The Sanctuary of Atotonilco ( ) is a church complex and part of a World Heritage Site, designated along with nearby San Miguel de Allende, Guanajuato, Mexico. The complex was built in the 18th century by Father Luis Felipe Neri de Alfaro, who, according to tradition, was called upon by a vision of Jesus with a crown of thorns on his head with blood on his face and carrying a cross. The main feature of the complex is the rich Mexican Baroque mural work that adorns the main nave and chapels. This was chiefly the work of Antonio Martínez de Pocasangre over a period of thirty years. The mural work has led the complex to be dubbed the "Sistine Chapel of Mexico."Gomez, p. 12 The complex remains a place of worship and penance to this day, attracting as many as 5,000 visitors every week.
Description The Sanctuary, officially called the ('Sanctuary of God and Country'), but is better known as the Sanctuary of Jesús Nazareno de Atotonilco. It is located in the small, rural community of Atotonilco, which had a population in 2005 of 597. Today, this community is formally known as the Santuario de Atotonilco and is part of a World Heritage Site (2008) along with the historic center of San Miguel de Allende.
Atotonilco is located fourteen km outside the town of San Miguel de Allende in an area that is a combination of dry grassland and desert studded with thistles, sweet acacia and mesquite trees.Gomez, p. 4 The appearance of the landscape has been compared to that of Jerusalem, which gives believers a connection to the Holy Land. The area also has a large number of thermal and fresh water springs. When the sanctuary was built, there were 27 fresh water springs to support gardens around the complex. Today, thermal waters still rise up from the ground only one km from the sanctuary, and another spring at the community entrance has been covered by an artificial cave and is used as a spa called Balneario La Gruta.
Architecture On the outside the church complex is very plain with high walls that give it a fortress appearance. The outer walls are about ten meters high; the cupolas reach twelve meters and the clock tower is about twenty meters high.Gomez, p. 5 The main entrance is also simple under a "mixtilineo" arch that faces east, towards Jerusalem, giving the entire complex an east-west orientation.Manriquez, pp. 5–6Gomez, p. 10 To the south along the main facade is the Casa de Ejercicios and the clock tower. To the north is Santa Escuela de Cristo. In front of the main facade is a narrow atrium, which was once used as a cemetery. Today, it is shaded by trees and surrounded by a small fence. The main church is a single nave without a cupola, lined on the north and south flanks by chapels and chambers. On the north side of the nave, there are the new sacristy, the Rosary Chapel, the chambers of Father Neri, the Belen Chapel/Baptistery and the Reliquary Room. On the south side, there are the Santisimo Chapel, the Soledad Chapel, the Loreto Chapel with its back chamber, the Gloria Escondida Chamber and the Santo Sepulcro Chapel with the Calvario Chapel behind it.Manriquez, p. 6
Interior
The walls and ceilings of the interior are nearly entirely covered in mural work, sculpture, inscriptions and oil paintings in a style called Mexican folk Baroque, although indigenous influence can be seen. The only exception to this are the Neoclassical altars which were installed later. Most of the mural work was done by Antonio Martínez de Pocasangre with some done by José María Barajas over a period of thirty years with almost no free space left among the numerous images.Manriquez, p. 7 The style of the painting imitates Flemish painting which was known through Belgian prints that the Spanish brought over from Europe. This mural work has led the complex to be called the "Sistine Chapel of America" or the "Sistine Chapel of Mexico."
The story of Jesus's ministry and death according to the Gospels is told along the main nave of the church, especially along the ceiling.Gomez, p. 21 At the entrance area, there are images related to the Last Judgment. In the highest part, Jesus appears crowned and with a cape carrying a cross, and blessing certain chosen people with his right hand. On the left side, are the "damned", tied up, with their faces showing their agony, large ears and horns. The entrance is divided by a wood screen to block the light with two doors in front and one door on each side. The screen is made of square blocks, each one painted with allegories, Biblical passages and an image of saints.
As the visitor moves along the nave towards the main altar, the ceiling is divided into sections by arches. These arches contain verses written by Father Neri which relate to the scene painted on each vault. The images begin with the upper choir with a scene containing Jesus with the Mary who receives a blessing. Another scene has Jesus praying in Gethsemane, receiving comfort from an angel. Another scene has Judas Iscariot with a devil on his back, followed by soldiers, Judas betrays Jesus with a kiss. In the fourth scene, Peter attacks Malchus with a sword, cutting off an ear, and then Jesus replaces the ear. The north wall features the Baptism of Jesus in the Jordan River, accompanied by John the Baptist.Manriquez, p. 9
In the next section there is a representation of Jesus in the house of Caiaphas. Seventy two judges try Jesus with Pontius Pilate on the side in the balcony. On the north side, Pilate appears again but the Jewish judges stay outside the Roman magistrate's house because they are observing Passover. The south side presents Pilate presenting Jesus and Barabbas and asking to choose whom to release. On the east side is a scene with Jesus being flogged while tied to a post. On the south wall, there is a Neoclassical altarpiece of stone with gold leaf. This contains an image of Christ tied to a post and bearing the marks of being flogged. This is called the Señor de la Columna.Manriquez, p. 11
Next are verses from the Gospels of Matthew, Mark, and John referring to Jesus after he was flogged by soldiers. Another section shows the Virgin Mary, Mary Magdalene and Mary of Clopas watching the punishment of Jesus from afar. Christ then receives the cross.Manriquez, p. 12 The next section shows Jesus on his knees with Simon of Cyrene carrying the cross and followed by a large crowd and soldiers. Saint Veronica appears in front of Christ, wiping his face with a cloth. The north and south segments show the falls Jesus suffered while carrying the cross while the three Marys look on.Manriquez, p. 13
At the presbytery section, at the location of the main altar, can be found a depiction of Palm Sunday, the crucifixion, and death of Jesus. The main altarpiece was made between 1812 and 1820. It contains the image of Jesus of Nazareth, which was placed there by Father Neri in 1748. This sculpture is made of wood and dressed with a cloth tunic. The face is typical for this kind of image of the 18th century and comes from Seville, Spain .
