Santa Prisca Church of Taxco

A jewel in the crown of Mexico's Catholicism, the Taxco's Santa Prisca church is one of the most elaborate construction of Mexico.

It took quite a lot of faith for Don José de la Borda to leave his native France in 1716 and go try his luck in one of the less-known corner of Spain's vast empire.

The sleepy city of Taxco, New Spain, was indeed an odd choice for the son of an officer of Louis XIV to settle to. Long forgotten were the days when Hernán Cortes staked his mining claim in Taxco, turning this city into Spain's primary source in the New World of precious metals.

The original mines were soon sucked dry, however, and not a whole lot happened for the next two hundred years.

That is, until Don José de la Borda decided to cross half the world to change the face of Taxco.

"God gives to Borda, Borda gives to God"

In 1708, Don José's brother had spent most of his family's fortune to buy an old concession of the steep hills west of the city, and, picks in hand, commenced on working the mines. Shortly after, José de la Borda joined him and discovered the vein of a lifetime, named San Ignacio, and soon attained the wealth he had sought.

A devout Christian and a very generous man, Borda commissioned the seven year long construction of the Parish of Santa Prisca, giving rise to the famous words: "God gives to Borda, Borda gives to God". On February 12, 1751, Borda obtained a decree from the Viceroy to build the church, and offered to finance the whole construction on condition that neither the catholic order nor the Viceroy would ever interfere with the project.

Today Santa Prisca is both the visual and historical center of Taxco, and the great cost of its elaborate construction and interior decorations nearly bankrupted Borda. He was even forced to sell the monstrance he had initially given to the church.


	View the 9 Altars of Santa Prisca	(slow connection) (RealMedia)
	Excerpt from a special feature of the Acapulco DVD. The main feature on the DVD shows a shorter visit of the church, with narrations by Alexandra.

The Main Altarpiece

The high altar is also a magnificent example of Churriguera architectural style.

This complicated structure, symbolizing the foundations of the Catholic Church, is divided into two main horizontal sections. The lower part is structured around four heavy columns covered with golden floral ornements, representing the fundation of the catholic church.

Each column is bottomed by the figure of a pope, and above are sculptures of the four evangelists. Next up are four evangelists amid small busts of the twelve apostles.

The two side sections represent martyrdom. On their lower part are two medallions with the bust of pope St. Sylvester and St. Marcellus. Sculptures of the two patron saints of the church are above, in the left avenue Santa Prisca and in the right Sebastian. At their feet are two cherubs holding palms symbolising martyrdom.

Dominating this dense altarpiece is an icon of the Immaculate Conception carried by cherubs, between the statute of Santa Prisca - Martyr of the time of Claudius and mediatrix against being struck by lightning -, of Saint Sebastian, the patrons of the Church, and of Saint Peter in priest's robes.

Above the Virgin, with a crescent moon at her feet, is Archangel St. Michael surrounded by more cherubs, and above his head is the Sacred Heart of Christ. Immediately above is the platform that the columns seem to support, and that separates the lower from the upper part of the altar.

The upper part of the altar is highlighted by two pairs of small estipites covered with golden floral motives, and centered by St. Peter dressed in the rich robes of a Pope, and holding a cross in his right hand and a book in the other hand. At his feet are two cherubs, the one on the left holding the papal keys and the other one the papal tiarra. Below the cherubs are two big images of popes. Above St. Peter's head are large draperies held by cherubs. This setting represent the enthronement of the vicar of Christ.

Each of the four upper columns has three small medallions of popes, and on each side of the columns is a big figure of a pope with cherubs below.

Crowning the altar is the face of God holding the world and looking down to his church.

Altar of Nuestra Lady de Guadalupe and Immaculate Conception

To the left of the high altar is the altar of Our Lady of Guadalupe and to the right, the Immaculate Conception's.

Like the main alter, both are structured in two main sections. These two altars also represent the triumph of the Church. They have four bulky columns with statutes of the evangelists symbolizing the spiritual foundation of the Church, the avenues of martyrdom, and the central avenue of Mary. Spainiards felt a strong devotion to Mary at that time, and she was naturally considered part of the foundation of the church. These altars illustrate this religious feeling.

