Explore the Historic Center of Mexico City

At the heart of the city, you’ll find the Zócalo, which includes the Templo Mayor, Palacio Nacional, and Plaza de la Constitución.

The Templo Mayor was an Aztec temple destroyed to make way for the Spanish cathedral. Today, you can see ancient artifacts and beautiful Spanish colonial architecture at La Catedral Metropolitana.

Exploring this area is a great way to learn about Mexico City’s culture and history.

Explore Templo Mayor

Mexico City is filled with historical landmarks, and one of the most significant ones is Templo Mayor. Located in the Historic Centre of Mexico City, Templo Mayor is a glimpse into life during the Aztec period.

The Aztecs considered this area to be the center of the universe and the birthplace of Mexico’s national symbol, the eagle perched on a cactus with a snake in its beak.

Visit the site and museum, where you’ll see ancient artifacts and learn about Mesoamerican civilization.

Visit Chapultepec Park and Chapultepec Castle

This enormous park covers 1,695 acres and offers various attractions such as a zoo, an amusement park, and 9 different museums. Chapultepec Park is one of the world’s most popular urban parks.

You can spend days walking along forest paths and enjoying the lakes in Chapultepec.

Don’t miss the Museum of Anthropology, which displays sculptures, jewels, and artifacts from ancient Mexican civilizations.

You can also rent a boat and explore Chapultepec Lake.

For history enthusiasts, a visit to Chapultepec Castle, the former home of Emperor Maximilian I and Empress Carlota, is a must.

Discover the Museum of Anthropology

This museum is a treasure trove of ancient Mexican civilizations.

Admire the extensive collection of sculptures and artifacts that provide insight into the country’s rich history. This museum is a must-visit for those interested in learning about Mexico’s indigenous cultures and their contributions to art and civilization.

Mexico City is home to numerous art and history museums.

Don’t miss the National History Museum, Modern Art Museum, National Art Museum, and Museo do Arte Popular, which showcases Mexican folk art. These museums offer vast collections and provide a glimpse into the city’s cultural richness.

Enjoy the Zona Rosa’s Dining Scene

Zona Rosa is a popular neighborhood in Mexico City known for its vibrant nightlife and diverse dining options. Historically, it has been the center of the city’s gay community. You’ll find a wide range of bars, restaurants, and nightclubs here.

Don’t miss places like Cafetería El Péndulo, Xaman Bar, and Cabaretito Fusión. If you’re in the mood for a Korean barbecue, head to BiWon, as the neighborhood also has a significant Korean community.

Experience Xochimilco

Xochimilco is a neighborhood famous for its network of canals. Take a colorful trajinera boat and float along the canals, enjoying the festive atmosphere of the place.

You can also hire a mariachi band to accompany your ride and even buy food and drinks from floating vendors. Xochimilco offers a unique and lively experience that showcases traditional Mexican culture.

Explore Frida Kahlo’s House

Visit the “Casa Azul,” the former home of renowned Mexican artist Frida Kahlo and her husband Diego Rivera.

Explore the rooms where Frida lived and see some of her original artwork. The Casa Azul also hosts monthly artistic workshops, so be sure to check the schedule if you’re interested.

Tickets are in high demand, so it’s recommended to purchase them in advance.

Visit the Biblioteca Vasconcelos

Set amidst beautiful gardens, the Biblioteca Vasconcelos is an impressive library often referred to as a “mega library”. Opening its doors in 2006, it features transparent walls, six floors, and houses over 600,000 books.

The library also hosts cultural activities such as concerts, plays, and dance performances.

Don’t forget to explore the 26,000-square-meter garden filled with trees and plants. Admission is free, and you can check the website for any special events happening during your visit.

Explore the Basilica de Guadalupe

The Basilica de Guadalupe is a famous Catholic church and shrine that attracts thousands of pilgrims each year from all over Mexico. Visit the basilica and shrine, which were built on the spot where the Virgin of Guadalupe appeared to Juan Diego in 1531.

The old basilica, constructed from 1695-1709, began to sink, leading to the construction of the new basilica from 1974-1976. Remember to dress respectfully during your visit, as it is a place of worship.

Marvel at the Soumaya Museum

The Soumaya Museum is a remarkable art museum housing a collection of 66,000 pieces from Central America and Europe. It showcases works by famous artists such as Diego Rivera, Rufino Tamayo, Botticelli, Dalí, and Rodin.

The museum considered the most beautiful modern building in Mexico City, was donated and constructed by Mexican business magnate Carlos Slim Helú. The stunning building features 16,000 aluminum hexagonal tiles. Admission is free.

Attend a Lucha Libre Show

Lucha libre, Mexican free wrestling, is a popular local pastime. It’s a highly entertaining and affordable experience where you can watch wrestlers perform acrobatic moves and engage with the enthusiastic crowd.

Grab a beer or a shot of tequila, and get ready to cheer (or jeer) in Spanish. Remember not to look away during the match, as unexpected surprises often occur. Look for ticket booths with signs saying “tequila” to ensure you’re paying the correct price.

Visit the UNAM Botanical Garden

If you need a break from the bustling city, the Botanical Garden at the National Autonomous University of Mexico offers a serene escape. Inspired by Aztec garden traditions, the garden focuses on conservation and environmental education.

Explore the naturally formed grottoes, ponds, and waterfalls, which were created around lava formations from the Xitle volcano eruption.

The garden boasts an impressive collection of cacti (800 different kinds), ponds with koi and turtles, an orchidarium, and a medicinal garden. Keep an eye out for various wildlife species. Admission is free.

1 USD = approx. 17-19 MXN (2023)

When it comes to accommodation, Mexico City offers a range of options to fit different budgets. Hostels are a popular choice among backpackers, with prices starting at around 300 MXN per night for a bed in a dormitory.

Private rooms for two people range from 600 to 1,900 MXN per night. Budget hotels are another option, with two-star rooms starting at around 300 MXN and three-star hotels ranging from 500 to 900 MXN per night.

If you prefer the comfort of an Airbnb, prices for private rooms typically start at 220 MXN per night, while entire homes and apartments start at 700 MXN. It’s recommended to book in advance for better deals.

When it comes to food, Mexico City is a haven for gastronomic delights. Street stalls and markets offer authentic and affordable options. Tacos, quesadillas, sopas, and tortas are typically priced between 15 and 45 MXN.

For a cheap meal at a restaurant, you can expect to spend around 150 MXN. Look for local establishments filled with locals for the best culinary experiences. Fast food options like McDonald’s cost around 130 MXN for a combo meal, while pizza starts at 400 MXN.

If you’re a coffee lover, a latte or cappuccino will cost around 55 MXN. It’s important to note that tap water is not safe to drink in Mexico City, so using a portable water purifier or opting for bottled water is recommended.

If you plan to cook your own meals, grocery costs can range from 500 to 585 MXN per week for essentials such as rice, vegetables, chicken, tortillas, and beans.

Considering the affordability and variety of street food, it’s often more convenient to indulge in local delicacies rather than cooking.

Mexico City Travel Guide: Money-Saving Tips

Mexico City offers many opportunities to save money and keep your budget intact. Here are some tips:

Eat street food: Enjoy affordable and delicious meals by trying the street food at markets or from local vendors. Look for places where you see children eating as an indication of quality and safety.

Stay with a local: Consider using Couchsurfing to stay with locals who offer free beds or couches. It not only reduces your accommodation costs but also allows you to connect with locals and gain insider tips.

Join a free walking tour: Take advantage of free walking tours to learn about the city’s history and must-see sights. Estacion Mexico Free Tours offers a historic downtown tour that can provide valuable insights.

Opt for rideshares: Use Uber instead of taxis for transportation as it tends to be cheaper and more convenient.

Drink less at bars: While alcohol is affordable in Mexico City, it can add up quickly if consumed at bars and clubs. Consider purchasing your alcohol from local stores for a more budget-friendly option.

Utilize public transit: Take advantage of the city’s public transportation system, which is cost-effective and efficient. Get a rechargeable Smartcard to use on the metro and metro buses.

Bring a water filter: Since tap water is not safe to drink, save money on bottled water and reduce plastic waste by using a water bottle with a built-in filter, such as LifeStraw, to ensure clean and safe drinking water.

By implementing these money-saving tips, you can make the most of your visit to Mexico City without breaking the bank.

1 USD = approx. 17-19 MXN (2023)

For backpackers, a daily budget of around 1,050 MXN is reasonable. This budget covers accommodation in a hostel dorm, street food, and self-cooked meals, public transportation, and a few daily attractions such as museums and galleries.

If you plan to dine out more frequently or enjoy drinks, adding an extra 100 MXN per day is recommended.

On a mid-range budget of approximately 1,900 MXN per day, you can upgrade to a private hostel room or Airbnb, enjoy meals at cheap traditional restaurants, visit more attractions, indulge in a few drinks, and occasionally take taxis for transportation.

With a “luxury” budget of 3,800 MXN or more per day, you can stay at a hotel, dine out for all your meals, enjoy ample drinks, rely on taxis for transportation, and participate in guided trips and tours.

It’s important to note that the sky’s the limit when it comes to luxury in Mexico City, and budgets can exceed this starting point.

Getting around Mexico City is made easy with several transportation options:

Public transportation: The subway system, known as the metro, is the best way to navigate the city efficiently. Despite being busy and crowded, it offers a convenient mode of transport.

Purchase a rechargeable smart card at any metro station for 16 MXN, which includes the first 5 MXN tickets.

This card can be used for both the metro and metro buses. City buses are another option, with a fare of 6 MXN per ride. Additionally, microbuses, privately-run vehicles, are available at a cost of 2.50-4 MXN per ticket.

Turibus: Turibus is a popular hop-on hop-off tourist bus with four routes in Mexico City. It provides an opportunity to familiarize yourself with the city and explore areas of interest. A 1-day ticket on weekdays costs 160 MXN, while on weekends it is priced at 180 MXN.

Bicycles: EcoBici is a bike-sharing program that offers rentals in Mexico City. The first 45 minutes of use are free, with subsequent hours charged at 25 MXN per hour and an additional 50 MXN for each subsequent hour. A full day of bike rental costs 118 MXN.

After your ride, you can return the bike to any kiosk with an available dock, indicated by a green light.

