Encountering Mexico City's Many Volcanoes, Part II: Little Volcanoes With Big Histories

The huge volcanoes of Popocatéptl, Iztaccíhuatl and Ajusco, and the other volcanoes of the Cordillera de Chichinautzin dominate the Valley and the interest of residents and visitors. We wrote about them in our first post on the many volcanoes of the Valley of Mexico, Giants on All Sides.

There are, however, other volcanoes within the current city limits. They are small ash cone volcanoes, but despite their diminutive size, at least four of them have played prominent roles in the development of human settlements in the Valley and in the history of Mexico City.

Xitle, a small volcano that buried a city

Cuicuilco, now an archeological site in the south of Delegación Tlalpan, just south of the modern campus of the University City of the National Autonomous University of Mexico (UNAM), was established around 1200 BCE. By the year 800 BCE, Cuilcuilco was a prosperous civic-ceremonial center, the first such urban center in the Valley of Mexico.

But sometime around 150-200 CE, Xitle, a small ash cone volcano near the slopes of Ajusco, erupted, and Cuicuilco was completely buried by the resulting flow of ash and lava. (See our spouse's post: Cuicuilco, Volcanoes and the Fragility of Life in Mesoamerica.)

Xitle is the now innocent appearing, forested low hill to the left, below Ajusco.

Xitle, with some of its lava flow.
The City of Mexico invades, building on the Pedregal, "stony ground" of lava.
Ajusco rises in the background.

Circular 'pyramid' of Cuicuilco.
Note the depth of the surrounding excavation trench below the current ground level;
It is all lava that buried the city when Xitle erupted

Cerro de la Estrella , Hill of the Star: Sacred and Strategic Center in Indigenous History

From our balcony in Colonia Parque San Andrés, in Delegación Coyoacán, we can see a wooded hill, a little less than four miles away to the East. This hill, over which easterly summer storms arrive, is an extinct ash cone volcano called Cerro de la Estrella, Hill of the Star. It sits in what is now Delegación Iztapalapa.

If you look carefully, with the help of binoculars or a telephoto lens, at the north end (to the left) of the fairly flat summit, you can see a large white cross and a flat structure behind it. Both have stories to tell.

Cerro de la Estrella, Hill of the Star
It was called Huizachtecatl (Náhuatl) by the Mexicas
Telephoto from the roof of our apartment building.

The cross obviously has to do with a Christian narrative. (See: Iztapalapa's Holy Week Passion Play). The flat structure is a temple. The temple, in its final form, was built by the Mexicas (Aztecs) of Tenochtitlán, after they took over the surrounding area in 1430 BCE.

The temple had existed there, however, since the end of the first millennium of the Common Era. It was built by the Toltec residents of the town of Culhuacán (also spelled Colhuacán, "place of the Culhua"—"the ancient or venerable ones"). Coming from the Toltec city of Tula, north of the Valley of Mexico, they settled on the south side of the hill around 600 CE.

Temple on the summit of Cerro de la Estrella

The first settlements around the base of the extinct volcano date from 500 BCE. At some time around 150 CE, an influx of people arrived fleeing the Xitle eruptions on the southwest side of Lake Texcoco that buried Cuicuilco.

When the Mexicas of Tenochtitlán took the peninsula, they rebuilt the temple on the summit of what they called Huizachtecatl and made it the site of one of their most important rituals, xiuhmolpilli (sheeoo-mol-PEEL-yee), the Binding of the Years. In Spanish it is called Nuevo Fuego, the New Fire. (See our post: Cerro de la Estrella and the Origins of Culhuacán and Iztapalapa.)

La Sierra de Santa Catarina

Southeast of la Estrella is a chain of ash cone volcanoes called la Sierra de Santa Catarina. Although they are now totally surrounded by the urban development of Delegaciones Iztapalapa, to the north, and Tláhuac, to the south, they have been emblematic over the centuries in images of the Valley of Mexico.

Sierra de Santa Catarina
runs southeast of Cerro de la Estrella 

Tecuauhtzin and Guadalupe,
the two volcanoes at the east end of la Sierra Santa Catarina

that forms the boundary between Delegaciones Iztapalapa  and Tlahuac.

The Valley of Mexico
by José María Velasco 
Wikipedia

In front of snow-capped Iztac and Popo
lies the Sierra de Santa Catarina

Sierra de Santa Catarina in the 1920s.
Iztaccihuatl and Popocatepetl are in the background.
From Facebook: Cronista de Nuestra Antiguo Iztapaluca-Chalco

Mexico City and Its Many Volcanoes.
(Mexico City's boundaries and sixteen component delegaciones are outlined in white.)

