in her hands a copy of the Marxist manifesto and is engaged in a political rally. Very similar to her real-life political activism. Above her is another similar-looking woman. This is Frida’s sister Cristina, with whom Rivera had an affair during his marriage to Frida.

Zócalo

Across the Cathedral is the huge public square, called the Zócalo or Plaza de la Constitución. Every great city has got to have their triumphant main square. Whether it’s St Mark’s in Venice or the Red Square in Russia, you need to have a large central meeting place for your citizens and annual celebrations. The word “Zócalo” means “plinth” or “base.” When the square was first built, there was plans for a large monument to be installed in the center. But only the plinth was ever built. So it began to go by that nickname. The nickname Zocalo caught on for all future public squares around Mexico. Despite them having no connection to an actual plinth on-site they still adopted the name.

The Aztec Zocalo

Before the Spanish conquest, the square was used by the Aztec people just as they use it today. As an open space for the people. Back then it was surrounded by Moctezuma II’s Palace to the east and the great Templo Mayor to the north. It sat in the center of what was when the intersection of all the roads that met in the middle of Tenochtitlan.

The Spanish Zocalo

Shortly after the invasion in 1521, the Spanish immediately went about transforming the area around the square. But for the most part, they left the Zocalo much unchanged as open-air squares were already famous in Europe and a necessity for big cities. Over the years, market stalls began to pop up around the square. Although I think the idea of a colossal square bustling with vendors sounds exciting, historian Francisco Sedano thought the spectacle was ugly and unsightly. He claimed it was, “very difficult to walk around here at the time because of its uneven pavement, mud in the rainy season, aggressive street dogs, mounds of trash and human excrement tossed among the corn husks and other discarded wrappings.“

Insisting the “unsightly” local vendors should be removed, the government installed a “Parián” in the southwest part of the square. The Parián was a small, stone warehouse where international products, brought in through trade, were sold. This new warehouse meant that local produce and crafts were pushed by the wayside in exchange for foreign products that outweighed the importance of the indigenous Mexican economy. During the Mexican Wars of Independence, the Parián was seen as another symbol of the colonizers. It was target #1 and destroyed during a large riot in 1828.

Celebrations, Rallies and Riots

As the square sits right in front of local government building, it is a popular spot for protests and rallies. But it is equally a place for expression and celebration. Festival de México is an annual event with programs dedicated to Mexican art held in the Zócalo. During the Day of the Dead celebrations, this square becomes filled with orange decorations, colourful floats, music stages, and more!

Grito de Dolores

Walk over to the east side of the square to look up at the facade of the Palacio National, which flanks this side of the square. It is here, every year on September 16th, better known as Independence Day, that celebrations start in Mexico City begin. Since 1821, the President of Mexico will walk out onto the balcony on the National Palace facing the square filled with crowds of people.

Once outside, he will ring the bell, which hangs in a small niche above the doorway. This bell once marked the first call to arms during the Mexican War for Independence and it still serves as a call to the people today. The president will then shout out to the people in the square, “Viva Mexico!” A cry echoed throughout the jam-packed Zocalo. This is called the “Grito de Dolores” or”the Cry of Dolores”. While it was once a rallying cry for the end of Spanish rule, today it is a cry for racial equality and the redistribution of indigenous land.

The niche above the bell is topped by a great carving of the Mexican Coat of arms. The niche is flanked on either side by images of an Aztec eagle knight and his Spanish counterpart. Symbols of the ruling dynasties which once occupied the Palacio.

Gran Hotel Ciudad de México

Find your way to 16 de Septiembre Street and walk along, past a few shops, until you find the entrance to Gran Hotel Ciudad de México. Although I don’t generally recommend staying in the Historical Center (mainly because it feels more like staying inside the tourist hub), if you have your heart set on this area of town, THIS is the hotel you MUST choose. The rooms are pretty standard, but you get to stay in this gorgeous piece of history. If you get a room with a view out to the Zocalo, you can’t beat it for people-watching opportunities. The rates are shockingly affordable, so it’s well worth checking out.

While the hotel is adjoined to the larger Old Portal de Mercaderes building, its facade is unique to its location along Septiembre street. The high neoclassical style was preserved along with their iconic green wrought-iron balconies. The origins of the building date back to 1526. Back then, the building was constructed as a residence for the Royal Accountant, Rodrigo de Albornoz. It passed hands a few times through the ages, and in 1895, it was purchased by Frenchman Sebastian Robert. Robert’s had the idea to modernized Mexico City’s shopping scene and built its first large-scale department store right here in 1899. 

Centro Mercantil

In this modern department store, named the ‘Centro Mercantil,’ wealthy aristocrats could come and buy everything in one convenient location. Everything from luxurious fabrics, custom hats, expensive jewelry or imported perfumes. The European trend of “high tea” was also brought to Mexico City around this time. Visitors to the Centro Mercantil could enjoy this new trend right there in the opulent lobby cafe. The creme-de-la-cream of Mexico City would be seen walking through the doors, everyone from writers to composers, poets and of course, politicians. It was the who’s who of high society.