Taxis: Taxis are readily available in Mexico City, and fares start around 25 MXN with an additional 16 MXN per kilometer.

It’s advisable to take taxis from designated taxi stands outside hotels or restaurants, as these are authorized and considered safer than hailing a taxi on the street.

Ride-sharing: Uber operates in Mexico City and is a convenient and often cheaper alternative to traditional taxis.

Car rental: Driving in Mexico City can be challenging due to heavy traffic and aggressive drivers. It is generally not recommended unless necessary. If you choose to rent a car, prices range from 800 to 900 MXN per day for multi-day rentals.

To find the best car rental deals, consider using Discover Cars.

By utilizing these transportation options, you can easily navigate Mexico City and explore its various attractions and neighborhoods.

Deciding when to visit Mexico City depends on your preferences and the festivals you’d like to experience. Here are some details about different seasons and celebrations:

Summer (June to October): Mexico City experiences its rainy season during these months, especially in the central part of the country.

While heavy downpours occur daily, they are usually brief. In the northern region, rainfall is minimal, while high humidity is prevalent in the south and coastal areas. Temperatures range from 26 to 32°C.

April to June: These months are typically the hottest, with average temperatures reaching a high of 27°C. It’s worth noting that this period is also one of the busiest times for tourism, so it’s advisable to book accommodations well in advance.

Semana Santa: One of Mexico’s most significant holidays, Semana Santa (Holy Week) occurs the week before Easter.

During this time, a re-enactment of the crucifixion takes place. It’s a popular time for travel, and if you plan to visit Mexico City during Semana Santa, be prepared for larger crowds and higher demand for accommodations.

Día de la Independencia: Celebrated on September 16th, Día de la Independencia is Mexico’s Independence Day. Festivities begin the night before in Mexico City’s Zócalo, featuring fireworks and vibrant celebrations.

It’s essential to note that this is Mexico’s independence day, distinct from Cinco de Mayo, which commemorates the Battle of Puebla and is celebrated more prominently in the state of Puebla, south of Mexico City.

Día de Muertos (Day of the Dead): In November, Mexico comes alive with the vibrant celebrations of Día de Muertos. During this time, locals honor their deceased loved ones through all-night vigils, visits to cemeteries, and the creation of intricate sugar skulls.

Mexico City hosts memorable festivities, including parties and parades. It’s highly recommended to book accommodations well in advance if you plan to visit during this time, as the city tends to fill up quickly, and prices may rise.

Consider your preferred weather, tolerance for crowds, and interest in specific festivals when planning your visit to Mexico City.

Ensuring your safety while visiting Mexico City is essential. While media coverage may portray the city as dangerous, the reality is that many areas are safe for tourists. Petty theft, such as bag snatching, is common, so it’s important to remain vigilant.

Avoid neighborhoods like Tepito and Iztapalapa known for higher crime rates, and be cautious in crowded markets where pickpockets may target unsuspecting individuals. Blend in with the locals and keep your valuables secure and out of sight.

Engage with locals who are often friendly and helpful. If you have concerns about a particular neighborhood, seek advice from locals who can provide insights into its safety.

Mexico City comes alive at night, with bustling streets and people around. This presence of activity can contribute to a safer environment as there are more eyes watching out for potential crime.

Areas like Condesa, Roma Norte, and Juarez are generally safe for tourists, but it’s always wise to exercise caution and follow standard safety precautions, especially when walking alone at night.

Solo female travelers can feel relatively safe in Mexico City, but it’s advisable to take extra precautions, especially at night. Follow common safety guidelines such as avoiding walking alone while intoxicated and never leaving drinks unattended.

Many solo female travel blogs offer specific tips for added security.

Be aware of common scams that target tourists, such as fake ATMs, taxis without meters, and questionable tour operators. Stay alert and exercise caution when dealing with unfamiliar services.

In case of emergencies, dial 911 for immediate assistance.

It’s important to note that tap water in Mexico City is not safe to drink. To avoid single-use plastic bottles, consider using a LifeStraw or other water filtration system to purify your water and ensure its safety.

Always trust your instincts and be mindful of your surroundings. Avoid isolated areas, especially at night. Make copies of your important documents, including your passport and identification.

Lastly, obtaining comprehensive travel insurance is highly recommended.

Travel insurance provides coverage for medical emergencies, theft, cancellations, and other unforeseen events. It offers peace of mind and protection in case of any unfortunate incidents during your trip.

The Historic Center with the Zócalo esplanade could be considered the nerve center of Mexico City, reality shows us that wherever we go, the city throbs with people, hustle and bustle, and life.

Zócalo is the third in dimensions in the world. On one side the National Palace is elegant and a necessary visit to almost read the History of Mexico with the murals by Diego Rivera that relate the important moments of the creation of the Mexican nation.

In the northern part of the Zócalo stands the other great building on the esplanade, the Metropolitan Cathedral, immense, majestic and whose temporary construction arc, which spans from 1573 to 1813, makes it almost unclassifiable in terms of style.

The baroque façade looks out onto the Zócalo with the Metropolitan Tabernacle attached.

Behind the cathedral, leaving the Zócalo, the Templo Mayor of Huitzilopochtli passed almost hidden for centuries, a ceremonial site and today an interesting museum that clarifies what the appearance of Tenochtitlan, the city on the lagoon, was like.

Walking west from the Zócalo, that is, towards Chapultepec, you can choose between Tacuba or Avenida Madero streets to stop at some famous buildings, such as the Esmeralda Building (headquarters of the Estanquillo Museum), the Iturbide Palace and the Casa de los Azulejos in the first street or the Palacio de la Minería y Correos in the second.

Before reaching the avenue, you will see the Latin American Tower, which is 160 meters tall and was for a long time the tallest and most charismatic building. You can go up to its viewpoint to get a wonderful view of Mexico City.

The Palace of Fine Arts, in the Plaza de la Alameda, is home to the homonymous museum and the National Museum of Architecture. The work of the Italian architect Adamo Boari during the Porfiriato, at the beginning of the 20th century, the performance of the National Folkloric Ballet is one of the most impressive shows in the capital, showing the typical dances of each region of Mexico.

Just a step away, and hardly perceptible to the eye, is the Diego Rivera Mural Museum, known as the Alameda Museum, which was moved here after the 1985 earthquake from the Hotel del Prado, its original location. Dense and loaded with historical allusions, the mural reflects everyday life in Alameda Park.

From the Alameda, if we cross some streets to the north we can find Plaza Garibaldi, where the Mariachis sing their rancheras.

In the same square, the El Museo del Tequila y el Mezcal.

To the south of the Alameda, on a getaway, Mercado de San Juan appears, where you can find any condiment in the world. Although it is becoming more and more touristy, it has not lost that traditional market charm.

In the Plaza de la República, between the great avenues of Insurgentes and Reforma, you can see the Monument of the Revolution. This monument was actually going to be part of the central body of a gigantic Capitol for Parliament.

It is worth knowing its history in the small museum that shows us the exaggerated architectural pretensions that motivated its construction. The panoramic elevator allows us to go up to see the Plaza de la Revolución and some nearby buildings from the top, such as the Jai Alai fronton.

Once you reach Paseo de la Reforma, the avenue becomes wide and busy, leading us through a boulevard built in the time of Maximilian I in the Parisian style, in which the sculptures of Colón, Cuacuhtémoc, the Angel of Independence, and Diana the Huntress following one after another.

In the Chapultepec forest, in addition to the aforementioned museums, thousands of people escape from the madding crowd and traffic to spend a few hours in the lush forest.

The zoo and the lake with its rowboats are two of the areas where people concentrate, who also go to ride their bikes, run or rollerblade and escape for a while from the noise of Mexico City.

Quite a bit further south, without leaving the great avenue of Insurgentes, you can see the Polyforum Siqueiros.

This great work of David Alfaro Siqueiros is recognized as the largest in the world. Its interior is harmonized by the light show that tells us the history of this work of art.

In Xochimilco, the jovial atmosphere reigns. This “Mexican Venice” is the only thing that remains of the extensive lake where the pre-Columbian city was based.

The Ciudad Universitaria is also postulated as a good place to spend a morning getting to know some of its charms, among which are the Olympic Stadium, the site of the 1968 games in Mexico City, the Universum or Museum of Sciences, the Rectory Building of the UNAM, or the Nezahualcoyotl room where you can listen to some of the best classical music concerts in America.

If you have more time, you should not miss a visit to the Antiguo Colegio de San Ildefonso, where there is a selection of murals, including the first one painted by Diego Rivera, Cineteca Nacional or the National Auditorium.

In addition to the museums, there are countless free excursions that range from simply walking the streets, squares, and parks of Mexico City, photographing the monuments, or the thousand curious pictures that a city in constant movement offers us.

At night the most popular neighborhoods such as Colonia Roma or La Condesa roar with the Mexican march, a party for all audiences and until dawn.

Coyoacán offers restaurants of any gastronomy in the world, in a pleasant atmosphere where you can walk around having ice cream with the moon as a witness.

How to get around Mexico City is one of the main questions for every traveler who comes to the capital. And it should not be neglected because it is vital both save time and to avoid dangerous situations.

Mexico City is so big that we have to think twice about the distance before we dare to walk. On the other hand, there are areas where it is not recommended to walk, and public transport or taxi can save us time and provide us with more security.

The metro offers a very extensive network of lines. Its economic price makes it the best option for long trips. Each metro station is assigned an icon that identifies it, which gives it an original touch.

There are parts of the platform for the exclusive use of women and minors, clearly identified and often coordinated by the police, which serve to scare off abusers.

For when the subway does not offer us a comfortable option due to the distance from stations, buses (here called trucks) or light rail can help us connect our origin and destination. It should be borne in mind that public buses suffer the same problem as cars and taxis, that is, overwhelming traffic with insufferable traffic jams.

There are small vans, known as peseras or combis that cover a multitude of routes, and are an alternative to buses.

The taxi is something very recurrent, useful to link parts of the city that the subway does not cover, or that need several connections.

The old fleet of green and white “bocho” (Volkswagen beetle) taxis has been replaced by new maroon and gold models, and more recently pink and white, more modern and less polluting.

Mexico City has hotels for all tastes, with accommodations spread throughout the city. The normal thing is to stay in accommodations located in the center, near the Zócalo, or next to the large avenues such as Reforma or Insurgentes.