The "stepping stone-like row of islands" across what was once lake bed (taupe) are:
Cerro de la Estrella (alone, in dead-center of the map) and
la Sierra de Santa Catarina (the middle "island", right-center).

Actually, they were on the Iztapalapa peninsula
separating Lake Texcoco to the north
from Lake Xochimilco to the south.

The biggest "stepping stone," to the east, outside City limits
is Volcán Pino, the Pine, in the State of Mexico.

Hill of Tepeyac

Mexico City is shaped rather like a lumpy pear (see map above). At its wide bottom are the largest delegaciones of Tlalpan and Milpa Alta, which contain the large volcanoes of la Sierra de Chichinautzin. In the pear's narrow neck sits the City's Centro Histórico, now in Delegación Cuauhtémoc. At the top is the "stem", which is the northern end of Delegacion Gustavo Madero. This "stem" is so narrow because it is bounded by another set of hills, la Sierra de Guadalupe. 

La Sierra de Guadalupe.
The tallest, and most northern hill is Zacateco (2,475 meters, 8,120 ft.)
(white line shows the boundary between Mexico City and the State of Mexico.)

The group of small hills to the south are called Los Gachupines
(a derogatory word used by natives in Colonial New Spain for the Spanish).
At the southern end of these is the Hill of Tepeyac,
at the base of which sits the Basilica of the Virgin of Guadalupe.

Like la Sierra de Santa Catarina, la Sierra de Guadalupe is composed of a chain of cinder cone volcanoes that originally extended south as a peninsula into Lake Texcoco. At the tip of that peninsula was a hill known as Tepeyac. 

The Hill of Tepeyac is one of the most famous of hills in all of Christendom, certainly in the Roman Catholic world. It is here that, according to legend, in December of 1531, the Virgin of Guadalupe appeared several times to the indigenous peasant, now saint, Juan Diego Cuauhtlatoatzin. She told him that she was personally adopting the people of Nueva España as her own and directed him to go to the bishop of Mexico City to request that a chapel be built for her on the site, previously the site of an indigenous temple to the mother goddess, Tonantzin. From this sacred place, the Virgin promised that she would look after her pueblo (people). 

The first, temporary chapel built for her was replaced a number of times over the centuries by larger churches. The last two were given the status of basilicas (churches of special importance) by the Pope. Over time, a complex of additional churches was built around the base of Tepeyac and on its summit. The Basilica is the most visited Catholic pilgrimage site in the world, and one of the world's most-visited sacred sites of any religion. (Wikipedia. See our post: Tepeyac and the Virgin of Guadalupe)

Hill of Tepeyac
Chapel of the Hill is at the top.

Chapúltepec Hill, Hill of the Grasshopper

Chapúltepec Hill, Hill of the Grasshopper, is a small cinder cone volcano that originally sat near the West shore of Lake Texcoco. Freshwater springs arose from its base, making it valuable for human settlements. It was a sacred site for the indigenous peoples who lived in the area before the arrival of the Mexicas in the Valley of Anahuac in 1225 CE. In their search for a place to settle in the Valley, the Mexica were able to live on Chapultepec from 1279 to 1299, when they were attacked by other altepetls (city-states) and forced to move on further south along Lake Texococo.

The glyph identifies Chapultepec Hill (Hill of the Grasshopper)
The glyphs at the top name the years 13 House, 1 Rabbit and 2 Reed, 
(1297, 1298 and 1299 CE)
The attack on the Mexica occurred in 2 Reed, 1299.From Codex Aubin
written by a Mexica in the mid 16th century, at the request of Spanish monks,
it presents the history of the Azteca/Mexica
 from their migration out of their legendary home of Aztlan in the year 1 Flint, (1168 CE)
through the foundation of Tenochtitlan in 1325,
to the cataclysmic events of the Spanish conquest in 1521.
(Wikipedia) (Photograph and translation of Nahuatl from Fordham University)

Two hundred years later, after the Mexicas defeated the Tepanecas of the altepetl Azcapotzalco, located just north of Chapúltepec, they took over Chapúltepec and made it into a private reserve for royalty. They built baths and an aqueduct to carry spring water to their island city of Tenochtitlán. When the Spanish defeated the Mexicas, they rebuilt the aqueduct and continued its use as a preserve for the ruling class. 

In 1775, the Spanish Viceroy, Bernardo de Gálvez, ordered the construction of a stately home for himself on top of Chapúltepec Hill. Construction began the same year. However, in November 1786, the viceroy died suddenly, and the Spanish Crown ordered the building to be auctioned. For twenty years there were no buyers. In 1806, the building was finally bought by Mexico City's municipal government. However, it remained empty throughout the War for Independence (1810-21) and the early years of Mexico's new government.

