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The Sanctuary of Atotonilco (Santuario de Atotonilco) is a church complex and 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 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 Martinez de Pocasangre over a period of thirty years. The mural work has led the complex to be dubbed the “Sistine Chapel of Mexico.” The complex remains a place of worship and penance to this day, attracting as many as 5,000 visitors every week.
The Sanctuary, officially called the “Santuario de Dios y de la Patria” (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 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.
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.
On the outside the church complex is very plain with high walls that give it a fortress appearance. The outer walls are about ten metres high; the cupolas reach twelve metres and the clock tower is about twenty metres high. The main entrance is also simple under a “mixtilineo” arch that faces east, towards Jerusalem, giving the entire complex an east-west orientation. 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.
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 Martinez de Pocasangre with some done by Jose Maria Barajas over a period of thirty years with almost no free space left among the numerous images.
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.”
Since it was built, the complex has been a pilgrimage and procession site. The architecture and decorative features reflect the doctrine of Saint Ignatius of Loyola, as it was built with the principles of the Counter-Reformation in mind. The sanctuary’s role as a site for penance, according to the exercises of Ignatius Loyola, began in 1765 with 25 people participating and directed by Father Neri. The sanctuary has been one of the principal places in Mexico to practice the spiritual exercises of Ignatius of Loyola, which include mortification of the flesh through flagellation and fasting. During Holy Week, an estimated 5,000 perform these exercises and wear crowns of thorns on their heads.
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