Another option is to look for accommodation in the Coyoacán neighborhood, quiet, safe, and with many attractions.

Planning to visit Mexico from the USA or continue your trip from Mexico to the USA being a non-US citizen?

Get your ESTA visa at the earliest

In this case, you should apply for an ESTA visa online as soon as possible. An ESTA visa is a digital travel authorization granted to tourists who plan to stay in the United States for not more than 90 days.

Obtaining ESTA access is necessary for citizens of countries who can travel to the U.S. under the visa waiver program. If you are wondering should you need one, here is what you need to know.

ESTA is suitable for short tours and business trips. It is valid for up to two years and facilitates multiple entries within that period. After the expiry, you can renew the ESTA for another visit.

The process for ESTA application is quick and hassle-free. That being said, you do need to fill up all details at least 72 hours before you plan to travel. You may get your ESTA sooner, but you do not want to risk it.

Additionally, you need to ensure that all the info you write is correct and that you do not miss out on any important detail.

It is advised to get your ESTA at least 3 days before the intended visit. If you have already applied for ESTA, then you can check your ESTA visa status online.

If you are traveling by Sea or Air, then you must have an approved ESTA to gain access to the country. ESTA is issued only to the citizens of the nations included in the Visa Waiver Program. Your ESTA visa only needs a few minutes and mouse clicks.

In this place have been found a significant Aztec finds, such as a sacrificial altar in the shape of a plumed serpent.

The earliest known structure on the site was the Convent of Santa Isabel, whose church was built in 1680.

The convent area suffered frequent flooding during the early colonial period and development here grew slowly.

In spite of this, the convent remained until it was forcibly closed in the 1860s by the Reform Laws. It was replaced by a textile mill and lower-class housing.

A section of this housing, on Santa Isabel Alley, was torn down and replaced by the National Theater in the latter 19th century. During the late 19th century and very early 20th, this theatre was the site of most of Mexico City’s high culture, presenting events such as theatre, operettas, Viennese dance and more.

It was then decided to replace this building with a more opulent one for the upcoming Centennial of Mexican Independence celebrations in 1910.

The old theatre was demolished in 1901, and the new theatre would be called the Gran Teatro de Ópera. The work was awarded to Italian architect Adamo Boari, who favored neoclassical and art nouveau styles and who is responsible for the Palacio del Correo which is across the street. Adamo Boari promised in October 1904 to build a grand metallic structure, which at that time only existed in the United States, but not to this size.

The first stone of the building was placed by Porfirio Díaz in 1904. Despite the 1910 deadline, by 1913, the building was hardly begun with only a basic shell. One reason for this is that the project became more complicated than anticipated as the heavy building sank into the soft spongy subsoil. The other reason was the political and economic instability that would lead to the Mexican Revolution. Full hostilities suspended construction of the palace completely and Adamo Boari returned to Italy.

The project would sit unfinished for about twenty years. In 1932, construction resumed under Mexican architect Federico Mariscal. Mariscal completed the interior but updated it from Boari’s plans to the more modern Art Deco style. The building was completely finished in 1934, and was inaugurated on 29 September of that year.[

The inaugural work presented in the theatre was “La Verdad Sospechosa” by Juan Ruiz de Alarcón in 1934. In 1946, the Instituto Nacional de Bellas Artes (National Institute of the Fine Arts) was created as a government agency to promote the arts and was initially housed at the Museo Nacional de Artes Plásticas, the Museo del Libro and other places. It is now at the Palacio.

In this theatre, Maria Callas debuted in the opera Norma in 1950.

In 2002, the Palace was the scene of the funeral of María Félix.

Since its initial construction, very little has been updated or modified. However, intensive renovation efforts were begun in 2009 for the upcoming 2010 celebrations. Much of the equipment and machinery is original from the early 20th century. Much of the technological equipment is being updated, especially in the theatre which needs computerized lights, sound systems and other improvements. Other work will improve acoustics. Upgrades to the theatre will allow for multimedia shows which were not available before. The main hall has had no renovation or upgrade work since it opened in 1934. Renovations here will lessen the number of people the hall can accommodate but should make the area more comfortable.

The palace has a mixture of a number of architectural styles; however, it is principally Art Nouveau and Art Deco. Art Nouveau dominates the exterior, which was done by Adamo Boari, and the inside is dominated by Art Deco, which was completed by Federico Mariscal.

Since construction began in 1904, the theater (which opened in 1934) has sunk some four meters into the soft soil of Mexico City.

The main facade, which faces Avenida Juárez, is made of white Italian Carrara marble. In the interior of the portal are sculptures by Italian Leonardo Bistolfi. It consists of “Harmony”, surrounded by “Pain”, “Rage”, “Happiness”, “Peace” and “Love”.

Another portion of the facade contains cherubs and sculptures representing music and inspiration.

On the plaza front of the building, designed by Boari, there are four Pegasus sculptures which were made by Catalan Agustí Querol Subirats. These had been in the Zocalo before being brought here.

The roof covering the center of the building is made of crystal designed by Hungarian Géza Maróti and depicts the muses with Apollo.

One aspect of the Palace which has since disappeared is the “Pergola”, which was located in the Alameda. It was constructed to house pictorial exhibitions for the 1910 celebrations, but it was demolished in 1973.

The interior is also surfaced in Carrara marble. It divides into three sections: the main hall with adjoining smaller exhibition halls, the theatre and the offices of the “Instituto Nacional de Bellas Artes”.

The main hall is covered by the Marotti glass and iron roof. It and the balconies of all three upper floors can be seen from the ground floor below.

In areas of the main hall, pre-Hispanic motifs done in Art Deco style, such as serpents’ heads on window arches and Maya Chaac masks on the vertical light panels distinguish this interior from its contemporaries.

The smaller exhibition halls are located on the first and second floors.

The first floor is decorated with crystal lamps, created by Edgar Brandt and hold murals by Rufino Tamayo. The Adamo Boari and Manuel M. Ponce halls hold music and literature events.

And the National and International halls are for exhibitions.

The second floor has smaller exhibition halls as well as murals by José Clemente Orozco, David Alfaro Siqueiros, Diego Rivera, Jorge González Camarena, Roberto Montenegro and Manuel Rodríguez Lozano.

The third floor is occupied by the Museum of Architecture. The ironwork was designed in Italy by Alessandro Mazzucotelli and in Mexico by Luis Romero Soto.

At the entrance of the theatre, there are mascarons in bronze with depictions of Tlaloc, and Chaac, the Aztec and Maya deities of water, which along with the rest were designed by Gianette Fiorenzo.

On the arch over the stage there are representations of various mythological personas such as the Muses with Apollo. This was constructed in Hungary in the workshops of Géza Maróti.

However, the most impacting aspect is the stage “curtain” which is a stained glass foldable panel created out of nearly a million pieces of iridescent colored glass by Tiffany’s in New York.

This stage curtain is the only one of its type in any opera house in the world and weighs 24 tons. The design of the curtain has the volcanos Popocatépetl and Iztaccíhuatl in the center. Around them is a Mexican landscape surrounded by images of sculptures from Yautepec and Oaxaca. This design was inspired by work done by artist Gerardo Murillo. The theatre has a capacity of 1,000.

The Palace has been the scene of some of the most notable events in music, dance, theatre, opera and literature and has hosted important exhibitions of painting, sculpture and photography.

It has hosted some of the biggest names from both Mexico and abroad. It has hosted poetry events as well as those related to popular culture. Artists and companies are from all parts of Mexico and abroad. It has been called the “Cathedral of Art in Mexico” and is considered to be the most important theatre and the most important cultural center in Mexico.

It was declared an artistic monument in 1987 by UNESCO.

The building is administered by the Instituto Nacional de Bellas Artes of the federal government.

The palace receive on average 10,000 visitors each week.

Two of the best-known groups which regularly perform here are the Ballet Folklórico de México Compania Nacional de Opera de Bellas Artes and the National Symphonic Orchestra. The first performs in the theatre twice a week and is a spectacle of pre and post Hispanic dance of Mexico.

A typical program includes Aztec ritual dances, agricultural dances from Jalisco, a fiesta in Veracruz, a wedding celebration — all accompanies by mariachis, marimba players and singers.

Regular annual events include the Premio Quorum for Mexican designers in graphic and industrial materials and the Premios Ariel for Mexican films.

Individual events that have been held here are numerous. Some of these include several exhibitions of Frida Kahlo’s work and a number of appearances by Luciano Pavarotti.

In 1987, Bellas Artes hosted a legendary performance of Jesusa Rodríguez’s Donna Giovanni, an adaptation of Mozart’s opera with a female cast.

Other appearances have been made by Mexican baritone Jorge Lagunes (2002) and Catalan guitarist Joan Manuel Serrat (2003).

Events that have been held here include “ABCDF Palabras de Ciudad” (2002) showing life in popular housing in photographs and video, “Bordados del Mexico Antiguo” (“Embroidery of Old Mexico”) showing processes, history and design,[13] Rem Koolhaas Premio Pritzker 2000″ conference and “Exchanging Views: Visions of Latin America” which was an exhibit from the collection of Patricia Phelps de Cisneros comprising 148 works by 72 artists from across Latin America in 2006.

Occasionally, the plaza in front of the Palace is the scene of protests such as those against the Iraq War in 2003 and against bullfighting in 2010.

The floors between the ground floor and the uppermost floor are dominated by a number of murals painted by most of the famous names of Mexican muralism.

On the 2nd floor are two early-1950s works by Rufino Tamayo: México de Hoy (“Mexico Today”) and Nacimiento de la Nacionalidad (“Birth of Nationality”), a symbolic depiction of the creation of the mestizo (person of mixed indigenous and Spanish ancestry) identity.

At the west end of the 3rd floor is El hombre controlador del Universo (“Man, controller of the Universe” – known as Man at the Crossroads), originally commissioned for New York’s Rockefeller Center in 1933.

The mural depicts a variety of technological and societal themes (such as the discoveries made possible by microscopes and telescopes) and was controversial for its inclusion of Lenin and a Soviet May Day parade.

The Rockefellers were not happy with the painting and the incomplete work was eventually destroyed and painted over. Rivera recreated it here in 1934.