Sometime between 1833 and 1840 (different sources give different dates), the Military Academy, founded in 1823, was moved to the Castle. This move set the stage for the Castle's major role in Mexican history.

Chapúltepec Castle
sits on Chapúltepec (Grasshopper) Hill
above the Monument to the Niños Héroes, the Boy Heroes,
military cadets who fought to their deaths against U.S. forces
taking Mexico City in the Mexican-American War in 1847.

In  May 1846, the United States declared war against Mexico, based on an armed conflict it had provoked along the Rio Grande River. The river was the disputed border with Mexico after the secession of Texas from Mexico in 1836 and its entrance into the Union as a state in 1845. President James Polk, who took office in March 1845, wanted Mexican territory west of what had been the Louisiana Purchase, all the way to California, to gain U.S. access to the Pacific Ocean. He offered to buy it from Mexico. When Mexico refused to sell it, Polk sent troops into the disputed territory along the Rio Grande. When Mexican forces attacked those troops, Polk obtained a declaration of war from Congress.

As part of a three-pronged strategy, U.S. troops invaded Mexico from Texas, went west into Nueva México and Alta California, and, in March 1847, undertook an amphibious attack on the port of Veracruz in the Gulf of Mexico. Led by Gen. Winfred Scott, U.S. marines and army seized the port city and marched inland toward Mexico City.

After a series of battles, U.S. troops arrived at the doorstep of the capital in August. On Sept. 12, 1847, the final battle was fought at Chapúltepec Castle. There, young Mexican Army cadets fought to the last man. Five of them, los Niños Heroes, the Boy Heroes, are honored for their sacrifice by a large monument at the base of Chapúltepec Hill.

Encountering the Small but Mighty Volcanoes

While they lack the geologic awesomeness of the big volcanoes ringing the Valley of Mexico, the small volcanoes within the city make up for their size via their impact on human history in the Valley. They are also relatively easy to visit. 

Xitle and Cuicuilco

Xitle now lies within El parque ecológico de la ciudad de México, The Ecological Park of the City of Mexico, in Delegación Tlalpan. Cuicuilco, the city buried by Xitle, is an archeological park, also in Tlalpan. Both are reachable only by car.

Cerro de la Estrella

Cerro de la Estrella is within a park in Delegacion Iztapalapa. You can take Metro line 8 (green line) to the Iztapalapa station and get a taxi from there or take a taxi from other parts of the City. Part way up the hill is the Museo del Nuevo Fuego, Museum of the New Fire. It is small but with excellent exhibits explaining the ritual of the Binding of the Years and its significance. From there, you can walk up a roadway, through the park to the base of the summit. There you climb stairs to the temple at the top. On a clear day, you have a view of the entire Valley of Mexico, including the big volcanoes of Popocatépetl, Iztaccíhuatl and Ajusco. You also get a good view of the nearby Sierra de Santa Catarina. 

Hill of Tepeyac

The Hill of Tepeyac is easy to visit. La Villa Basílica is a station on Line 6 (red) of the Metro. Depending on where you start, you will have to make some changes between Metro lines. The hill is, of course, within the Villa Guadalupe, the complex of churches associated with the Basilica of the Virgin of Guadalupe in Delegación Gustavo Madero. The Hill, itself, has been transformed into a beautiful garden with flowering trees, roses and a waterfall. At the top is the Chapel of the Hill.

Chapúltepec Hill

Chapúltepec Hill is near the main entrance to Chapúltepec Woods, down the Paseo de la Reforma from Centro Histórico. The main walkway from the Chapúltepec Metro Station on Line 1 (pink) leads directly to the Monument to the Boy Heroes. From there, you can walk up a wide roadway or take a tram to the top of the hill. 

The Castle now contains the National Museum of Mexican History. Exhibits include original portraits of many of the Spanish viceroys, rooms as they were decorated by Emperor Maximillian I, and the dramatically contrasting carriages of Maximillian (ornate) and President Bentio Juárez (simple), who defeated him. There are also stunning murals by David Siqueiros portraying aspects of the Mexican Revolution. We think they are the best work by Siqueiros in the City. There is also a wonderful roof garden and a large porch where, on clear days, visitors can get a great view of Paseo de la Reforma and Mexico City.

See also: Encountering Mexico City's Many Volcanoes, Part I: Giants on All Sides

Green Spaces | Chapúltepec Woods: From Bustle to Tranquility, Present to Past

      

A Shift in Perspective

Up until now, our focus in Mexico City Ambles has been on how the cityscape embodies the city's long and complex history. We have concentrated on whole neighborhoods (called colonias, pueblos or barrios depending on their origins) and the buildings and other features that give them their unique character and identify their place in the development of the city's narrative. Where those features include plazas, parks or other forms of "green space", such as tree-lined boulevards, like Paseo de la Reforma, we have presented them, but we have not looked at them from a generic perspective.