Back then, shopping malls weren’t the characterless places they are today. Back then, to draw in affluent customers, department store were lavishly decorated works of art. Robert’s designed the interior in the fashionable Art Nouveau style. Walking inside is like walking into a jewellery box. Hanging above your head as you walk up the stairs is the enormous Louis XV-style chandelier. Its crystals gently tinkling in the wind from the open doorways.

On either side of you, as you emerge from the staircase into the foyer, are two ornate gold canary cages decorated with brightly coloured flowers. But they aren’t just for display, they still hold canaries to this day. Standing in the center of the lobby is the cage-like elevator. This was the first panoramic elevator ever installed in Mexico.

Tiffany Glass Dome

The room absolutely beams with light descending down from the incredible stained-glass dome towering above you. The ceiling was designed by French artisan Jacques Grüber using the illusive Tiffany glass. This is actually one of the four largest Tiffany glass pieces which remain anywhere in the world! Over 20,000 pieces of vibrantly tinted glass were made to create this masterpiece.

Interior

The beautiful wrought-iron railings on the first three floors swell around the lobby like a wave. The use of iron to create the room’s structure was called “Chicago style.” The Centro Mercantil was the first building in Latin American to use the technique. These undulating designs were a replica of the ones inside the famous Au Bon Marché department store in Paris. Au Bon Marché is now lost to time, so the fact we can still see a piece of it today, preserved in this architecture is a real treat. Along the railings, you’ll see the monogram “CM” and “SR” repeated. The “SR” stands for Sebastian Robert, the store owner and the “CM” of course stands for the “Centro Mercantil.”

Conversion to Hotel

The Centro Mercantil officially closed its doors in 1958. It wasn’t converted into a hotel until 1968. 1968 was one of the most famous eras in Mexico City’s modern history when the Summer Olympics came to the country. The Olympics meant thousands of new visitors to the city. To accommodate the crowds, more hotels needed to be built. These hotels were meant to create a positive impression on the international tourists. The city went about finding artful and iconic buildings that could be converted to wow the visiting athletes.

Azul Historico

But my all-time favourite option has got to be Azul Historico. It’s an upscale option but still super reasonably priced considering the quality of the food and the beautiful ambiance. The restaurant is located inside a gorgeous open-air colonial courtyard. You sit amongst the trees while dining on authentic and yet modern Mexican cuisine. The presentation and service is absolutely unparalleled and eating here feels like such a visually sensation experience.

The entire menu is fantastic but one of my favourite hidden gems, that many people might not realize or skip over, is their hot chocolate. Hot chocolate originated in Mexico so ordering it here feels like getting to try the most authentic version of the drink. If you order a hot chocolate, they’ll bring the hot chocolate cart to your table. There, a waiter mixes up your personalized drink. Almost like ordering a fancy cocktail. You get to choose the type of chocolate and even some additives. Then they use these traditional wooden mixers to serve up the cup of warm cocoa right there in front of you! Just one more example of their stupendous service! You really must make it out here!

Mexico City’s Historic Centre is a must-see destination for anyone visiting the city. It has so much significance with regard to the history of Mexico. It’s one of the most exciting areas to visit and the museums provide a dozen more reasons to come back! I hope you enjoyed our very thorough tour, time to head home, put your feet up and enjoy a cold Cerveza!

Happy Travels, Adventurers!

The post The BEST FREE Guide to Mexico City Historic Centre Highlights first appeared on The Creative Adventurer.

The towering ornate church is considered one of the masterpieces of Mexican architecture and is Latin America’s largest and oldest cathedral. If you’re visiting Mexico City you absolutely need to make a stop inside! Explore the interiors and wonder at the amazing monuments, chapels, architecture and incredible atmosphere found inside the Mexico City Cathedral. This guide is the best way to tour it for yourself at your own pace. It will lead you from the exterior courtyard, inner nave, altars and chapels and finally finished at the adjacent Sagrario Metropolitano.

Table Of Contents

1. Access, Hours and Admission
2. Aztec History
3. Construction of the Catholic Cathedral
4. Facade
5. Bell Tower
6. Interior
7. Altar of Forgiveness
8. Chapel of the Immaculate Conception
9. Chapel of Our Lady of Guadalupe
10. Vestibule Paintings
11. Choir
12. Pendulum
13. Major Altar
14. Chapel of Saint Peter
15. Chapel of the Reliquaries
16. Sacristy
17. Altar of the Kings
18. Philip of Jesus Chapel
19. Sagrario Metropolitano

Access, Hours and Admission

The Mexico City Metropolitan Cathedral is located on the north side of Mexico City’s Zócalo. If you are arriving by metro, take the blue line to the Zócalo metro station. When exiting follow the signs for the Cathedral. If you’re taking an Uber, be aware some area of the Historic District are traffic restricted. So your drop-off location might not be right at the front gates of the church. But no worries, the Cathedral is so huge that no matter where you’re dropped off, you’ll be able to spot the towers from a mile away. I actually think the lead up to the grand reveal of the Cathedral is better this way!

The Cathedral is open from 8am to 8pm every day, including holidays. During certain religious services, parts of the Cathedral will be closed. You’ll still be able to come inside and even listen to the service. Anytime the choir is singing is an extraordinary moment to experience. There is no admission to enter the great Cathedral, but donations are suggested to enter either the Choir or Sacristy.