On the north side of the third floor are David Alfaro Siqueiros’ three-part La Nueva Democracía (“New Democracy”) and Rivera’s four-part Carnaval de la Vida Mexicana (“Carnival of Mexican Life”); to the east is José Clemente Orozco’s La Katharsis (Catharsis), depicting the conflict between humankind’s ‘social’ and ‘natural’ aspects.

The Museo del Palacio de Bellas Artes (“Museum of the Palacio de Bellas Artes”) is the organization that takes care of the permanent murals and other artwork in the building as well as arrange temporary exhibits. These exhibits cover a wide range of media and feature Mexican and international artists, focusing on classical and contemporary artists.

Museo Nacional de Arquitectura

The Museo Nacional de Arquitectura (Museum of Architecture) occupies the top floor of the building, covered by the glass and iron roof. It contains exhibitions from renowned Mexican architects including models, designs and photographs of major works.

The museum also arranges temporary exhibitions of its collections in other facilities to expose the Mexican public to the country’s rich architectural heritage. Some of the major architects featured at the museum include Jaime Ortiz Monasterio, Carlos Mijares Bracho, Adamo Boari and Luis Barragán.

The museum is divided into four sections called “Arquitectura-contrastes: Jaime Ortiz Monasterio y Carlos Mijares Bracho”, “Corpus Urbanístico de la Ciudad de México”, “Teatro Nacional de México (Plano original)” and “Teatro Nacional de México”. There are also temporary exhibits on contemporary architecture.

Many think it was the first skyscraper in Mexico. However, skyscrapers may have first appeared in Mexico City between 1910 and 1935.

The tallest of the time, the International Capital Building (Edificio Internacional de Capitalización) was completed in 1935. This building was surpassed by the Edificio Miguel E. Abed, which, in turn, was surpassed by the Latinoamericana Tower.

The Latinoamericana Tower opened its doors on April 30, 1956. The Torre Latinoamericana was built to headquarters in La Latinoamericana, Seguros, S.A., an insurance company founded on April 30, 1906.

The site where the Latin American Tower currently stands was formerly occupied by the animal house of the Tlatoani Mexica Moctezuma II, and after the conquest, there was built Convent of San Francisco.

The building took its name from this company as it began to be built during the postwar boom of the late 1940s, which lasted until the early 1970s.

At the time of its construction, the insurance company was controlled by the Mexican tycoon Miguel S. Macedo, who headed one of Mexico’s largest financial consortiums at the time.

Originally the insurance company occupied a smaller building at the same location. In 1947 it temporarily relocated to a nearby office while the tower was built.

Once it was finished in 1956, the insurance company moved into the tower’s 4th to 8th floors. The rest of the building’s office space was for lease.

At the time of its completion, the Torre Latinoamericana was the 45th tallest building in the world. It was also the tallest building in Latin America and the fourth in height in the world outside New York.

Its public observation deck on the 44th floor is the highest in Mexico City.

The project was designed and executed by Mexican civil engineers. Its design consists of steel-frame construction and deep-seated piles, which were necessary given Mexico City’s frequent earthquakes and muddy soil composition, which makes the terrain tricky to build on.

Before construction, engineers carried out several soil mechanics studies on the construction site and designed the structure accordingly. Today this is common and even mandatory practice, but at the time it was quite an innovation.

The tower gained notoriety when it withstood the magnitude 7.9 1957 earthquake, thanks to its outstanding design and strength.

This feat garnered its recognition in the form of the American Institute of Steel Construction Award of Merit for “the tallest building ever exposed to a huge seismic force” (as is attested by plaques in the building’s lobby and observation deck).

However, an even greater test came, by far, with the magnitude 8.1 September 19, 1985 earthquake, which destroyed many buildings in Mexico City, especially the ones built downtown, in the tower’s neighborhood.

The Torre Latinoamericana withstood this force without problems and has thus become a symbol of safety in Mexico City. Today the tower is considered one of the safest buildings in the city despite its potentially dangerous location.

While it was being built, detractors said that there was no way a building of that size could withstand one of Mexico City’s earthquakes.

The truth is that during the September 1985 earthquake, which took place at 07:19 in the morning, Adolfo Zeevaert, one of the engineers of the tower, was inside his office on the 25th floor.

From that vantage point, he was able to witness the destruction taking place while several buildings collapsed and the dust cloud that followed, all the while feeling the movement inside the tower.

It could arguably be said that it was the first time that a builder and designer of a tall building witnessed firsthand its behavior during a powerful earthquake.

The tower is now co-owned by its original builder La Latinoamericana, Seguros, Inmobiliaria Torre Latinoamericana, a real estate firm. In 2002 seven of the 44 floors were purchased by Telcel and Banco Inbursa, both firms controlled by Mexican businessman Carlos Slim.

In 2006, the tower celebrated its 50th anniversary.

A ceremony was held on April 30, 2006, which included the reopening of the newly remodeled 37th to 44th floors, a site museum, and a fully remodeled Mirador, or observation deck, designed by Danish-born architect Palle Seiersen Frost.

Also on that occasion were unveiled some recognitions granted by several architectural, engineering, and communications institutions.

The Torre Latinoamericana contains the FM transmission facilities for Radio Fórmula’s two FM stations in Mexico City, XERFR-FM 103.3 and XEDF-FM 104.1.

Plans for the tower include a facelift, which will remodel the building’s exteriors using new materials while maintaining the original design and look; since the tower is considered a historical monument, its exterior look cannot be altered.

• The building was featured in a photograph by Mexican photographer Enrique Metinides when a suicidal man climbed out onto the ledge of the 27th floor in 1993. A Red Cross worker managed to prevent her death.
• The tower can be briefly seen from inside a helicopter during the beginning of Baz Luhrmann’s Romeo + Juliet.
• It’s also featured prominently in “Sólo con Tu Pareja” (“Only with your partner”), a 1991 Mexican film by Alfonso Cuarón.
• As a fixture of the Mexico City skyline, the tower also appears in the opening scene of “Amores Perros”, a 2000 Mexican crime drama film directed by Alejandro González Iñárritu and written by Guillermo Arriaga.
• The tower is seen in Spectre (2015) after James Bond hijacks a helicopter by killing a hired assassin and the pilot.

After the Spanish conquest of the Aztec Empire, the conquistadors decided to build their church on the site of the Templo Mayor of the Aztec city of Tenochtitlan to consolidate Spanish power over the newly conquered domain.

Hernán Cortés and the other conquistadors used the stones from the destroyed temple of the Aztec god of war Huitzilopochtli, principal deity of the Aztecs, to build the church. Cortés ordered the original church’s construction after he returned from exploring what is now Honduras.

Architect Martín de Sepúlveda was the first director of this project from 1524 to 1532. Juan de Zumárraga, the first Bishop of the first See of the New World, established in the Viceroyalty of New Spain, promoted this church’s completion. Zumárraga’s Cathedral was located in the northeast portion of what is now the cathedral. It had three naves separated by three Tuscan columns. The central roof was ridged with intricate carvings done by Juan Salcedo Espinosa and gilded by Francisco de Zumaya and Andrés de la Concha. The main door was probably of Renaissance style. The choir area had 48 seats made of ayacahuite wood crafted by Adrian Suster and Juan Montaño. However, this church was soon considered inadequate for the growing importance of the capital of New Spain.

In 1544, ecclesiastical authorities in Valladolid ordered the creation of new and more sumptuous cathedral. In 1552, an agreement was reached whereby the cost of the new cathedral would be shared by the Spanish crown, encomenderos and the native inhabitants under the direct authority of the archbishop of New Spain. The cathedral was begun by being built around the existing church in 1573. When enough of the cathedral was built to house basic functions, the original church was demolished to enable construction to continue.

The cathedral was constructed over a period of over two centuries, between 1573 and 1813. Its design is a mixture of three architectural styles that predominated during the colonial period, Renaissance, Baroque and Neo-classic.

Initial plans for the new cathedral were drawn up and work on the foundation began in 1562. The decision to have the cathedral face south instead of the east was made in 1570. In the same year, construction commenced, working from the Gothic designs and models created by Claudio de Arciniega and Juan Miguel de Agüero, inspired by cathedrals found in Spanish cities such as Valladolid and Jaén.

Because of the muddy subsoil of the site, work on the foundation continued past the work on the walls to 1581. In 1585, work on the first of the cathedral’s chapels began and by 1615, the cathedral’s walls reached to about half of their final height.

Construction of the interior of the current cathedral began in 1623 and what is now the vestry was where Mass was conducted after the first church was finally torn down.

In 1629, work was interrupted by flooding, over two metres in depth. Parts of the city were damaged, especially around the main plaza or Zócalo. Because of such damage, this site was almost abandoned and a new cathedral project was begun in the hills of the Tacubaya area to the west.

Despite these problems, the project continued in its current location, and under the direction of Luis Gómez de Transmonte, the interior was finished and consecrated in 1667. The cathedral still lacked bell towers, the complete front facade, and many of the other features it has now at the beginning of the 18th century.

In 1787, José Damian Ortiz de Castro was in charge of finishing work on the cathedral. He did most of the work on the bell towers, putting in most of the fretwork and capping them with roofs in the shape of bells. With his death in 1793, he did not live to see the cathedral completed, and Manuel Tolsá finished the cathedral by adding the cupola, the central front facade, the balustrades, and the statues of Faith, Hope and Charity at the top of the front facade. Tolsa’s work was the last major construction to the cathedral and the appearance it had when he finished is the basic look the cathedral has today.

The cathedral faces south and is approximately 54.5 metres wide and 110 metres long. It consists of two bell towers, a central dome, three main portals, five naves, 51 vaults, 74 arches and 40 columns. Inside the cathedral are five large altars, sixteen chapels, a choir area, a corridor, capitulary room, and sacristy. The cathedral has approximately 150 windows.

Facades and portals

The main facade of the cathedral faces south. The main portal is centered in the main facade and is the highest of the cathedral’s three portals. Statues of Saint Peter and Paul the Apostle stand between the columns of the portal, while Saint Andrew and James the Just are depicted on the secondary doorway. In the center of this doorway is a high relief of the Assumption of the Virgin Mary, to whom the cathedral is dedicated.[6] This image is flanked by images of Saint Matthew and Saint Andrew. The coat of arms of Mexico is above the doorway, with the eagle’s wings outstretched. There is a clock tower at the very top of the portal with statues representing Faith, Hope and Charity, which was created by sculptor Manuel Tolsá.