Occasionally, we have written posts about generic qualities of the city, such as its efforts to communicate grandeza (grandeur), its Baroque and "California" Neo-colonial architecture, the range of markets and street commerce and the role of ritual in maintaining communal identity. So it occurred to us that looking at the city's wide variety of green spaces as a topic in and of itself would be not merely interesting, but perhaps even revealing of another aspect of the city's character. 

From that perspective, we reviewed the posts we have published over the past two years to see which included presentations of some form of green space: plazas, parks, boulevards, gardens, interior courtyards (patios). Only one, on Chapultepec Woods, the huge park west of Centro, is solely about such a space. However, a dozen or so other posts include such green spaces as a significant part of their urban character. The colonias developed during the Porfirato (dictatorship of Porfirio Díaz, 1876-1911) and the first decades after the Revolution (1911-17), such as La Roma and Condesa, sought to imitate Parisian elegance, including arboladas (tree-filled) plazas, parks and boulevards. 

Other colonias, such as Villa Coyoacán, Mixcoac and San Ángel, which have maintained their Spanish Colonial design, centered around central plazas and large church atrios (atriums), thereby also contain significant green space. Xochimilco, with its indigenous chinampas, man-made islands, and its evergreen-covered foothills, is particularly green. 

So we begin our new perspective on the City's green spaces, and a new series of posts, by republishing the one on Chapúltepec Woods.

Chapúltepec Woods

Two things drew us to the Bosque de Chapúltepec (Chapúltepec Woods): one was our ongoing search for a tranquil retreat within the bullicio, the bustle of the city. The other was to see how chilangos, Mexico City residents, spend their leisure time on a Sunday afternoon. Interestingly, we found that tranquillity and leisure time don't necessarily go together in Mexican culture.

Exiting the Chapúltepec Metro Station on Line 1, the Pink Line, on a sunny Sunday afternoon, we are caught up in a stream of families headed for the park. It is rush hour for relaxation. Typical of many Metro stations, the street level is thick wtih vendors selling food, caps, binoculars, bottled water and any number of other items. As elsewhere, we have to wend our way through this labyrinthian mercado to reach our destination.

Entering Chapúltepec Park

Inside, families are headed for a wide pedestrian bridge across a major expressway to enter the main part of the park. This promenade was originally the route of the Paseo de la Reforma which Emperor Maximilian had built during his brief and conflictual reign (1864-67) to connect his chosen residence, Chapúltepec Castle, with the city center, now the Centro Histórico, to the northeast. Reforma has been re-routed along the north side of the park and extended west to the city's boundary with the State of Mexico.

Chapúltepec Castle
above the Monument to the Niños Héroes, the Boy Heroes,
military cadets who fought to their deaths against U.S. forces
taking Mexico City in the Mexican-American, War 1847.

Paseo de la Reforma
seen from Chapúltepec Castle.
Six White Columns are the
Monument to the Boy Heroes
Photo by Carlos Cortés
Wikipedia

Family relaxing in the shade of the park's many trees.

The Bosque de Chapúltepec (Chapúltepec Woods) is one of the largest city parks in the Western Hemisphere, measuring in total just over 1,695 acres (686 hectares) (Central Park in New York City is half its size, with 843 acres, 341 hectares). The name "Chapúltepec" means "grasshopper hill" in Nahuatl and designates a volcanic formation called Chapúltepec Hill.

Aztec glyph of Chapúltepec,
in Capúltepec Castle

Perhaps the America's Oldest Continuously Used Park

The park area has been inhabited and held apart as special since the Mesoamerican era. Remains of Teotihuacan (500 BCE to 500 CE) and Toltec (800 to 1000 CE) cultures have been uncovered. When the Mexicas/Aztecs arrived in the Valley, then called Anáhuac, in the mid-thirteenth century, they settled here first, until they were kicked out by the Tepanec lord of Azcapotzalco, just to the north.

When the Mexicas/Aztecs became established in their island city of Tenochtitlán and defeated Azcapotzalco in the 15th century, they turned Chapultepec into a royal retreat. One notable site, of which there are some ruins, is the Baths of Moctezuma, a system of cisterns, reservoirs, canals and waterfalls. Because of its springs, the Mexicas built aqueducts across the saline lake to supply Tenochtitlán with fresh water. A temple sat atop Chapúltepec Hill.

After the Conquest in 1521, the Spanish King declared that it should remain a natural space for Spanish residents of the new city. It was not open to its original indigenous peoples or to any mestizo, mixed-race offspring of the two razas, races.

Fountain that marked the beginning of the aqueduct built by the Spanish
to carry fresh water from Chapúltepec's springs to the city on the island.