Ettiquette

Remember not to use any flash photography and speak at a respectable volume since it is still a functional Cathedral. No caps or hats are allowed to be worn on the hat inside out of respect. Shoulders should generally be covered but I didn’t see anyone strictly enforcing.

Notes on “Guides” at the Front Gates

So-called “guides” hover around suspected tourists who enter the church grounds. They will approach you for a paid guided tour of the interior. These “guides” will not be able to enter the Cathedral without you in tow. So the interior will be a safe space for these touts. Generally, they will wear badges, claiming that they are government-licensed. But it’s tough to tell these apart from the scammers. In general, it’s a pretty light “scam” as they will indeed lead you around the church. But depending on what guide you might get, they might not really know their stuff. Generally, they are very easygoing if you politely refuse. But if you want to avoid any back and forth, just say, “Oh no, we’ve been here before, just going inside to pray, thanks.” They will figure you aren’t an easy mark and move on.

Aztec History

Long before the church was even a twinkle in the eyes of Hernán Cortés, the site was the locations of the Templo Mayor of the Aztec City of Tenochtitlan once stood. The Aztec temple was built in honour of the god Huītzilōpōchtli and the god Quetzalcoatl, representing the sun and the rain. The Great Temple was a thing of absolute splendour. But Cortés saw it as “savage” and something to be destroyed, along with the beautiful Aztec culture. Cortés had the temple destroyed but saved the Templo mayor’s stones to build his new Catholic Cathedral. Many people claim that it was Cortés himself who laid the first stone.

Construction of the Catholic Cathedral

The construction of Mexico City’s Cathedral began in 1573 and took until 1813 to complete! That’s over 240 years! The enormous Cathedral is over 350 feet long and 200 feet wide. The size perhaps one of the reasons why construction took so long. But the grandiose size makes it Latin America’s largest and oldest Cathedral.

Construction Problems

When the first church was built on this site, it was deemed almost laughable by visitors. It was designed by architect Martín de Sepúlveda between 1524 and 1532. They called it the “Cathedral of Zumárraga,” and parts of the church still remain inside what is now the northeastern part of the building. This church was supposed to be an example of Spain’s greatness. But visitors people found the diminutive size a real disappointment. So in the 16th century, they developed a new design for the expansion of the church. This one would be so sumptuous and impressive it would surely wow any guest from anywhere in the world.

But such great Cathedrals were tough to build, especially on such swampy soil. Before the arrival of the Spanish conquistadors, the Aztecs had created an enormous series of canals and waterways into the city. This brought fresh water from the mountains into the otherwise-dry valley metropolis. The Spanish thought these canals took up valuable real estate inside their new city and had them filled in! This halted the ability to get fresh water into the city (an issue Mexico City continues to struggle with today.) But for the Cathedral’s construction, this meant that the grounds in Mexico City were very soft and swampy. The stones required for these great cathedrals weren’t light. Architects told the Spanish that whatever structure they created would sink into the ground, but the development wouldn’t be stopped.

Style of the Cathedral

Tezontle and the Chiluca Stones were the chosen building material. They could be quarried in a nearby mine and were some of the lightest stones they could source for construction. Claudio de Arciniega was a Spanish architect and sculptor who was brought on to design the new vision of the grand Mexico City Cathedral. Claudio de Arciniega had already built the viceroy’s palace from the remains of Montezuma’s home and created Mexico City’s university. He would go on to work on the Mexico City Cathedral until he died in 1593.

Claudio de Arciniega is primarily responsible for the incredible Herrerian style of the exterior facade. The Cathedral is a patchwork quilt of different kinds of architecture due to the extended period of its construction. The various architectural characteristics you’ll find range from the aforementioned Herrerian style on the exterior, the ultra-Baroque interior chapels, and the imposing Neoclassical dome.

Skull & Cross Column

On a huge stone column, guarding the entrance to the Cathedral grounds is a large, red stone cross. This cross was originally installed in the Cathedral’s cemetery, once located outside the main gates. When the cemetery was moved off the premises, the cross was relocated to this position inside the Cathedral’s courtyard. The base of the stone cross is wrapped in a crown of thorns and the base of the column is surrounded by carvings of human skulls. This is a fairly odd image to see but it pays homage to the Aztec heritage that was discovered on this site.

In 2017, archeologists working in the area discovered a 15th-century tower of human skulls just below the foundations of the Cathedral. These contained 119 skulls from men, women and even children. Archeologists think this tower of sacrifical skulls was created by the Tenochtitlan people to scare the Spanish conquistadores when they arrived to capture their city.

Facade

Walking up to the Cathedral, you’ll have to crane your neck to take in the splendour that stretches up above you, towering over your head. In the light of the morning and at dusk the pale stone is cast in a beautiful golden glow.

Despite the Cathedral’s actual middling height, it feels much taller. This is due to the ingenious design. The facade was made in the 17th century with some reconstruction work done in the early 19th century. The style applied to the facade is called “Herrerian,” after architect Juan de Herrera who was the originator of the design. He was an iconic Spanish architect whose characteristic use of geometry, mathematical equations, clean volumes, and areas of ornamental absence became a popular trend.

Using specific formulas, balancing different shapes, and carefully arranging construction elements, Herrerian buildings achieved a severe horizontality. Despite not being as ornamental as other design styles from this period such as Spanish Renaissance, Herrerian buildings nevertheless feel grandiose as the elevation truly makes them feel imposing.

