Santos in Oaxaca's Ancient Churches

The official government guide at Tlacochahuaya was Sr. Daniel Méndez García. We were unable to take photographs.

(Young man with halo, identified by Sr. Méndez García)

Fabric clothing over triangular frame; head and hands of wood, gesso, paint; painted eyes, wig; life size.

The figure is intended to form a part of the Holy Week procession and matches the figure of Mary Magdalene.

Location: Narthex, left of the chapel of the Dios de la Muerte.

La Santa Magdalena

(Halo, chalice in left hand and handkerchief in right)

Fabric clothing over triangular frame; head and hands of wood, gesso, paint; glass eyes, no lashes, wig; life size.

Location: Narthex, right of the chapel of the Dios de la Muerte.

(Recumbent Christ in coffin)

Wood, gesso, paint; glass eyes, wig; life size.

Only the face is visible under the coverlet. The jaw is held shut by a red ribbon, suggesting pre-modern mortuary practices. Carved in the ceiling above is the Zapotec god of death. Eye sockets are purple with blood.

Location: Narthex, in a chapel of its own.

(Nativity figures identified by Sr. Méndez García)

Painted wood; painted eyes; 3'.

These statues stand on the floor on either side of the coffin in the chapel of the Dios de la Muerte. The Mary figure wears a red robe and a veil like a nun's; the hands are folded in prayer. The Joseph has lost four fingers of the left hand; the left arm is extended and the right hand held at the breast. The paint seems original and is of the same green color for both figures' cloaks.

Location: Narthex, in the chapel of the Dios de la Muerte.

Soledad

Location: Midway along the north wall of the nave.

El Señor de la Misericordia

(Christ crucified)

Wood, gesso, paint.

Cruciform crown and crown of thorns in basketweave pattern. Blood streams from the crown and from the five wounds and the knees, which are skinned to the bone. Wooden cross.

Location: North wall of the nave, between the narthex and the north portal.

El Señor de la Misericordia

(Christ crucified)

Corn stalk, corn paste, and paint; painted eyes; over 6'.

Sr. Méndez García reports that the figure has been X-rayed to reveal a hollow chest cavity in which is hidden a pre-Columbian Zapotec corn goddess with long braids. The Christ figure is a light yellow. Blood flows from realistic wounds, the knees are skinned, and the legs have lesions. The crucifix weighs only 8 kilos, including the cross, which is of wood.

Location: Altar along the north wall of nave, between the north portal and the transept.

El Dios de la Peña

(Christ at the buffeting, seated with crown of thorns and cape)

Wood, gesso, paint; wig; 2'4".

The statue has been placed in a shadow box which is signed and dated 1895. At its feet is a clay water bowl. Instead of a loincloth, the figure wears brief shorts. There are lesions at the knees and the left pelvis, and a great deal of blood. The crown is green, the cape red.

Location: Altar along the north wall of the nave, between the north portal and the transept.

Wood, gesso, paint; painted eyes, no lashes, carved hair; fabric; 4'5".

Loincloth, scutum, and banner are fabric.

Location: Far left on the altar along the north wall of the nave, between the north portal and the transept.

San Juan Bautista

(Standard with cross at top)

Wood, gesso, paint, stiffened cloth; 3'6".

Location: Far right on the altar along the north wall of nave, between the north portal and the transept.

Trinity

(Seated Father holding crucifix)

Wood, gesso, paint; painted eyes, no lashes; 5'.

The robes are carved in the wood. The left arm of the Christ has come apart from the body and is now held by a nail or dowel. Modern screws hold the hands to the cross. According to Sr. Méndez García the dove is of massive silver and is being kept safe elsewhere. It used to be atop the "INRI" inscription of the crucifix.

Location: Left of the altar in the north transept.

La Madre de los Dolores

(Diadem, hands clasped in prayer)

Wood, gesso, paint; glass eyes, no lashes; fabric garments; 5'.

Silver-colored starburst diadem. As is so frequent with representations of the Virgin, the face and hands are not highly detailed.

Location: Glass case to the right of the altar in the north transept.

El Señor de la Misericordia

(Crucifix, purple loincloth with scutum). Wood, gesso, paint; painted eyes; fabric loincloth; 5'.

There is less blood than usually seen in crucifixes of this type. A red cloth band at the chest holds the figure to the cross.

Location: An altar to left of the main altar.

San Jerónimo

(Crucifix in left hand, stone in right)

Wood, gesso, paint. Life size.

According to Sr. Méndez García, St. Jerome used the stone to beat his breast after learning from his translations of the Bible what a sinner he was. The figure kneels in a loincloth and a red cape which hangs off the left shoulder. The loincloth represents his years as a hermit. Missing are the lion and the cardinal's hat usually associated with this saint.

Location: Center of the high altar.

La Virgen del Rosario

(Infant Christ upon left hand, rosary hanging from right hand)

Polychrome; gessoed cloth; painted eyes, sculpted hair; 4'.

Very plain execution of the face and hair. No halo.

Location: Altar to the right of the main altar.

El Señor de la Misericordia

(Crucifix, cruciform diadem, loincloth)

Caoa wood, gesso, paint; closed eyes, no lashes, wig; figure is 5'.

Only fragments of the diadem remain. The loincloth is gessoed and painted. A gold-colored band at the breast holds the figure to the cross. There are copious streams of blood. Sr. Méndez García says the crucifix weighs 20 kilos. The cross is green and made to look as if it had branches quickly chopped off.

Location: South transept.

Virgin

Fabric garments; head and hands in wood, gesso, paint; glass eyes; 5½'

The figure wears a gold-colored starburst diadem. The face and hands are generally without detail but the fingers do have nails.

Location: Altar at the south end of the transept.

San Juan Bautista

(Identified by Sr. Méndez García)

Wood, gesso, paint; painted eyes; 4½' including ½' base.

The robe and cloak are stiffened cloth. They represent neither the Baptist's usual animal skins nor any monastic habit, nor is there any lamb, standard, or other emblem that might identify him.

Location: Altar at the south end of the transept, to the left of the Virgin.

Franciscan Santo

(Tonsure, habit, halo, book upon left hand)

Wood, gesso, paint; gessoed cloth; glass eyes, no lashes; 4', including 5" base.

The statue could be St. Anthony of Padua; there is room on the book for a Christ child. The gessoed cord of the Franciscan habit has the usual three knots that represent the vows of poverty, chastity, and obedience. Stylized golden flowers adorn the habit.

Location: Altar at the south end of the transept, to the right of the Virgin.

San Jerónimo

(Identified by Sr. Méndez García; halo)

Wood, gesso, paint; fabric clothing; glass eyes, no lashes; 5½'.

The hands are well detailed, with veins and fingernails. The figure is dressed in a cotton-and-lace surplice and red cassock. The santo lacks St. Jerome's usual identifying marks. The halo, behind the head, is a flat circle with the center cut out.

Location: On the third altar along the south wall of the nave.

Franciscan Santo

(Brown habit with cord). Wood, gesso, paint; fabric clothing; painted eyes; 3'.

The cord has no knots.

Location: On the third altar along the south wall of the nave, to the right of St. Jerome.

Jesús del Nazareño

(So named by Sr. Méndez García; the Palm Sunday Christ, on ass). Wood, gesso, paint; ass has real mane and tail; Christ figure has real sandal, painted eyes; 4'.

Sr. Méndez García identified the material as caoa covered by stucco. The figure is made to be clothed but the body is one piece. The figure has been coarsely repainted, but the original painted gesso can be seen on the right foot of the Christ. The left nostril of the ass is rotted and unrepaired.

Location: South wall, just past the baptistery.