Today Chapúltepec is every chilango's backyard, one of the few constants in a city that has otherwise changed dramatically over nearly five centuries. Immediately to the west of the park, along Reforma, are the upper-middle class colonias, neighborhoods of Cuauhtémoc and Benito Juárez. To the south are La Roma and Condesa, the colonias developed at the end of the Porfiriato period (1876-1911) and after the Mexican Revolution. We have spent considerable time exploring and comparing them. To the northwest are wealthy colonias built in the mid-20th century: Polanco and the various Las Lomas, part of the Delegación, Borough, of Miguel Hidalgo, to which the park also belongs.

Today, the park is divided into three sections. The first section is the original. Still the most visited, it contains most of the park's attractions including a zoo, the Museum of Anthropology, the Rufino Tamayo Museum and the Museum of Modern Art along Reforma.  Chapúltepec Castle, about which we´ve written, now serves as the National History Museum (its website provides a virtual tour).

Un Paseo ... Stroll Through the Park

Following the crowd along the former Reforma, we turn right past the Monument to the Niños Héroes and come to a wide promenade, la Gran Avenida, Grand Avenue, an oval that circles through the first section of the park. In earlier days, carriages could be driven around it; later, automobiles traveled on it during Sunday drives, but today it is reserved for pedestrians. It is lined with puestos, stalls selling various kinds of souvenirs. 

3 T's for 150 pesos, about $9

Lucha Libre, Free Wrestling masks

Payaso, Street Clown

Farther along the Avenida, we come to Chapúltepec Lake, or is it Central Park Lake?

Past the lake is the Zoo. At this point, the park's ambience changes dramatically. The promenade of families reaches its destination and virtually disappears. Beyond this point lies the tranquility that we are seeking. The park becomes a quiet wooded retreat, an almost private space. La Gran Avenida becomes a path for a quiet stroll.

Tranquillity Amidst Millions

                             

Yes, this is Mexico City with its 8 million people, in a metropolitan area of 21 million. By the way, when we visited it was December!

Mexican Revolution and Mexican Muralists - Part IX: David Siqueiros, Painter and Revolutionary

David Alfaro Siqueiros (1896-1974), who was to become the third member of the "Big Three Mexican Muralists", along with Diego Rivera and José Clemente Orozco, came to Mexico City from Guanajuato with his father and siblings after the deaths of his mother and grandmother, when he was in primary school. In 1911, at age fifteen, he began his art training in the Academy of San Carlos, where Rivera had trained before going to Europe in 1907 and where Orozco, thirteen years his elder, was a student.

In the early 1920s, after the Mexican Revolution, Siqueiros took part with Rivera and Orozco in creating the first works of the Mexican Mural Movement in the National Preparatory School (former College of San Ildefonso). However, because of changes in the political environment, he did not finish the mural he began there and was not to leave his own visible artistic mark on the city until some twenty years later in the 1940's. (Note: some time after writing this post, we were able to see Siqueiros's first, partial work, See: David Siqueiros. Part III)

David Alfaro Siqueiros

Beginning with his art school studies in the mid-1910s and continuting through three-plus turbulent decades of Revolutions (Mexican and Russian), the Great Depression and two World Wars, until the end of his life in the 1970s, Siqueiros immersed himself in a personal political, cultural and geographic quest to discover and create for the modern world what he envisoned to be an art that was truly contemporary not only in its aesthetic, but also in its materials and techniques—an art, moreover, that communicated on grand scales in public spaces the core political issues of the epoch.

To tell the convoluted tale of his spiritual, political and artistic journey, we have written the page David Siqueiros: Twentieth Century Odysseus. In this post, we explore the art that he created in public spaces in Mexico City.

Palacio de Bellas Artes

In 1944, after passing through the Mexican Revolution, Paris, Italy, Guadalajara, Los Angeles, Uruguay, Argentina, Moscow, New York, the Spanish Civil War, an assassination attempt against Leon Trotsky and several stays in Mexico City's Lecumberri Prison, Siqueiros was back in Mexico City, out of prison and painting. The National Institute of Fine Arts commissioned him to create murals for Bellas Artes. Creating their own murals in the 1930s, Rivera and Orozco had preceded Siqueiros there by ten years.

Siqueiros' murals in Bellas Artes are direct, forceful examples of the sculptural, almost three- dimensional style he had developed over the years in smaller works. By foreshortening the subjects, the muralist makes them thrust forward, so they appear almost to attack the viewer. Their theme isn't the Mexican Revolution. It is World War II and the battle against Fascism which was at its height.

Victim of Fascism
Bellas Artes, 1944
The near-naked figure could as well be a slave from Roman times.