The west facade was constructed in 1688 and rebuilt in 1804. It has a three-section portal with images of the Four Evangelists. The west portal has high reliefs depicting Jesus handing the Keys of Heavens to Saint Peter.

The east facade is similar to the west facade. The reliefs on the east portal show a ship carrying the four apostles, with Saint Peter at the helm.[6] The title of this relief is The ship of the Church sailing the seas of Eternity.

The northern facade, built during the 16th century in the Renaissance Herrera style, is oldest part of the cathedral and was named after Juan de Herrera, architect of the El Escorial monastery in Spain. While the eastern and western facades are older than most of the rest of the building, their third level has Solomonic columns which are associated with the Baroque period.

All the high reliefs of the portals of the cathedral were inspired by the work of Flemish painter Peter Paul Rubens.

Bell towers

The bell towers are the work of Xalapan artist José Damián Ortiz de Castro. They are capped with bell-shaped roofs made of tezontle covered in chiluca, a white stone. Ortiz de Castro was in charge of the cathedral’s costruction in the latter half of the 18th century until he died, unexpectedly. Manuel Tolsá of Valencia, who had built other notable buildings in Mexico City, was hired to finish the cathedral. At this point, the cathedral had already been 240 years in the making. He added the neo-Classic structure housing the clock, the statues of the three theological virtues (Faith, Hope, and Charity), the high balustrade surrounding the building, and the dome that rises over the transept.

The cathedral has 25 bells—eighteen hang in the east bell tower and seven in the west tower. The largest bell is named the Santa Maria de Guadalupe and weighs around 13,000 kilograms. Other major bells are named the Doña Maria, which weighs 6,900 kilograms, and La Ronca (“the hoarse one”), named so because of its harsh tone. Doña Maria and La Ronca were placed in 1653 while the largest bell was placed later in 1793.

The statues in the west tower are the work of José Zacarías Cora and represent Pope Gregory VII, Saint Augustine, Leander of Seville, St. Fulgentius of Écija, St.Francis Xavier, and Saint Barbara. The statues in the east tower are by Santiago Cristóbal Sandoval and depict Emilio, Rose of Lima, Mary (mother of Jesus), Ambrogio, Jerome, Philip of Jesus, Hippolytus of Rome, and Isidore the Laborer.

In 1947, a novice bell ringer died in an accident when he tried to move one of the bells while standing under it. The bell swung back and hit him in the head, killing him instantly. The bell was then “punished” by removing the clapper. In the following years, the bell was known as la castigada (“the punished one”), or la muda (“the mute one”). In 2000, the clapper was reinstalled in the bell.

In October 2007, a time capsule was found inside the stone ball base of a cross, in the southern bell tower of the cathedral. It was placed in 1742, supposedly to protect the building from harm. The lead box was filled with religious artifacts, coins and parchments and hidden in a hollow stone ball. The ball was marked with the date of 14 May 1791, when the building’s topmost stone was laid. A new time capsule will be placed in the stone ball when it is closed again.

Tabernacle

Situated to the right of the main cathedral, the Metropolitan Tabernacle (Spanish: Sagrario Metropolitano) was built by Lorenzo Rodríguez during the height of the Baroque period between 1749 and 1760, to house the archives and vestments of the archbishop. It also functioned and continues to function as a place to receive Eucharist and register parishioners.

The first church built on the cathedral site also had a tabernacle, but its exact location is unknown. During the construction of the cathedral, the tabernacle was housed in what are now the Chapels of San Isidro and Our Lady of Agony of Granada. However, in the 18th century, it was decided to build a structure that was separate, but still connected, to the main cathedral. It is constructed of tezontle (a reddish porous volcanic rock) and white stone in the shape of a Greek cross with its southern facade faces the Zócalo. It is connected to the main cathedral via the Chapel of San Isidro.

The interiors of each wing have separate uses. In the west wing is the baptistry, in the north is the main altar, the main entrance and a notary area, separated by inside corner walls made of chiluca stone and tezontle. Chiluca, a white stone, covers the walls and floors and the tezontle frames the doors and windows. At the crossing of the structure is an octagonal dome framed by arches that form curved triangles where they meet at the top of the dome. The principal altar is in the ornate Churrigueresque style and crafted by indigenous artist Pedro Patiño Ixtolinque. It was inaugurated in 1829.

The exterior of the Baroque styled tabernacle is almost entirely adorned with decorations, such as curiously shaped niche shelves, floating drapes and many cherubs. Carvings of fruits such as grapes and pomegranates have been created to in the shape of ritual offerings, symbolizing the Blood of Christ and the Church. Among the floral elements, roses, daisies, and various types of four-petalled flowers can be found, including the indigenous chalchihuite.

The tabernacle has two main outside entrances; one to the south, facing the Zócalo and the other facing east toward Seminario Street. The southern façade is more richly decorated than the east façade. It has a theme of glorifying the Eucharist with images of the Apostles, Church Fathers, saints who founded religious orders, martyrs as well as scenes from the Bible. Zoomorphic reliefs can be found along with the anthropologic reliefs, including a rampaging lion, and the eagle from the coat of arms of Mexico. The east facade is less ambitious, but contains figures from the Old Testament as well as the images of John Nepomucene and Ignacio de Loyola. Construction dates for the phases of the tabernacle are also inscribed here.

High Altar

This disappeared in the forties of the twentieth century. On the occasion of the Jubilee of the year 2000, a new altar table was made to replace the previous one. This was built in modernist style by the architect Ernesto Gómez Gallardo.

Altar of Forgiveness

The Altar of Forgiveness (Altar del perdón) is located at the front of the central nave. It is the first aspect of the interior that is seen upon entering the cathedral. It was the work of Spanish architect Jerónimo Balbás, and represents the first use of the estípite column (an inverted triangle-shaped pilaster) in the Americas.

There are two stories about how the name of this altar came about. The first states that those condemned by the Spanish Inquisition were brought to the altar to ask for forgiveness in the next world before their execution. The second relates to painter Simon Pereyns, who despite being the author of many of the works of the cathedral, was accused of blasphemy. According to the story, while Pereyns was in jail, he painted such a beautiful image of the Virgin Mary that his crime was forgiven.

This altar was damaged by fire in January 1967 but has been completely restored.

Altar of the Kings

The Altar of the Kings (Altar de los Reyes) was also the work of Jerónimo Balbás, in Mexican Baroque or Churrigueresque style. It was begun in 1718 by Balbás[12] in cedar, and was gilded and finished by Francico Martínez, debuting in 1737. It is located at the back of the Cathedral, beyond the Altar of Forgiveness and the choir. This altar is 13.75 metres wide, 25 metres tall and 7.5 metres deep. Its size and depth gave rise to the nickname la cueva dorada (“the golden cave”).

It takes its name from the statues of saintly royalty which form part of its decoration, and is the oldest work in churrigueresque style in Mexico, taking 19 years to complete. At the bottom, from left to right, are six female royal saints: Saint Margaret of Scotland, Helena of Constantinople, Elisabeth of Hungary, Elizabeth of Aragon, Empress Cunegunda and Edith of Wilton. In the middle of the altar are six canonized kings, four of whom are: Hermenegild a Visigoth martyr, Henry II, Holy Roman Emperor, Edward the Confessor and Casimir of Poland. Above these four are Saints Louis of France and Ferdinand III of Castile. In between these kings an oil painting of the Adoration of the Magi by Juan Rodriguez Juarez shows Jesus as the King of kings. The top portion features a painting of the Assumption of Mary as celestial queen flanked by oval bas reliefs, one of Saint Joseph carrying the infant Jesus and the other of Saint Teresa of Ávila with a quill in her hand and the Holy Spirit above her, inspiring her to write. Above this are figures of Jesus and Mary among sculptures of angels crowned with an image of God, the Father.

This altar has been under restoration since 2003.

The Herrera door opens into the sacristy, the oldest part of the cathedral. It is a mixture of Renaissance and Gothic styles.

The walls hold large canvases painted by Cristóbal de Villalpando, such as The Apotheosis of Saint Michael, The Triumph of the Eucharist, The Church Militant and the Church Triumphant, and The Virgin of the Apocalypse. The Virgin of the Apocalypse depicts the vision of John of Patmos. Two other canvases, Entering Jerusalem and The Assumption of the Virgin, painted by Juan Correa, are also here. An additional painting, attributed to Bartolomé Esteban Murillo, hangs in the Sacristy.

On the north wall, there is a niche that holds a statue of the crucifix with a Christ image sculpted in ivory. Behind this, is another mural that depicts the Juan Diego’s of Our Lady of Guadalupe. The Sacristy used to house Juan Diego’s cloak, upon which the Virgin’s image purportedly appears, but after massive flooding in 1629, it was removed from the Sacristy to better protect it.

A cabinet on the west wall of the Sacristy, under the Virgin of the Apocalypse painting, once held golden chalices and cups trimmed with precious stones, as well as other utensils.

In 1957, The wooden floor and platform around the perimeter of the Sacristy were replaced with stone.

Chapels

The cathedral’s sixteen chapels were each assigned to a religious guild, and each is dedicated to a saint. Each of the two side naves contain seven chapels. The other two were created later on the eastern and western sides of the cathedral. These last two are not open to the public. The fourteen chapels in the east and west naves are listed below. The first seven are in the east nave, listed from north to south, and the last seven are in the west nave.

Chapel of Our Lady of the Agonies of Granada

The Chapel of Our Lady of the Agonies of Granada (Spanish: Capilla de Nuestra Señora de las Angustias de Granada) was built in the first half of the 17th century, and originally served as the sacristy. It is a medieval-style chapel with a ribbed vault and two relatively simple altarpieces. The narrow altarpiece contains an oval painting of Saint Raphael, Archangel and the young Tobias, a 16th century painting attributed to Flemish painter Maerten de Vos. At the top of this altarpiece is a painting of Our Lady of Mount Carmel, and above this is a painting of the Last Supper. At the back of the chapel is a churrigueresque painting of Our Lady of the Agonies of Granada.