Standing for a time in front of the church to appreciate how the more ornamentals parts of the building are broken up with plainer columns of sheer vertical stone. This not only frames the areas of high design but also draws your eye upwards.

Main Facade

Three huge portals flank the southside, the largest facade that serves as the primary entrance to the church. The doors in the center stretch up even higher than the entrances on either side. On either side of the doors, on the street level, are statues of Saint Peter and Paul the Apostle. Above them is a large bas relief carving of the Assumption of the Virgin Mary, for whom the Mexico City Cathedral is dedicated. Guarding the mother on either side are statues of Saint Matthew and Saint Andrew. I love the different carved designs on the stones around the portals and niches. They are all geometric and linear and create the most interesting graphical patterns surrounding the figures.

Mexican Coat of Arms

In a sandstone medallion on the floor above is the giant image of the Mexican coat of arms. We can see the huge eagle with its wings spread flying high above us. In its talons, it clutches a snake as it sits perched on the nopales cactus leaf. This symbol is the vision that the Aztec people of Teotihuacan were sent by their gods. Wherever they saw the eagle with the snake was where their gods told them to build their Templo Mayor. Despite the temple being destroyed, it’s nice to see the emblem still crowns the Cathedral’s entrance. Adding one last layer to this enormous church is the clock tower portal. The clock is topped with the Mexican flag and flanked on either corner by large sculptures.

East & West Facade

To the right of the main entrance is the East Facade. On the bas relief above the doorway, you can make out the image of a large ship carrying the four apostles. At the helm of the ship is Saint Peter. Saint Peter is taking them on the seas towards Eternity. On the left side of the main entrance is the West Facade. This bas relief portrays Jesus handing the keys to Heaven over to Saint Peter. Both of these reliefs are framed in between one of my favourite architectural elements, the Solomonic column. The Solomonic column, also called the Barley-sugar column, is characterized by that spiralling shaft, almost like a corkscrew. Or like soft-serve ice cream! Each one of these reliefs was inspired by the painter Peter Paul Rubens’ languid and fluid style.

Historical Ruins

Just inside the gates of the Cathedral, lookout for a set of glass windows embedded into the ground. Peering down inside you can spot the ruins of the Aztec pyramids that have been uncovered beneath. These are the original steps that would have led Aztecs to the summit of the temple. In addition to the little window into the below-ground relics, are a series of large stones spread across the courtyard. These are remnants of the old temple of Tenochtitlan.

Bell Tower

Like Westminster Abbey or Notre Dame, Mexico City’s Cathedral has two large bell towers on either side. Originally, the church didn’t have these towers. Towers became in-vogue in the 18th century so architect and artist José Damián Ortiz de Castro and Manuel Tolsá were brought on for the new addition. The two went about designing the tower in neo-classic style with those striking bell-shaped roofs supported by tall balustrades.

On each of the tower’s corners are statues of various individuals representing the three theological virtues. Faith, hope and charity are all represented through iconic saints and religious figures. On the west tower, these include Pope Gregory VII, Saint Augustine, Leander of Seville, St. Fulgentius of Écija, St.Francis Xavier, and Saint Barbara. On the east tower, we can see statues of Santiago Cristóbal Sandoval and depict Emilio, Rose of Lima, Mother Mary, Ambrogio, Jerome, Philip of Jesus, Hippolytus of Rome, and Isidore the Laborer.

The Bells

While there are 25 bells in total, the eastern bell tower contains eighteen bells while the one in the west tower contains only seven. The largest of the bells was given the name Santa Maria de Guadalupe and weighs around 13,000 kilograms. The city seemed to love naming their bells. They call the one with the harshest tone La Ronca or “the hoarse one.” In 1947 an apprentice bell ringer died when trying to move one of the bell. It fell off its hinge and landed on top of him, killing him instantly. The bell was “punished” for this action, and had its clapper removed. This meant that whenever the bells would ring in unison, this bell made no noise. They called this ball, La castigada or “the punished one.” After 50 years, the clapper was reinstalled. Perhaps 50 years is the traditional sentence for murderous bells.

Time Capsule in the Tower

At the very top of both bell-shaped tower roofs are the stone carving of a cross set upon a large ball. During renovation works in 2007, one of the workers noticed something inside the ball on the southern tower. They opened it up and found it inside a time capsule. It turns out this capsule was placed there on May 14th, 1741!! Inside were religious artifacts, coins and pieces of parchment. Instead of removing the items, they simply added a few more things of their own. They closed up the capsule once more for the next generation to discover.

Dome

Towards the back of the Cathedral, seen best from the Zocalo, is the neoclassical Dome. The Dome was built in 1780 and the work of Spanish architect Manuel Tolsá. The Dome is designed as an octagonal drum topped by a tall, albeit narrow, lantern. The lanterns and the windows surrounding the base of the drum allow a generous amount of light into the otherwise darkened cathedral. Ionic pilasters hold up arched entablatures with central shields.

Pope John Paul II Sculpture

Just before going inside, walk down the left side of the exterior of the church. Towards the back, near the side entrance, is a fascinating modern sculpture dedicated to Pope John Paul II. Superimposed over his cloak is the image of the Virgin of Guadalupe. The Virgin of Guadalupe first revealed herself on the inside of a cape, so it is meaningful to see her once more showing herself within the robes of Pope John Paul II.