The New Democracy
Emerging from the volcano's fire, Liberty breaks her bonds.
She wears the red French Liberty Cap,
a symbol also used by Orozco.

"New Democracy" possibly refers to Mao Zedong's concept
that Chinese Communism would emerge directly 
from the working, peasant, small business and large capitalists,
skipping the Marxist stage of imperial capitalism and colonialism.

Six years late, in 1950, Siqueiros was invited back to place murals on the opposite side of the second balcony. Instead of a contemporary story of oppression, here he portrayed an historical, Mexican one: the Spanish Conquest of the Aztecs.

Cuauhtémoc, the last Aztec ruler, who briefly replaced Moctezuma II after he was killed, is tortured by the Spanish
to reveal any hidden gold. Moctezuma had already given most of his treasury to Cortés.
Cuauhtémoc is heroic in refusing to speak, while his companion pleads for mercy.

To execute these murals, Siqueiros used pryoxilin, a modern synthetic paint that enables surfaces to be built up, hence creating a sculpted effect. Rivera and Orozoco worked in the ancient technique of fresco, paint on wet plaster. Siqueiros criticized them for being old-fashioned.

University City

In 1952, the Mexican government, feeling more prosperous and stable after the War, decided to relocate the National Autonomous University of Mexico (UNAM) from its hodgepodge collection of Spanish colonial buildings in the Centro Histórico to a new campus, la Ciudad Universitaria, University City, to be built on a barren lava bed in the southern borough of Coyoacán.

The campus was to be a major embodiment of Mexico's drive to become a modern nation and, by the same token, a physical, visible expression of national pride and identity. Siqueiros and other Mexican artists were invited to create outdoor murals on the buildings to communicate those messages. He was assigned the Rectory, the main administration building at the center of the huge campus.

The People to the University, The University to the People

From the rear, el Pueblo, the People, offer the tools of learning to students, 

who, in turn, offer the results of their education to the People.

The mural is entitled The People to the University, The University to the People: For a National Neohumanist Culture of Universal Depth. Here Siqueiros carried the three-dimensional appearance of his earlier work into true, sculptural three dimensions. This technique was to be carried to its fullest expression in his final masterwork, the Siqueiros Cultural Polyforum. The universal humanistic theme of education—in place of a specifically revolutionary theme—also foreshadows that later work.

National Museum of History, Chapúltepec Castle

In 1957, Siqueiros was commissioned by the government to create a mural for the National Museum of History in Chapúltepec Castle. Titled From the Dictatorship of Porfirio Díaz to the Revolution, Del porfirismo a la Revolución, this was his biggest mural yet, and the only one directly portraying the Revolution.

 

Del porfirismo a la Revolución, from the Porfiriato to the Revolution.
Díaz is surrounded by his scientificos, technocratic bureaucrats, 
and female tiples (sopranos), singer-entertainers of the day. 
His left foot rests atop the Constitution of 1857.

During the Cananea Consolidated Copper Company strike in Sonora, in 1906, rural police and hired Arizona rangers prepare to repress miners and strike leaders. Rafael Izabal, governor of Sonora, accompanied by the president of the U.S.-owned company, William C. Green, tries to seize the Mexican flag from Esteban Baca Calderón. Workers carry a victim of the repression. Other leaders of the Revolution appear, including Francisco Ibarra and Manuel M. Diéguez (moustache), under whom Siqueiros served during the Revolution.

The People in Arms include (second and third rows, from left) Francisco I. Madero (bald), Venustiano Carranza (full beard), Eufemio and Emiliano Zapata (red sombrero), Álvaro Obregón (moustache, cowboy hat) and Plutarco Calles (moustache, large sombrero). The country in flames is symbolized by the woman (red dress) on the right.

The Revolutionary, abruptly reining in his horse, symbolizes the end of the armed struggle.
One feels the horse's momentum is going to carry it beyond the mural's frame.

Row of Corpses symbolizes Revolution's cost in terms of human lives lost.
The first figure is Leopoldo Arenal, father of Siqueiros' third wife, Angélica, 
who was killed in 1913.

While this sequential mural starts out with a clear, revolutionary political position, it ends with a brutal realism that reminds us of Orozco's images in San Ildefonso.

Obra Interrupted

Siqueiros's work on the mural was interrupted by his political activities. In 1960 he was again arrested for openly criticizing Adolfo López Mateos, then President of Mexico, and for leading protests against the arrests of striking workers and teachers. He was imprisoned, yet another time, in Palacio de Lecumberri. While there, he continued to paint. 

Siqueiros painted this panel for a theater performance put on by prisoners in Palacio de Lecumberri Prison.
On display in Palacio de Lecumberri, now the National Archives.