Chapel of Saint Isidore

The Chapel of Saint Isidore (Spanish: Capilla de San Isidro) was originally built as an annex between 1624 and 1627, and was once used as the baptistery. Its vault contains plaster casts representing Faith, Hope, Charity, and Justice, considered to be basic values in the Catholic religion. After the Tabernacle was built, it was converted into a chapel and its door was reworked in a churrigueresque style.

Chapel of the Immaculate Conception

The Chapel of the Immaculate Conception (Spanish: Capilla de la Inmaculada Concepción) was built between 1642 and 1648. It has a churrigueresque altarpiece which, due to the lack of columns, most likely dates from the 18th century. The altar is framed with molding—instead of columns—and a painting of the Immaculate Conception presides over it. The altar is surrounded by paintings by José de Ibarra relating to the Passion of Christ and various saints. The chapel also contains a canvas of Saint Christopher painted by Simon Pereyns in 1588, and the Flagellation by Baltasar de Echave Orio, painted in 1618. The altarpiece on the right side is also dedicated to the Immaculate Conception and was donated by the College of Saints Peter and Paul. This chapel holds the remains of Franciscan friar Antonio Margil de Jesús who was evangelized in what is now the north of Mexico.

Chapel of Our Lady of Guadalupe

The Chapel of Our Lady of Guadalupe (Capilla de Nuestra Señora de Guadalupe) was built in 1660. It was the first baptistery of the cathedral and for a long time was the site for the Brotherhood of the Most Holy Sacrament, which had many powerful benefactors. It is decorated in a 19th century neo-classic style by the architect Antonio Gonzalez Vazquez, director of the Academy of San Carlos. The main altarpiece is dedicated to the Virgin of Guadalupe and the sides altars are dedicated to John the Baptist and San Luis Gonzaga respectively.

Chapel of Our Lady of Antigua

The Chapel of Our Lady of Antigua (Capilla de Nuestra Señora de La Antigua) was sponsored and built between 1653 and 1660 by a brotherhood of musicians and organists, which promoted devotion to this Virgin. Its altarpiece contains a painting of the Virgin, a copy of one found in the Cathedral of Seville. This copy was brought to New Spain by a merchant. Two other paintings show the birth of the Virgin and her presentation. Both were painted by Nicolás Rodriguez Juárez.

Chapel of Saint Peter

The Chapel of Saint Peter (Spanish: Capilla de San Pedro) was built between 1615 and 1620, and contains three highly decorated Baroque altarpieces from the 17th century. The altar at the back is dedicated to Saint Peter, whose sculpture presides over the altar. It is surrounded by early 17th century paintings relating to his life, painted by Baltasar de Echave Orio. To the right is an altarpiece dedicated to the Holy Family, with two paintings by Juan de Aguilera of Florence called The Holy Family in the workshop of Saint Joseph and Birth of the Savior. The altarpiece to the left of the main altarpiece is dedicated to Saint Theresa of Jesus whose image also appears in the chapel’s window. It includes four paintings on sheets of metal that depict scenes from the birth of Jesus. Five oil paintings illustrate scenes from the life of Saint Theresa, and above this is a semi-circular painting of the coronation of Mary. All these works were created in the 17th century by Baltasar de Echave y Rioja.

This chapel is home to the Niño Cautivo (Captive Child) a Child Jesus figure that was brought to Mexico from Spain. It was sculpted in the 16th century by Juan Martínez Montañez in Spain and purchased by the cathedral. However, on its way to Veracruz, pirates attacked the ship it was on and sacked it. To get the image back, a large ransom was paid. Today, the image is in the Chapel of San Pedro or De las Reliquias. Traditionally, the image has been petitioned by those seeking release from restrictions or traps, especially financial problems or drug addiction or alcoholism. The cult to the Niño Cautivo is considered to be “inactive” by INAH. However, this particular image has made a comeback since 2000 as one to petition when a family member is abducted and held for ransom.

Chapel of Christ and of the Reliquaries

The Chapel of Christ and of the Reliquaries (Capilla del Santo Cristo y de las Reliquias) was built in 1615 and designed with ultra-Baroque details which are often difficult to see in the poorly lit interior. It was originally known as the Christ of the Conquistadors. That name came from an image of Christ that was supposedly donated to the cathedral by Emperor Charles V. Over time, so many reliquaries were left on its main altar that its name was eventually changed. Of 17th century ornamentation, the main altarpiece alternates between carvings of rich foliage and small heads on its columns in the main portion and small sculptures of angels on its telamons in the secondary portion. Its niches hold sculptures of saints framing the main body. Its crucifix is from the 17th century. The predella is finished with sculptures of angels, and also contains small 17th paintings of martyred saints by Juan de Herrera. Behind these paintings, hidden compartments contain some of the numerous reliquaries left here. Its main painting was done by Jose de Ibarra and dated 1737. Surrounding the altar is a series of paintings on canvas, depicting the Passion of Christ by Jose Villegas, painted in the 17th century. On the right-hand wall, an altar dedicated to the Virgin of the Confidence is decorated with numerous churrigueresque figurines tucked away in niches, columns and top pieces.

Chapel of the Holy Angels and Archangels

The Chapel of the Holy Angels and Archangels (Capilla de los Ángeles) was finished in 1665 with Baroque altarpieces decorated with Solomonic columns. It is dedicated to the Archangel Michael, who is depicted as a medieval knight. It contains a large main altarpiece with two smaller altarpieces both decorated by Juan Correa. The main altarpiece is dedicated to the seven archangels, who are represented by sculptures, in niches surrounding images of Saint Joseph, Mary and Christ. Above this scene are the Holy Spirit and God the Father. The left-hand altarpiece is of similar design and is dedicated to the Guardian Angel, whose sculpture is surrounded with pictures arranged to show the angelic hierarchy. To the left of this, a scene shows Saint Peter being released from prison, and to the right, Saul, later Saint Paul, being knocked from his horse, painted by Juan Correa in 1714. The right-hand altarpiece is dedicated to the Guardian Angel of Mexico.

Chapel of Saints Cosme and Damian

The Chapel of Saints Cosme and Damian (Capilla de San Cosme y San Damián) was built because these two saints were commonly invoked during a time when New Spain suffered from the many diseases brought by the Conquistadors. The main altarpiece is Baroque, probably built in the 17th century. Oil paintings on wood contain scenes from physician saints, and are attributed to painter Sebastian Lopez Davalos, during the second half of the 17th century. The chapel contains one small altarpiece which came from the Franciscan church in Zinacantepec, to the west of Mexico City, and is dedicated to the birth of Jesus.

Chapel of Saint Joseph

The Chapel of Saint Joseph (Capilla de San José), built between 1653 and 1660, contains an image of Our Lord of Cacao, an image of Christ most likely from the 16th century. Its name was inspired from a time when many indigenous worshipers would give their alms in the form of cocoa beans. Churrigueresque in style and containing a graffito statue of Saint Joseph, patron saint of New Spain,[6] the main altarpiece is Baroque and is from the 18th century. This once belonged to the Church of Our Lady of Monserrat. This altar contains statues and cubicles containing busts of the Apostles, but contains no paintings.

Chapel of Our Lady of Solitude

The Chapel of Our Lady of Solitude (Capilla de Nuestra Señora de la Soledad) was originally built in honor of the workers who built the cathedral. It contains three Baroque altarpieces. The main altarpiece is supported by caryatids and small angels as telamons, to uphold the base of the main body. It is dedicated to the Virgin of Solitude of Oaxaca, whose image appears in the center. The surrounding 16th century paintings are by Pedro Ramírez, and depict scenes from the life of Christ.

Chapel of Saint Eligius

The Chapel of Saint Eligius (Capilla de San Eligio), also known as the Chapel of the Lord of Safe Expeditions (Capilla del Señor del Buen Despacho), was built by the first silversmith guild, who donated the images of the Conception and Saint Eligius to whom the chapel was formerly dedicated. The chapel was redecorated in the 19th century, and the image of Our Lord of Good Sending was placed here, named thus, since many supplicants reported having their prayers answered quickly. The image is thought to be from the 16th century and sent as a gift from Charles V of Spain.

Chapel of Our Lady of Sorrows

The Chapel of Our Lady of Sorrows (Capilla de Nuestra Señora de los Dolores), formerly known as the Chapel of the Lord’s Supper (Capilla de la Santa Cena), was built in 1615. It was originally dedicated to the Last Supper since a painting of this event was once kept here. It was later remodeled in a Neo-classical style, with three altarpieces added by Antonio Gonzalez Velazquez. The main altarpiece contains an image of the Virgin of Sorrows sculpted in wood and painted by Francisco Terrazas, at the request of Emperor Maximilian I of Mexico. On the left-hand wall a ladder leads to a series of crypts which hold most of the remains of past archbishops of Mexico. The largest and grandest of these crypts contains the remains of Juan de Zumarraga, the first archbishop of Mexico.

Chapel of the Lord of Good dispatch

The Chapel of the Lord of good dispatch (Capilla del Señor del Buen Despacho) was premiered on December 8, 1648 and was dedicated to the silversmiths’ guild, who placed two images of solid silver, one of the most pure conception and another of San Eligio or Eloy.

The decoration of the entire chapel is neoclassical style belongs to the first half of the nineteenth century.

Chapel of Saint Philip of Jesus

The Chapel of Saint Philip of Jesus (Capilla de San Felipe de Jesús) was completed during one of the earliest stages of the construction of the cathedral. It is dedicated to Philip of Jesus, a friar and the only martyr from New Spain, who was crucified in Japan. The chapel is topped with a Gothic-style dome and has a Baroque altarpiece from the 17th century. A statue of the saint is located in a large niche in the altarpiece. The altar to the left is dedicated to Saint Rose of Lima, considered a protector of Mexico City. To the right is an urn which holds the remains of Agustín de Iturbide, who briefly ruled Mexico from 1822 to 1823. Next to this chapel is a baptismal font, in which it is believed Philip of Jesus was baptised. The heart of Anastasio Bustamante is preserved here. In this chapel is a sculpture alluding to the first Mexican saint: San Felipe de Jesús. This work, as seen by many art critics, is the best elaborated, carved and polychrome sculptured sculpture from Latin America.