The line along the ceiling of the nave is supposed to trace the path from sin and Hell to the "glory of God's presence." This glory is depicted in a chamber which is located behind the main altar called the Camarín de la Gloria (Chamber of Glory) or Camarín de los Santos Apóstoles (Chamber of the Holy Apostles), which was built between 1740 and 1748, during the first phase of construction. Here is the culmination of the story told by the ceiling murals of the main nave: the Resurrection of Jesus after his Crucifixion. This chamber is circular topped with a dome with the light from the Intern at the top representing the Glory of God. From this fall flames representing the Holy Spirit and in a circular hierarchy down the dome are angels, musicians, and representing the celestial chorus at the bottom of the dome are statues of the Apostles, along with the Virgin Mary as Queen of the Apostles. Above each statue is a shell-shaped medallion representing their martyrdom. Below this are the various sainted founders of Catholic monastic orders such as Augustine of Hippo, Francis of Assisi and Saint Dominic.Manriquez, p. 17
On the north side of the nave, there are two chapels with mural work and other decorations. The Belén (Bethlehem) Chapel is dedicated to the birth of Jesus. It was constructed between 1759 and 1763, but the altar is a Neoclassic design dating from the 19th century. It contains medallions painted in oils. The vault contains a conjunction of angels that sing the arrival of the Messiah, peace, and a group of shepherds who come to adore the child. Both the angels and the shepherds hold up signs with the Apostles' Creed. There is also a scene with the Holy Trinity that accompanies the Virgin Mary who is crowned. On the left, idols fall before the birth of Christ.Manriquez, p. 8 The Capilla del Rosario or Rosary Chapel was constructed in 1763 and its vault is divided into four triangular segments. The north segment contains a naval battle where galleons, with Spanish and Ottoman coats of arms, fire at each other, referring to the Battle of Lepanto. The Virgin of the Rosary is credited with the Spanish victory. On the south side, there is a ceremony dedicated to the Virgin Mary in Rome, presided over by Pope Pius V. The main altar is gilded and contains the image of the Virgin. There are 15 small sections over mirrors with scenes related to the mysteries of the Rosary. On the east and west walls there are images of saints grouped by monastic order. In the interior of the chamber, there are portraits of Father Neri, Esteban Valerio de Alfaro and María Velázquez de Casillta (his parents). By the windows are portraits of Doctor Díaz de Gamarra and Dominican friar Francisco Alonso de Rivera and a self portrait of Pocasangre, who emphasizes his indigenous features. The roof of this inner chamber is in the form of a large shell. Writings such as the Ave Maria, prayers, saints' names and more are inscribed on the ribs of the shell.Manriquez, p. 15
Annexes On the south side there are six annexes of note. The vault of the old sacristy contains scenes from the life of Father Neri and the construction of the Sanctuary. There are also 12 oils on canvas of the Apostles. Prior to the restoration of the Camarín de la Gloria (Chamber of Glory), the oils on canvas covered medallions on the walls. There is also a painting of Anthony of Padua by Juan Correa as well as paintings of a number of important churchmen and more by anonymous painters. Two paintings compare Jerusalem with San Miguel de Allende and the Sanctuary.Manriquez, p. 16
The Capilla de Soledad or Chapel of Solitude was built between 1740 and 1748. The main altar contains the Virgin of Sorrows, weeping for the crucified Jesus. On the south wall, there is a sculpture of Saint Peter crying in regret for having denied Jesus. This chapel is the darkest in the complex as the windows let in little light.Manriquez, p. 18
The Capilla de Loreto or Loreto Chapel was built in 1754. There is no direct access to this chapel from the main nave of the church; it is necessary to enter from the current sacristy or through the Capilla de Soledad. The dimensions and shape of this chapel exactly match the Loreto chapels in the monastery of Tepotzotlán and in the church of San Felipe Neri in San Miguel de Allende. The three chapels are based on the layout of the Chapel of Loreto in Ancona, Italy. One wall is painted with a mural of an angel announcing to Mary her pregnancy. There are also various depictions related to the Virgin and the child Jesus.Manriquez, p. 19