During that imprisonment, he also made numerous sketches for a proposed mural project in the Hotel Casino de la Selva in Cuernavaca, Morelos. In the spring of 1964, Siqueiros was finally released and immediately resumed work on his suspended murals in Chapultepec Castle, which he completed in 1966.

Climactic Chapter of Revolutionary Art

Next we move to an aging David Siqueiros—militant Communist, who had fought in the Mexican Revolution and the Spanish Civil War, who had attempted to assassinate Leon Trotsky—to explore his final, grand project of the late 1960s.

Slated for a luxury resort hotel in Cuernavaca being built by a wealthy entrepreneur (quintessential capitalist who likely would have been quite comfortable in the pre-Revolutionary Porfiriato), the project was to end up being something even grander, more complex, and also quite challenging for the viewer to comprehend, very much like the artist himself. And it was to end up being realized in Mexico City as the Siqueiros Cultural Polyforum, which is subject of our next post.

See our other posts on the Mexican Revolution and Mexican Muralists:

Part I: Bellas Artes 

Part II: The Academy of San Carlos and Dr. Atl 

Part III: Secretariat of Education, José Vasconcelos and Diego Rivera 

Part IV: Secretariat of Education and Diego Rivera's Vision of Mexican Traditions 

Part V:  Secretariat of Education and Diego Rivera's Ballad of the Revolution 

Part VI: Diego Rivera at the College of San Ildefonso 

Part VII: José Clemente Orozco Comes to San Ildefonso 

Part VIII: College of San Ildefonso and José Clemente Orozco - Continued 

Part X: David Siqueiros Cultural Polyforum

Part XI: The Abelardo Rodríguez Market 

See also our short biography: David Siqueiros: Twentieth Century Odysseus

For the story of the Mexican Revolution, see: Mexican Revolution: Its Protagonists and Antagonists 

The Porfiriato: French Culture Conquers Mexico City

Porfirio Díaz

French Aesthetics Come to Mexico

After the Spanish Colonial period, and until the current era of global-style, post-modern construction, the architectural heritage of the Porfiriato, the thirty-five year period of the dictatorial presidency of Porfiro Díaz, (1877-1911), is the second most important era for shaping the look and ambience of the center of Mexico City.

Díaz undertook to turn the City into one modeled after Paris. He turned Paseo de la Reforma into a French-style boulevard, with monumental statues at major intersections, and he ordered the construction of many major government and civic buildings in the Historic Center. Wealthy Mexican and foreign businessmen built luxurious homes, which mimicked the styles of European royalty and the wealthy bourgeoisie, along Reforma and in new colonias, neighborhoods, to the north and south of it.

Angel of Independence,
Neo-classic momument modeled after Nike, the Greek goddess of Victory,
erected on Refoma by Porfirio Díaz
to commemorate the 100th anniversary of the initiation of
the War of Independence in 1910.

Former mansion on Reforma
 is now a bank branch
Photo: JRB
(left click to enlarge any photo)

Mini-"castle" on Reforma being demolished
for replacement by a skyscraper
Photo: JRB

It is another one of those curious, seemingly paradoxical Mexican stories how European esthetics, and particularly that of the French Second Empire of Napoleon III (1852-1870), came to be recreated in Mexico under Díaz' leadership. He was a mestizo (mixed, Spanish and indigenous) who, like Benito Juárez, came from the southern state of Oaxaca. Even more paradoxically, he had been a leading general in the War of Reform and the war against the French Intervention, instigated by that very Napoleon, a president who had turned himself into an emperor.   

From Humble, Provincial Beginnings

Porfirio Díaz was born Sept. 15, 1830 in Oaxaca City, Oaxaca. His mother, Petrona Mori, was the daughter of a Spanish immigrant and Tecla Cortés, an indigenous woman. Díaz's father, José de la Cruz Díaz was a criollo [pure Spanish, born in New Spain] and a modest innkeeper who died of cholera when his son was three.

Despite the family's difficult circumstances following the death of his father, Díaz was sent to school at age 6. The Díaz family was devoutly religious and, at the age of fifteen, Díaz began training for the priesthood at the Colegio Seminario Conciliar de Oaxaca, but important national events intervened. During the Mexican American War/U.S. Invasion of Mexico (1846-47), seminary students volunteered as soldiers to repel the U.S. invasion. Although he did not see action, Díaz realized that his true vocation was not the priesthood, but the military.

Díaz Joins Liberal Democrats

Also in 1846, Díaz came into contact with Marcos Pérez, a leading Oaxaca liberal, who taught at the secular Institute of Arts and Sciences in Oaxaca. Benito Juárez, who became governor of Oaxaca in 1847, had been a student there. Díaz met Juárez that same year. In 1849, over family objections Díaz abandoned his ecclesiastical career and entered the Institute to study law. 