Organs

The cathedral has had perhaps a dozen organs over the course of its history. The earliest is mentioned in a report written to the king of Spain in 1530. Few details survive of the earliest organs. Builders names begin to appear at the end of the sixteenth century. The earliest disposition that survives is for the Diego de Sebaldos organ built in 1655. The first large organ for Mexico City Cathedral was built in Madrid from 1689 to 1690 by Jorge de Sesma and installed by Tiburcio Sanz from 1693 to 1695. It now has two, which were made in Mexico by José Nassarre of Spain, and completed by 1736, incorporating elements of the 17th century organ. They are the largest 18th century organs in the Americas; they are situated above the walls of the choir, on the epistle side (east) and the gospel side (west). Both organs, damaged by fire in 1967, were restored in 1978. Because both organs had fallen into disrepair again, the gospel organ was re-restored from 2008-2009 by Gerhard Grenzing; the restoration of the epistle organ, also by Grenzing, was completed in 2014, and both organs are now playable.

Choir

The choir is where the priest and/or a choral group sings the psalms. It is located in the central nave between the main door and the high altar, and built in a semicircular fashion, much like Spanish cathedrals. It was built by Juan de Rojas between 1696 and 1697. Its sides contain 59 reliefs of various saints done in mahogany, walnut, cedar and a native wood called tepehuaje. The railing that surrounds the choir was made in 1722 by Sangley Queaulo in Macao, China and placed in the cathedral in 1730.

The Crypt of the Archbishops is located below the floor of the cathedral beneath the Altar of the Kings. The entrance to the crypt from the cathedral is guarded by a large wooden door behind which descends a winding yellow staircase. Just past the inner entrance is a Mexica-style stone skull. It was incorporated as an offering into the base of a cenotaph to Juan de Zumárraga, the first archbishop of Mexico. Zumárraga was considered to be a benefactor of the Indians, protecting them against the abuses of their Spanish overlords. There is also a natural-sized sculpture of the archbishop atop the cenotaph.

On its walls are dozens of bronze plaques that indicate the locations of the remains of most of Mexico City’s former archbishops, including Cardinal Ernesto Corripio y Ahumada. The floor is covered with small marble slabs covering niches containing the remains of other people.

The cathedral contains other crypts and niches where other religious figures are buried, including in the chapels.

The sinking ground and seismic activity of the area have had an effect on the cathedral’s construction and current appearance. Forty-two years were required simply to lay its foundation when it was first built, because even then the Spaniards recognized the danger of constructing such a huge monument in soft soil. However, for political reasons, much, but not all, of the cathedral was built over the remains of pre-Hispanic structures, leading to uneven foundation from the beginning.

Fire of 1967

On 17 January 1967 at 9 pm, a fire caused by an electrical short circuit caused extensive damage to the cathedral. On the Altar of Forgiveness, much of the structure and decoration were damaged including the loss of three paintings; The Holy Face by Alonso López de Herrera, The Martyrdom of Saint Sebastian by Francisco de Zumaya and The Virgin of Forgiveness by Simon Pereyns. The choir section lost 75 of its 99 seats as well a painting by Juan Correa along with many stored books. The two cathedral organs were severely damaged with the partial melting of their pipes. Paintings by Rafael Jimeno y Planas, Juan Correa and Juan Rodriguez Juarez were damaged in other parts of the cathedral. After the fire, authorities recorded the damage but did nothing to try to restore what was damaged. Heated discussions ensued among historians, architects and investigations centering on the moving of the Altar of Forgiveness, as well as eliminating the choir area and some of the railings. In 1972, ecclesiastical authorities initiated demolition of the choir area without authorization from the Federal government, but were stopped. The government inventoried what could be saved and named Jaime Ortiz Lajous as director of the project to restore the cathedral to its original condition. Restoration work focused not only on repairing the damage (using archived records and photographs), but also included work on a deteriorating foundation (due to uneven sinking into the ground) and problems with the towers.

The Altars of Forgiveness and of the Kings were subject to extensive cleaning and restorative work. To replace the lost portions on the Altar of Forgiveness, several paintings were added; Escape from Egypt by Pereyns, The Divine Countenance and The Martyrdom of Saint Sebastian. The organs were dismantled with the pipes and inner workings sent to the Netherlands for repair, while the cases were restored by Mexican craftsmen with work lasting until 1977. Reconstruction of the choir area began in 1979 using the same materials as existed before the fire. In addition, any statues in the towers that received more than 50% damage from city pollution were taken out, with replicas created to replace them. Those with less damage were repaired.

Some interesting discoveries were made as restoration work occurred during the 1970s and early 1980s. 51 paintings were found and rescued from behind the Altar of Forgiveness, including works by Juan and Nicolas Rodriguez Juarez, Miguel Cabrera and José de Ibarra. Inside one of the organs, a copy of the nomination of Hernán Cortés as Governor General of New Spain (1529) was found. Lastly, in the wall of the central arch of the cathedral was found the burial place of Miguel Barrigan, the first governor of Veracruz.

Late 20th-century work

The cathedral, along with the rest of the city, has been sinking into the lakebed from the day it was built. However, the fact that the city is a megalopolis with over 18 million people drawing water from underground sources has caused water tables to drop, and the sinking to accelerate during the latter half of the 20th century. Sections of the complex such as the cathedral and the tabernacle were still sinking at different rates, and the bell towers were tilting dangerously despite work done in the 1970s. For this reason, the cathedral was included in the 1998 World Monuments Watch by the World Monuments Fund.

Major restoration and foundation work began in the 1990s to stabilize the building. Engineers excavated under the cathedral between 1993 and 1998. They dug shafts under the cathedral and placed shafts of concrete into the soft ground to give the edifice a more solid base to rest on. These efforts have not stopped the sinking of the complex, but they have corrected the tilting towers and ensured that the cathedral will sink uniformly.

The cathedral has been a focus of Mexican cultural identity, and is a testament to its colonial history. Researcher Manuel Rivera Cambas reported that the cathedral was built on the site sacred precinct of the Aztecs and with the very stones of their temples so that the Spaniards could lay claim to the land and the people. Hernán Cortés supposedly laid the first stone of the original church personally.

It once was an important religious center, used exclusively by the prominent families of New Spain. In 1864, during the Second Mexican Empire, Emperor Maximilian of Habsburg and Empress Charlotte of Belgium (later known as Maximiliano and Carlota of Mexico) were crowned at the cathedral after the magnificent arrival to the head city of their reign.

Located on the Zocalo it has, over time, been the focus of social and cultural activities, most of which have occurred in the 20th and 21st centuries. The cathedral was closed for four years while President Plutarco Elías Calles attempted to enforce Mexico’s anti-religious laws. Pope Pius XI closed the church, ordering priests to cease their public religious duties in all Mexican churches. After the Mexican government and the papacy came to terms and major renovations were performed on the cathedral, it reopened in 1930.

The cathedral has been the scene of several protests both from the church and to the church, including a protest by women over the Church’s exhortation for women not to wear mini-skirts and other provocative clothing to avoid rape, and a candlelight vigil to protest against kidnappings in Mexico. The cathedral itself has been used to protest against social issues. Its bells rang to express the Archdiocese’s opposition to the Supreme Court upholding of Mexico City’s legalization of abortion.

Probably the most serious recent event occurred on 18 November 2007, when sympathizers of the Party of the Democratic Revolution attacked the cathedral. About 150 protesters stormed into Sunday Mass chanting slogans and knocking over pews. This caused church officials to close and lock the cathedral for a number of days. The cathedral reopened with new security measures, such as bag searches, in place.

What is now the historic downtown of Mexico City roughly correlates with the ancient Aztec city of Tenochtitlan, which was founded around 1325. During the prehispanic era, the city developed in a planned fashion, with streets and canals aligned with the cardinal directions, leading to orderly square blocks. The island that the city was founded on was divided into four calpullis or neighborhoods that were divided by the main north-south roads leading to Tepeyac and Iztapalapa respectively and the west-east road that lead to Tacuba and to a dike into the lake, respectively. The calpullis were named Cuepopan, Atzacualco, Moyotla and Zoquipan, which had subdivisions and a “tecpan” or district council each. The intersection of these roads was the center of the city and of the Aztec world. Here were the Templo Mayor, the palaces of the tlatoani or emperors, palaces of nobles such as the “House of the Demons” and the “House of the Flowers”. Also located here were the two most renowned Aztec schools: the Telpuchcalli for secular studies and the Calmecac for priestly training. When the Spaniards arrived, the city had aqueducts built by Moctezuma Ilhuicamina and Ahuizotl as well as a large dike constructed to the east of the city.

After the Spanish conquest, this design remained largely intact, mostly due to the efforts of Alonso Garcia Bravo, who supervised much of the rebuilding of the city. This reconstruction conserved many of the main thoroughfares such as Tenayuca, renamed Vallejo; Tlacopan, renamed México Tacuba, and Tepeyac, now called the Calzada de los Misterios. They also kept major divisions of the city adding Christian prefixes to the names such as San Juan Moyotla, Santa María Tlaquechiuacan, San Sebastián Atzacualco and San Pedro Teopan. In fact, most of the centro historicos is built with the rubble of the destroyed Aztec city.

A number of people during this time, all Spaniards, accumulated vast wealth mostly through mining and commerce in the 17th and 18th centuries. This wealth is reflected in the various mansions scattered in the centro such as the Palace of Iturbide and Casa de Azulejos (House of Tiles). This house was built in the 16th century in Arab style but its namesake tiles were added in 1747 when the Count of the Valley of Orizaba ordered the Talavera tiles from Puebla.

In the early part of the 20th century, as a result of the Latin American posture of then-Minister of Public Education José Vasconcelos, many of the streets to the north and west of the Zocalo were renamed after Latin American countries.

Deterioration of the area

From Aztec times, the Centro Historico used to be where the wealthy and elite lived. However, in the early 20th century, these classes began to move to areas west and southwest of the Centro, to neighbourhoods such as Colonia Juárez, Colonia Cuauhtémoc, Colonia Roma and Colonia Condesa. The Centro remained the commercial, political and intellectual center through the mid 20th century although it was around this time that UNAM moved most of its facilities to the new Ciudad Universitaria. The reason for the decline of the city center was partly man-made and partly natural. In the 1940s, the city government froze rents so that until 1998 when the government repealed the law, tenants were still paying 1950’s-level rents. With no financial incentive to keep up their properties, landlords let their buildings disintegrate. The 1985 earthquake took its toll on a number of these structures, which were never fixed or rebuilt, leading to slums and garbage-strewn vacant lots. The result was the loss of about 100,000 residents of the “Colonia Centro”, leaving the area almost deserted at night.