But even more interesting is the material in which the sculpture is made. Get up close to see thousands of tiny keys sticking out from the sides. These keys were donated by the Mexican people and melted down to create the sculpture. The plaque on the stone column dedicated to the Pope states that Pope John Paul II was the “key to their hearts.” The sculpture was made by Mexico City artist Francisco Cárdenas Martínez.

Interior

Walking inside, the first thing you take note of is the juxtaposition of the light and airy atmosphere and the heavy stone columns which hold up the incredible interior. The interior consists of 40 columns, 5 naves, 51 vaults and 74 arches. The central nave is flanked on either side by two processional naves which are used for important celebrations. Staring up at the ceiling you can take note of the pale green and geometric neo-classical designs by Manuel Tolsá.

The Church Windows

Unlike many European cathedrals designed at the time, the church contains no elaborate stained glass portraying images of Saintly figures. The windows are very simple and composed of modern, geometric shapes. Irregular squares made of mostly clear but sporadically coloured glass jumble together to form the window designs. The windows were created in 1960 by Mexican-born artist Mathias Goeritz. Goeritz studied in Germany under the minimalistic influences of the Bauhaus style of art which can be seen here in these windows. The one benefit of the lack of highly detailed stained glass is that they let more light into the cathedral.

The chapels along the side aisles have no windows, as the only source of natural light comes from the clerestory and the Dome’s lantern. This results in the chapels feeling a little dark whereas the rest of the sprawling interior somehow feels incredibly bright! Such an exciting combination. It almost makes peering into those darkened chapels like trying to uncover a hidden mystery.

Altar of Forgiveness

The first large-scale feature you are immediately struck by upon walking inside is the golden Altar of Forgiveness. It’s rare to find an altar immediately upon walking into the church, but this church has multiple altars, of which this is just the first. The Altar of Forgiveness is absolutely stunning by the sheer volume of golden leaf that was used to cover it from top to bottom. Its semicircular arch with sculptural medallions almost looks like a piece of jewellery. Look closely at the four columns which support the altar on either side of the central painting. This was the first use of the estípite column by architect Jerónimo Balbás. The estípite column is unique to Churrigueresque Baroque architecture and is designed in the shape of an inverted cone or obelisk.

During the Spanish Inquisition, the condemned were brought to the altar to ask for forgiveness. This was done shortly before the “criminal” were sent for execution. In the center of the altar is a patining by Flemish artist Simon Pereyns of the Virgin and Child in her arms. Despite making multiple paintings inside the Cathedral, Pereyns himself was accused of blasphemy during the inquisition. To avoid persecution, he painted what was thought to be one of the most beautiful images of the Virgin Mary. For this, he was forgiven his crimes in exchange for the painting.

The Poisoned Lord

To the right of the altar is a large black-coloured crucifix made from sugar cane. This is a typical indigenous technique for sculpture making. The crucifix was made by indigenous artisans in the 18th century and is nicknamed the “Poisoned Lord.” Take note of the unfamiliar shape of Jesus’ body. His knees are bent off to the side in an odd pose. The legend goes that one day a guilty criminal came to the church to give his confession. He had just aimed to steal a valuable treasure but, in the process, had accidentally killed a man. After his confession, the criminal worried that the priest might turn him in. Sadly, the criminal was unaware that priests cannot break the seal of confession. Fearing for his life, the criminal followed the priest’s movements and saw that nightly the priest kiss the feet of Jesus on the crucifix.

That night after the priest went to bed, the criminal smeared poison on the sculpture’s feet. When the priest returned the next night to pray, when he went to kiss the feet, the sculpture came to life and swung his feet out of the way. Ensuring no poison got on the lips of the priest. The legs of the wooden statue have since remained in this very position. It serves as a mystically warning to any future criminals.

Continue walking down the right side of the nave to explore the chapels on the right. Depending on the time of day or time of year, the chapel may or may not be open for prayer inside. If they are not open you can still peak through the wooden gates to get a better look at the treasures and artistry inside.

Chapel of the Immaculate Conception

The Chapel of the Immaculate Conception is the third chapel to the right of the entrance. It was originally built in 1642 but the grandiose churrigueresque altarpiece dates to around the 18th century. Surrounding the entire gilded altar are paintings inside ornate mouldings which depict the various Passions of Christ. Each of these was painted by José de Ibarra, a Mexican painter, born in Guadalajara. But the name of the Chapel comes from the delicate but striking sculpture of the Virgin Mary in the center of the altarpiece. At this moment of conception, she is free of original sin and surrounded by tiny angels with the starry halo above her head.

Chapel of Our Lady of Guadalupe

The Chapel of Our Lady of Guadalupe, despite it more austere appearance, is always one of the most popular for locals to visit. The area where the Chapel now stands was the original church baptistery built in 1660. The current design of the interior was made in the 19th-century following a neo-classical style. The main altarpiece is dedicated to the Virgin of Guadalupe. The painting in the center of the columns is a reproduction of the famous original found in the Church of Guadalupe.