When Antonio López de Santa Anna returned to power via a coup d'état in 1853, he suspended the 1824 Constitution and persecuted liberals seeking to re-establish the Constitution and democratic government. At this point, Díaz had aligned himself with radical liberals (rojos), such as Juárez, who was forced into exile in New Orleans. Díaz supported the liberal Plan of Ayutla that called for Santa Anna's ouster. Evading arrest, he fled to the mountains of northern Oaxaca, where he joined the rebellion of Juan Álvarez. 

During the War of Reform, the civil war of autocratic conservatives against the liberal, democratic government of Benito Juárez, Díaz became a colonel. In the subsequent War of the French Intervention, he participated in or led several crucial battles and was promoted to general. After the defeat of the French, the execution of Emperor Maximilian I and the return of the Juárez goverment to Mexico City in 1867, Díaz returned to private life in Oaxaca.

Díaz Switches Sides

In 1870, Díaz ran as a presidential candidate against President Juárez and Vice President Sebastián Lerdo de Tejada. He claimed fraud in the elections won by Juárez, and, in typical caudillo, military strongman, style, he announced a rebellion, the Plan de la Noria on November 8,1871, but this rebellion failed. Following the death of Juárez in 1872, Vice President Lerdo became president. Lerdo offered amnesty to rebels, which Díaz accepted and took up residency in Veracruz. In 1874, Díaz served in the federal legislature, representing Veracruz.

In 1875, Díaz left Mexico and went to New Orleans and then to Brownsville, Texas, to plot a rebellion. In 1876, he announced the Plan of Tuxtepec (a town in Oaxaca) as a call to arms against Lerdo, who was running for another presidential term. Lerdo was re-elected in July 1876, but the rebellion forced Lerdo from office. In November 1876, Díaz occupied Mexico City, and Lerdo went into exile in New York City. Díaz did not take formal control of the presidency until the beginning of 1877, placing General Juan Méndez as provisional president, until new presidential elections in 1877 officially gave Díaz the presidency.

The Thirty-Five Year Porfiriato

Diáz got himself "re-elected" president of Mexico over a thirty year period (1877-1911). For the upper-class, it was an era of political stability, industrialization and economic growth. For lower classes, it was a time of exclusion and suppression of protests. Díaz maintained control through "Pan o palo", "bread or a stick", an informal system based on personal loyalty using patronage and repression. His motto was "little politics and plenty of administration." The epoch was to end suddenly with the outbreak of the Mexican Revolution in 1910, when various forces of social, political and economic opposition exploded.

A Francophile City

Our focus is on the architectural identity Díaz and his supporters brought to the center of Mexico City. Perhaps most emblematic of this, Chapultepec Castle, with its Napoleonic ghosts of Emperor Maximilian, was, itself, transformed by Díaz into his summer palace, with the addition of such improvements as ornate Art Nouveau stained glass windows.

Diana, the Huntress
Photo: JRB

 

Strolling through the colonias built during the Porfiriato you almost feel that you are in some arrondissement of Paris, or, at least, in a tropical replica of the French capital. In subsequent posts, we will visit several of them: Santa Maria Ribera, San Rafael, Roma and Condesa. 

Entrance to mansion in Roma,
now University de Londres

Mansion in Benito Juárez,
now the Wax Museum
Photo: JRB

Houses in Santa Maria de Ribera
Photo: JRB

Window of apartment in San Rafael

Foto: JRB

But first, we will return to the Centro Histórico to explore the Neo-classic, Beaux Arts and Art Nouveau aesthetics of such Porfiriato constructions as the Museo Nacional de Arte (National Museum of Art), the Palacio de Correos (yes, a post office that is a palace), the Alameda Central park, the Palacio de Bellas Artes (yet another palace) and commercial buildings of the epoch.

Other Posts on the Porfiriato Era

• The Grandeza of Porfirio Díaz
• Inside Porfirio's Palace
• Centro Historico Porfiriato - Late Nineteenth Century Mexico City
• Colonia Santa María la Ribera: Early Twentieth Century Century Popurrí
• Colonia San Rafael: Decay, Renewal and Restoration
• Colonia Benito Juárez: Where History Lives in the Shadows
• Colonia Cuauhtémoc: The First Decades of the 20th Century Marry the First Decades of the 21st
• Colonia Roma Norte Part I: Houses—and a Culture—That Survived a Revolution
• Colonia Roma Norte - Part II: Dreams in Stone and Glass...and Paint
• Seeking Restored Vitality: Colonias of the Porfiriato Have Varying Success
• Colonia Condesa and Its Sisters - From Past to Present, Part I - Transition to the 1920's