Moreover, among Mexican Indigeneous communities, the Virgin has a special aura through its American incarnation as Our Lady of Guadalupe. Thus, the two altars represent the double image of Mary, as worshipped by the Europeans, and as portayed by the Indians.

In the lower part of each retablo are two pairs of heavy columns covered with gold and decorated with shells and fruits supporting the ledge and the upper part of the altar. At the bottom of the four columns are sculptures of bishops, one on each column. Continuing upwards there are six oval paintings by Cabrera forming a band across each altar. Four of the paintings are on the columns, and two are on the sides of the columns. The four outer paintings of the altar of Our Lady of Guadalupe show the four apparitions of the Virgin; the two inner paintings show scenes of Juan Diego in the archbishop's palace.

The paintings of the altar of the Immaculate Conception show scenes from the lives of the Virgin and of Jesus. In the center of each altar stands a huge painting of the Virgin, by Cabrera, surrounded by smaller oval paintings of a pregnant Virgin surrounded by laurel leaves and crowned by a shell. The Catholic Church explicitly forbade anyone to depict an expectant Mary, and the Spaniards, not famous for their sense of humor in matters of religion, jailed this painter for doing just that.

Experts think that the style of the altars is Churriguera, but that Borda has controlled the flamboyant fantasy of this type by imposing some rules of symmetry, like between these two side altars.

Altars of St. Joseph and Our Lady of Sorrows

Continuing down the center aisle leads to a pair of symmetrical altars: those of St. Joseph and Our Lady of Sorrows. The latest sports a strikingly beautiful sculpture of Christ crucified. The central theme of both altars is triumph represented by two threads of laurel leaves surrounding each retablo. Between the bands of laurel leaves are pomegranates surrounded by shells.

The sculptures of the altar of St. Joseph represent figures of the period immediately proceeding the birth of Christ. These figures personify the link between the Old and New Testaments. In the central niche is the figure of St. Joseph, the earthly father of Christ. To the left are St. Joachim and St. Estolano, and to the right are St. Ann and St. Emerenciana. Above St. Joseph is the Sacred Heart of Christ with cherubs beneath. At the top of the altar is a sculpture of St. John the Baptist, who paved the way for Christ and for the teachings of the New Testament.

There are figures of the same period on either side of St. John the Baptist. One of the most beautiful sculptures in the church is the Virgin which occupies the central niche of the altar of Our Lady of Sorrows. To the right are figures of St. Mary Magdalene and St. Mary Cleophe, and to the left are the figures of St. John Evangelist and St. Mary Salome. Above the Virgin is the Sacred Heart with cherubs beneath.

Crowning this altar is a magnificent set of sculptures representing a Calvary. Those who were present at the death of Christ on the Cross are represented by the figures on either side of Our Lady of Sorrows. To the left of the altar is a pulpit crowned by a figurine of St. Paul, who is pointing to the sculptures at the top of the altar showing us the triumph of the Calvary.

Altars of San Juan Nepomuceno and Our Lady of the Pillar.

Both of these altars are surrounded by pomegranates and shells. The pomegranate is a fruit that, when dried, breaks open to generously spread its many seeds. This symbolizes the spreading of the Word of God, which makes the general theme of both altars.

The altar of San Juan Nepomuceno represents the spreading of the Word of God by the work of the Fathers of the Church, while Our Lady of the Pillar, representing the revelation, shows the giving of God's Word to the Church. The shells which surround the pomegranates represent the grace given by the Word of God.

The central niche which contains a sculpture of San Juan Nepomuceno, and on either side are two figures of Fathers of the Church. St. Peter of Arbues and St. Vincent of Paul. On the right the figure closest to the niche has no name plate, the other is St. Lorenzo Levita. Above the central niche are draperies held by cherubs and above is a ledge. In the ledge is a medallion with a painting of a scene in the life of San Juan Nepomuceno. In the center above the ledge is a huge shell with a cherub on either side holding a bunch of fruit. Crowning the altar is the figure of St. 'Ignatius standing on a shell which serves as a pedestal. At the feet of St. Ignatius on either side are figures of Fathers of the Church.