The Story of Our Lady of Guadalupe

The Lady of Guadalupe or the Virgin of Guadalupe is the most venerated image in Latin American Catholicism. The story goes that one day a young indigenous man named Juan Diego was visited by an apparition of the Virgin Mary. The apparition spoke to Diego in the native Nahuatl language. She said to Diego she was the “mother of the very true deity.” The Virgin asked Diego to erect a church in her honour. The place where the church would be built would go on to become Villa de Guadalupe, in a suburb of Mexico City.

No one would believe Diego despite his pleading. One the fourth time the Virgin appeared she instructed him to go to the summit of Tepeyac Hill. Once he arrived she told him to pick the flowers he found there. Diego was confused, as, during this time of the year, there were no flowers on the hill. But when Diego arrived, he found beautiful Castilian roses, not native to Mexico, blooming there. The Virgin arranged the flowers in Juan Diego’s “tilma,” or cloak. When Juan Diego opened his cloak before the Archbishop, the flowers fell to the floor, revealing the image of the Virgin of Guadalupe on the fabric.

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Whenever we see images of the Lady of Guadalupe she is always surrounded by a huge sunburst and a large oval depicting the cloak. The Bishop who had previously case Diego away was awestruck. The clergy immediately went about building the start of what would become the great Basilica of Our Lady of Guadalupe.

Vestibule Paintings

Above the side doors to the church on either side are huge paintings by Oaxaca artist Miguel Cabrera. These oval masterpieces hang in the vestibules bringing a little bit of flair to these otherwise empty spaces. But it’s great to see more examples of Mexican artists throughout the Cathedral.

Organs

Just behind the Altar of Forgiveness, on either side of the choir, are two enormous musical organs. The original organ installed in the church was brought here from Spain in 1530. This one was relatively small for the then-midsize church. As the church continued to expand, there was a need for a more prominent organ to spread the sound throughout the church. But it turns out, one wouldn’t do the job, they needed to install two! The first organ was brought to Mexico City from Madrid in 1680. The second organ was made locally and installed in 1736. Even today, these great organs are the most significant 18th-century organs in the Americas.

The two organs are called the Evangelio and Epistola organs. Together they can produce more than 400 vibrations per second! Hearing music inside this cathedral is truly something not to be missed if you have the chance.

Choir

The Choir is located inside large stone walls in between the two side organs. A choir is the area of a church that provides seating for the clergy and the musical choir. The choir contains 59 chairs. Each one is precisely carved with reliefs of various saints done in mahogany, walnut, cedar and a native wood called tepehuaje. Above the choir walls is a great painting of Jesus surrounded by angels. This is designed in a semicircular arch, a style popular in Spanish Cathedrals of the time.

Separating the Choir from the nave is a beautifully carved railing that was made in China in 1730. One of the small details I love is the gigantic golden capitals surrounding the columns on either side of the choir. Inside the designs, you can spot images of men intertwined with the foliage who look like they are holding up the large columns themselves. Sitting in the middle of the choir is a large mahogany lectern. In the very top portions, there is a statue of a tiny ivory crucifix that crowns the singing books found within the four sides of the lectern.

Central Nave & Pews

Joining the choir to the main altar is a large passageway, separated on either side by beautiful bronze balustrades. Set into the balustrades are a series of anthropomorphic figures holding torch sockets used to light the cathedral at night. The flooring here is decorated with bright green, red and pink marble tiles distinguishing itself from the pale stone on the floor of the rest of the Cathedral.

Pendulum

Since the Cathedral was built on soft soil, despite all the architects’ best efforts, the building is indeed sinking. It sinks on average three feet per year! But even more confusing is that it is sinking unevenly. Which is much more dangerous to the structural foundation. In the central aisle, between the pews, a giant pendulum swings from the rooftop. On the floor, you can see a stone plaque, which marks the tilt and shift of the church over time. Various dates mark down precisely the angle and depression of the church during those periods.

Major Altar

Towards the end of the nave is the Major Altar. Unlike some churches, the main altar here is open to the rest of the building, like a floating platform. Atop the stone platform is another huge piece of beige marble where the priest prepares the eucharist. The altar is surrounded on all sides by vast alabaster columns with eight giant candelabras descending down from the ceiling. On the front corners facing the pews in the nave are two huge marble pulpits with rudimentary carvings.

Chapel of Saint Peter

Head back to the right side nave to the Chapel of Saint Peter. This chapel was built between 1615 and 1620. Inside, the chapel contains three highly decorated Baroque altarpieces from the 17th century. These are each divided by the most ornately carved columns. The columns are so densely covered with foliage that they look almost like they are overtaken by the growth. Your eye struggles to find a focal point in this mesmerizing room. Over the main altar, encased in glass, is the sculpture of Saint Peter. Surrounding him are paintings by Spanish painter Baltasar de Echave Orio depicting crucial moments from Saint Peter’s life.

In a small glass case below Saint Peter, is the encased image of the “Niño Cautivo” or “Captive Child Jesus.” This little sculpture was made in the 16th-century, and despite its diminutive status, it holds a great history. When it was first carved in Spain and sent to the new world, the ship on which it travelled was attacked by pirates. The sculpture was so important to the church that they paid off the ransom demanded by the pirates. Once the money was paid, the sculpture was returned to the church. The Niño Cautivo‘s dramatic capture and eventual release helped grow the legend and lore around the work of art.