The Virgin of the Pillar occupies the central niche of the altar on the right, aptly named altar of Our Lady of the Pillar. To the left is the figure of an angel holding the sun, symbolizing the revelation of the New Testament; to the right is an angel holding the moon symbolizing the Old Testament. Above the niche are draperies held by cherubs and above the draperies is the ledge. The medallion in the center of the ledge of this retablo is a painting of Our Lady of the Pillar. In the center above the ledge is the huge shell with cherubs on either side. Crowning the altar is a large sculpture of St. Michael the Archangel flanked by angels on either side.

Between the altars of St. Joseph and San Juan Nepomuceno is an arch leading to the Chapel of the Indians. Above the arch is a huge painting by Cabrera of the Martyrdom of Santa Prisca. At the bottom of the painting, which is in the form of a semi-circle are two cherubs holding palm leaves which represent martyrdom. There is an identical arch between the altars of Our Lady of Sorrows and Our Lady of the Pillar which is the side entrance of the church. Above this arch is a painting of the martyrdom of St. Sebastian, also by Cabrera. The two cherubs at the bottom of the painting are holding a helmet and a spear, the traditional weapons of warriors.

Altars of St. Isidro Labrador and Santa Cecilia.

On either side of the main entrance to the church is a small altar. The altar of St. Isidro Labrador is to the left and the altar of Santa Cecilia to the right. This pair of symmetrical altars are not as imposing as the others of the church.

The central niche of the altar on the right contains a sculpture of Santa Cecilia. On the left is the figure of St. Katherine and, on the right, St. Barbara. Further left is a sculpture of St. Vital, and to the right is St. George standing on a dragon. Above the central niches of both altars are cherubs. In between the small altars in the main entrance and the altars of Our Lady of the Pillar and San Juan Nepsmiiceno are two fonts crowned by a shell. By the entrance to the Chapel of the Indians are two more banners with "Peace be with you, or Grace be with you."

Chapel of the Indians.

Of much historical significance is the only chapel of the church, originally called the Chapel of the Indians.

Built two centuries after the arrival of the conquistadores, this chapel was the first holy place in New Spain where Indians were allowed to pray side by side with Spaniards. When the basilica was built the land was the property of the Indians of Acayotia. They gave it to Borda on condition that he build them a chapel inside his church.

One enter the chapel through the arch with the painting of Santa Prisca, facing the altar of All Souls. In the center of the altar is an enormous medallion by Cabrera representing the purgatory. In the upper part of the painting is the Trinity. Below on the left is Our Lady and on the right St. Joseph. There is an archangel standing on a cloud below, and on either side are the saints. The lower part of the painting depicts souls in purgatory.

On either side of the medallion are two very pronounced estipites. Above the main medallion is a smaller painting showing Our Lady wearing a crown. A huge shell crowns the altar. Another painting on the left shows Christ in purgatory, and on the right Our Lady in purgatory.

The table of this altar, where mass is served, also sports several unique features. In the center is a carved skull wearing a papal tiarra, on the left is a skull wearing a crown, and on the right a skull wearing a bishop's mitra. This may symbolize that no matter what our position in life we all eventually turn to ashes.

On either side of the altar of All Souls are the altars of Jesus of Nazareth, on the left, and the altar of Our Lady, on the right. These altars are identical in structure, only the sculptures and paintings are different. There are the typical Churriguera columns, one on each side of the altars. In the center of each altar is a small expository with draperies above held by cherubs.

Above the expository in the altar of Jesus of Nazareth is a huge painting in a niche showing Jesus carrying the cross. There is a painting of Our Lady in the niche of the altar of Our Lady. Above the niches of both altars are draperies and above are medallions, in the altar of Jesus of Nazareth a very dramatic painting of the Cruxifiction, and in the altar of Our Lady a painting of the Trinity.

Each of the side columns has a sculpture topped by a medallion of different style from the rest of the church. The medallion on the left of the altar of Jesus of Nazareth shows the scourging of Christ, the one on the right the crowning of Christ with thorns. The medallions of the altar of Our Lady show, on the left, the Annunciation, and on the right, a vivid nativity scene.

The Façade of Santa Prisca

A treasure of architecture, the pink baroque Church of Santa Prisca dominates the plaza, and provides a stunning example of the uniquely Mexican architectural style known as Churrigueresque, found throughout the colonial centers of Mexico.

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