Today, people who find they are “trapped” either financially or by addiction come here to pray for their own “release.” Other people take the “Captive Child” idea literally, and anyone who has had a loved one abducted comes here to pray for their literal release.

Chapel of the Reliquaries

My favourite of all the chapels is the Chapel of Christ and of the Reliquaries. This one was designed in 1615 in ultra-baroque fashion. There is not a single inch of the walls inside that are not absolutely adorned in elaborate details. Carvings, sculptures and even the lighting are all dripping in gold. Only one small window casts natural light into the room so you really need to squint to make out the details inside the darkened interior.

Holy Relics

A reliquary is a container for holy relics. Relics could be the actual physical remains of saints, such as bones or even preserved organs. They could also be pieces of clothing or some object associated with saints. The collections of these religious reliquaries began when Emperor Charles V donated an image of Jesus to the Cathedral. the reliquaries are hidden behind each of the little painted compartments. When opened up you can find little shrines inside. The relics contained inside relate to San Vicente de Zaragoza, San Vito, Santa Úrsula, San Gelasio and San Vital de Milan. Most importantly is the splinter of Vera Cruz and a crown spike from Jesus himself.

On the bottom of the altar is a glass case containing a sculpture of the “Holy Burial.” This piece is used every year in the Good Friday procession. While most of the time the relics are hidden away, if you’re lucky, you can see them exhibited on All Saints Day (November 1 and 2).

Sacristy

Hidden behind the greatly decorated doors is the Sacristy. The Sacristy is not always open, so look for the doors to be opened to enter this area. This part of the Cathedral is the oldest part of the building. The enormous mahogany doors contain images of strength and greatness depicted by hundreds of symbolic carvings. From the keys of Saint Peter to the sun (a symbol of God in ancient Mexican culture), images of arches, cities and of course, the crown of God.

Mural Paintings

Walking inside the first thing your eyes will be drawn to are the enormous murals covering the walls. These paintings were made by Cristóbal de Villalpando. Each of these scenes is a collage of a multitude of religious events. From the Apotheosis of Saint Michael, The Triumph of the Eucharist, The Church Militant and the Church Triumphant, to The Virgin of the Apocalypse. Despite the enormity of the characters and different landscapes the pieces are all drawn together by the use of a common autumnal hue.

On the opposite side of the wooden gate, is the area for prayer to the left of the entrance. Inside this section, there is a glass case with a beautiful ivory sculpture of Christ on the Cross. Take note of the beautiful gothic vaulted ceiling with gilded flowers on the crown mouldings used throughout the Sacristy. Directly above this area is a small window with a painting of God and the father descending down towards us. The mural is painted in such a way to make the image look three dimensional, as if at any second the painting would come alive.

Treasures

Included in the original treasures of the Sacristy was Juan Diego’s cloak. It was upon this cloak that the image of the Virgin of Guadalupe once appeared. But after massive flooding in 1629, the cloak was removed from the Sacristy to better protect it. Inside the wooden cupboards around the room are gold chalices, glasses trimmed in fine stones, sacred vessels, and gold and silver candlesticks.

Altar of the Kings

At the back of the church is the massive golden Altar of the Kings. The decorative altar is covered from floor to ceiling in rich ornamentation and expensive gilding. The 13-meter tall altar also goes by the nickname la Cueva Dorada (“the golden cave”). The altar stretches up so high, it creeps up on the domed ceiling, creating that cave-like effect. That in addition to the fact that there are no windows allowing light into the tightly packed space. Peering out from every corner of the altar are skillfully carved statues of saintly royalty. The entire work of art took over 19 years to complete! It was begun in 1718 by artist Balbás and finished by Francico Martínez. Although honestly, with the sheer magnitude of works of art contained within, you’d be surprised it wasn’t longer.

Royal Saints

Towards the bottom of the altar are the collection of female royal saints. Saint Margaret of Scotland, Helena of Constantinople, Elisabeth of Hungary, Elizabeth of Aragon, Empress Cunegunda and Edith of Wilton all stand on little plinths emerging from the altar. Their billowing robes are ornately detailed and contain intricate patterns. Giving us some insight into how the royals saints would have dressed in the early Renaissance.

In the middle of the altar are six of the canonized kings. These include Hermenegild, a Visigoth martyr, Henry II, Holy Roman Emperor, Edward the Confessor and Casimir of Poland and the Saintly kings Louis of France Ferdinand III of Castile.

Adoration and Assumption

In the center of the altar is the oil painting of the Adoration of the Magi by Juan Rodriguez Juarez. In the scene, you can see Mary holding baby Jesus. On the steps is one of the Magi with a servant holding open a chest full of his gift.

The top portion features a painting of the Assumption of Mary. She is featured as the celestial queen in the skies. Above the painting are various carved figures of angels. On the domed roof are a series of three medallions with the image of God the Father in the center. On the other side are two similar-looking men, representing the “Son” and “Holy ghost” to form the Holy Trinity.

In the galleries on the east and west side of the Altar are a collection of paintings depicting scenes from the martyrdom of the various saints carved into the altar.

Philip of Jesus Chapel

Make your way back towards the entrance, this time walking along the left side of the nave. On the far end we find the Chapel of Saint Philip of Jesus. Philip of Jesus was the first Mexican Saint, born in Mexico City in 1572. Philip joined the Reformed Franciscans order and eventually travelled to Manila, a Spanish colony, where he continued to practice. When it came time for him to be ordained, Philip had to travel back to Mexico, as there were no bishops in Manila. But the ship that he boarded was set off course during a storm and landed on the coast of Japan.

At the time, many religious orders travelled with soldiers just for daily protection. But the Japanese took their ship filled with soldiers as a sign that they were trying to invade and conquer the land. All the men were imprisoned and eventually put to death on a mountain near Nagasaki city, which came to be known as “Mount of the Martyrs.” They were bound upon crosses and pierced with spears.

Philip’s Altarpiece

As Philip was the first Mexican martyr, his Chapel was one of the earliest ones built for the new Cathedral. It is done up in high gothic style with a domed roof and Baroque altarpiece. A statue of the Saint can be found in the niche. His arms are outstretched and the spears which led to his death stand behind him in the shape of an “x.” Many art critics consider this carving to be the best-carved sculpture from Latin America. On either side of the altarpiece are paintings of the life of Saint Philip. I love how each of the paintings is framed in a different shape. Look at the top right corner, where you can see the Japanese soldiers preparing Philip for his crucifixion. The fact he was crucified just like Jesus is what gives him the name Philip of Jesus.

Mexican Figures

Since Philip is such an essential Mexican saint, his Chapel also contains several other important Mexican figures. This includes an altar dedicated to Saint Rose of Lima, considered the protector of Mexico City. The 4th president of Mexico City, Anastasio Bustamante, also has his heart preserved here in the Chapel.

Agustín de Iturbide

Just below the altar is a large glass urn containing the remains of Agustín de Iturbide, who briefly ruled Mexico from 1822 to 1823. Iturbide, also known as Augustine of Mexico, was a Mexican army general and politician. During the Mexican War of Independence, he and his military coalition gained independence for Mexico. After which Iturbide was proclaimed President and Emperor of Mexico.

During this time, Iturbide gave the country its official title as “Mexico” instead of the “United States of Mexico.” He also designed the Mexican flag still used today. The Emperor of Spain was furious with the insurgency he saw and as revenge, he closed off trade with Mexico. This financially ruined the Nation since many of Mexico’s trading partners were still under the control of the Spanish Empire. Iturbide couldn’t pay for his army, and the government eventually turned on him. Only a few years after becoming the President, he was forced out of his position. Iturbide went into exile in Europe and when he returned to Mexico, he was arrested and eventually executed.

Today his tomb in the Chapel has the following statement written up: “AGUSTÍN DE ITURBIDE. AUTHOR OF THE INDEPENDENCE OF MÉXICO. COMPATRIOT, CRY FOR HIM; PASSERBY, ADMIRE HIM. THIS MONUMENT GUARDS THE ASHES OF A HERO. HIS SOUL RESTS IN THE BOSOM OF GOD.”

Philip of Jesus Font

In front of the entrance to the Chapel is a large stone font contained within an ornate cage. This is believed to be the baptismal font in which Philip of Jesus was first baptized.

Chapel of San José

The last chapel we are going to stop to visit is the Chapel of San José. Next to the chapel, you’ll see a large collection of ribbons tied to a wooden stand. It is believed that a woman who leaves a ribbon with a personal message to the Saint inside the Chapel upon it will stop any gossip about her. Considering the number of ribbons, it seems that gossip is still a big problem for people today!

Sagrario Metropolitano

Stepping back outside, we are now going to head over to the red brick part of the Cathedral; the Sagrario Metropolitano. While the Cathedral’s interior is much more impressive, I prefer the Sagrario Metropolitano facade more than the main Cathedral. The Sagrario Metropolitano was made originally to house the archives and vestments of the Archbishop. Today it acts as a place to receive Eucharist and register parishioners when the main Cathedral is busy with tourists. This place feels more like the everyday church for the locals.

The design of the Sagrario Metropolitano’s facade is considered one of the great masterworks of Churrigueresque. Churrigueresque is also known as Ultra-Baroque architecture. Churrigueresque architecture is defined by the elaborate sculptural and ornamental stucco work done in the mid-18th century. The style is expressive, florid and almost extreme in the detailing and decoration.

The facade of the building is reminiscent of the design of the Altar of the Kings. Tying the two spaces together. In addition to the statues, the front is adorned in floating draperies, flying cherubs and carvings of grapes and pomegranates. Admire floral elements like roses and daisies, as well as some flowers native to Mexico. Statues on the exterior represent the apostles, various saints and Martyrs, but they also contain unique zoomorphic reliefs. These reliefs include a rampaging lion and the eagle from the coat of arms of Mexico.

This brings us to the end of our in-depth tour of the Mexico City Cathedral. Hopefully, by walking through this tour, you learned a little bit more about Mexican architecture, venerated saints and even a look into the complex history of religion in Mexico. Let me know in the comment any and all questions you have on this wonderful place, and I will do my very best to answer them!

Happy Travels, Adventurers!

The post The ULTIMATE Self-Guided Tour of the Mexico City Cathedral Metropolitan first appeared on The Creative Adventurer.