By the 1980s, so many had fled the Centro that many of its former mansions were either abandoned or turned into tenements for the poor, and its sidewalks and streets taken over by pickpockets and milling vendors. For many people, especially international visitors, Mexico City’s reputation for pollution, traffic and crime has made the city someplace to “get into and out of as fast as you can”, seeing it as little more than an airport through which to make their connecting flights to resort areas like Cozumel. Until recently, many of the restaurants in the area, even the best, would close early to allow employees time to get home because the area was not particularly safe at night.

Deterioration of religious buildings

Many of historic churches in the oldest parts of the city are in serious disrepair and are in danger of being lost. Efforts to save these churches are hampered by disagreements between the Church and the federal government. Because these churches are both active religious institutions and historical landmarks, their legal situation is complicated. By law, religious institutions cannot appeal to the government for financial help, but agencies like the National Council for Culture and Arts (CONACULTA) do have say in how these places are maintained because of their historic value.

Some of the disagreement is over the extent of the deterioration. Conaculta does not believe that any of the 68 religious buildings in the oldest part of city are in imminent danger of collapse. However the Archdiocese of Mexico believes that the structural problems noted constitute a grave danger to both people and to the “incalculable artistic and historic value of the buildings.” One of the churches in imminent danger is called San Lorenzo Diácono y Mártir, with Our Lady of Loreto, La Santísima Trinidad and La Santa Cruz also requiring prompt attention to avoid collapse. The San Lorenzo and Loreto churches both have had incidences where large pieces of the building, a stone and a window respectively, have fallen, causing damage but no injuries. Despite efforts by the archdiocese to demonstrate the extent of the damage of many of the churches, Conaculta still maintains that none of the buildings are in danger of coming down. Another problem is that the depopulation of the historic center, which leaves these churches fairly empty and the diocese unable to fund restoration work.

Revitalization

Starting in the early 2000s, the government has infused 500 million Mexican pesos (55 million USD) into the Historic Center Trust and entered into a partnership with the Fundación Centro Histórico, an organization established by Carlos Slim, to buy dozens of centuries-old buildings for rehabilitation. The significance of this effort was recognized when, in 2006, the Historic Center was included in the 2006 World Monuments Watch by the World Monuments Fund. Work began with the renovation of 34 blocks just north of the Zocalo, digging up the antiquated drainage system and improving water supply. An architect was put in charge of each of the thirteen main streets to restore the facades of more than 500 buildings. The latest infrastructure projects of this type have focused on the southwest portions of the area, on República de El Salvador, Talavera, Correo Mayor, Mesones and Pino Suárez streets, mostly focusing on repaving and improving the outdated drainage systems. In the process, artifacts dating from as early as the pre-Hispanic period have been unearthed.

All over the historic center, streets have been pedestrianized, buildings have been remodeled and restored, and new museums opened. In the 1990s, after many years of controversy, protests and even riots, most street vendors were evicted to other parts of the city. The impetus to bring things back to the city center included the construction of the new mayoral residence just off the Zocalo. The government has buried electric and telephone cables in the area, and replaced old asphalt with paving stones. It has also installed nearly 100 security cameras to help with crime issues. This paved the way for the opening of upscale eateries, bars and fashionable stores. Also, young people are moving into downtown lofts. To attract more tourists, there are new red double-decker buses.

As of 2004, investment in the city center has climbed to over 5 billion pesos or 438 million U.S. dollars. According to the Historic Center of Mexico City Trust, this has led to the creation of 15,000 jobs and property owners in the area are showing interest in improving on their investments here. It has also attracted outside investment into the area.

Historically, the Zócalo, or main plaza, has been a venue for fine and popular cultural events. Some example of events held here recently are Spencer Tunick’s photo shoot, the Ashes and Snow Nomadic museum and a skateboarding/BMX event that drew 50,000 young people on 24 August 2008. The Festival de México is an annual event with programs dedicated to art (popular and high) and academia. In 2008, was the 24th Festival with 254 performances and shows from over 20 countries.in 65 plazas and other locations in this section of the city.

It is central to national level protests such as those staged by Lopez Obrador after the 2006 Presidential Elections and the nationwide protest against crime held on August 30, 2008.

Just off the Zócalo are the Palacio Nacional, the Cathedral Metropolitana, the Templo Mayor with its adjoining museum, and Nacional Monte de Piedad building. The Palacio Nacional borders the entire east side of the Zocalo and contains the offices of the President of Mexico, the Federal Treasury, the National Archives as well as murals depicting pre-Hispanic life and a large mural filling the central stairway depicting the entire history of the Mexican nation from the Conquest on. This palace was built on the ruins of Moctezuma II’s palace beginning in 1521, using the same tezontle stone used to build the Aztec palace. It was originally in the Hernán Cortés family until the king of Spain bought it to house the viceroys of New Spain and remained so (despite being destroyed and rebuilt again in 1692) until Mexican independence. Facing the Zócalo above a central balcony is the Campana (Bell) of Dolores, which is rung by the president each 15th of Sept to celebrate Independence.

The Metropolitan Cathedral, dedicated to the Assumption of the Most Blessed Virgin Mary, occupies the north end of the Zócalo. The site originally was part of the Aztec Sacred Precinct (called the Teocalli) and contained the main tzompantli, or rack for the skulls of sacrifice victims. The first church was erected between 1524 or 1526 and 1532 and was elevated to the rank of cathedral on 2 September 1530 by Pope Clement VII. The foundations for a new cathedral were begun in 1562 and the foundation stone was laid in 1573 in the time of Archbishop Pedro Moya de Contreras and of the 4th Viceroy. Although the works had not been concluded, the cathedral received its first dedication on 2 February 1656. The completion in 1813 of the neo-classical additions designed by Manuel Tolsa was celebrated on 15 August 2013 by Cardinal Carrera who opened and entered through the Holy Door in the center of the façade prior to celebrating Pontifical High Mass in the cathedral.

Between 1989 and 2000 extensive engineering works were conducted to arrest and rectify damage and distortions caused to the structure by the uneven rate and extent of the sinking of the building provoked by the continuous settlement of the ground on which it stands. This began with the drainage of the lake of the Valley of Mexico initiated in 1607 and has continued with the reduction of the water-table caused by the pumping of water for use by Mexico City’s rapidly expanding population. The last of the temporary props which had disfigured the interior of the building during the engineering works were removed on 28 November 2000.

The Templo Mayor archeological site and museum, is the center of the ancient teocalli, located now just northeast of the Zócalo. It was demolished by Hernán Cortés in the 1520s and its location forgotten. The exact site was determined in the beginning of the 20th century, but the decision to excavate was not made until 1978, when electrical workers chanced upon an eight-ton stone disk depicting the Aztec goddess Coyolxauhqui. Excavation unearthed a pyramid built in multiple layers. This is the spot where, according to legend, the Aztecs saw their sign to settle from their wanderings, an eagle perched on a nopal cactus with a snake in its beak, which is still the symbol of Mexico today.

The Nacional Monte de Piedad building is the national pawn shop, founded in 1775 and one of the largest second-hand shops in the world. On this site were houses that belonged to the last Aztec ruler, Moctezuma II, which Hernán Cortés took for his own after the Conquest. These houses originally stretched from modern-day Isabel la Catolica, Madero, Tacuba and Monte de Piedad streets, prompting one chronicler, Cervantes de Salazar to comment that the residence was not a palace but rather another city.

Santo Domingo refers to the Church of Santo Domingo and the adjoining plaza. Both are located three blocks north of the Mexico City Metropolitan Cathedral following Republica de Brasil Street with Belisario Dominguez Street separating the two. Officially known as the Señor de la Expiación Chapel, the church is located on the north side of Belisario Dominguez and faces the plaza. It is all that is left from the first convent to be established in New Spain. To the south of the church is Plaza San Domingo. It is flanked to the west by the Portal de Evangelistas, which is a Tuscan colonnade with round arches. Scribes with typewriters and antique printing machines work in this Portal. Scribes offer their services to illiterate clients, often offering services similar to that of lawyers, counselors, and financial consultants. A statue of Josefa Ortiz de Dominguez, a heroine of the Mexican War of Independence stands in a fountain in the middle of the plaza.

The San Ildefonso College currently is a museum and cultural center considered to be the birthplace of the Mexican muralism movement. San Ildefonso began as a prestigious Jesuit boarding school, and after the Reform War, it gained educational prestige again as National Preparatory School. This school and the building closed completely in 1978, then reopened as a museum and cultural center in 1994. The museum has permanent and temporary art and archeological exhibitions in addition to the many murals painted on its walls by José Clemente Orozco, Diego Rivera and others. The complex is located between San Ildefonso Street and Justo Sierra Street in the historic center of Mexico City.

• Secretaría de Educación Pública at Calle Argentina
• Centro Cultural de España (Cultural Center of Spain)
• Museum Archive of Photography
• Lirico Theatre
• Antigua Escuela de Economía (Old School of Economics)
• Colegio Nacional, located on The Colegio Nacional Building
• Old Customs building
• Palace of the Inquisition (Museum of Mexican Medicine)

The Supreme Court of Justice of the Nation is located just off the main plaza of Mexico City on the corners of Pino Suárez and Carranza Streets. It was built between 1935 and 1941 by Antonio Muñoz Garcia. Prior to the Conquest, this site was reserved for the ritual known as “Dance of the Flyers” which is still practice today in Papantla. Its ownership was in dispute during much of the colonial period, eventually becoming the site of a very large market known as El Volador. The interior of the building contains four panels painted in 1941 by José Clemente Orozco, two of which are named “The Social Labor Movement” and “National Wealth.” There is also one mural done by American artist George Biddle entitled “War and Peace” at the entrance to the library.

• Temple of Saint Augustine
• The original El Palacio de Hierro store
• The original Liverpool department store
• Saint Augustine House
• The Chapel of the Most Holy Conception of Tlaxcoaque
• Church of San Bernardo

The Palace of Iturbide – this large palatial home, located in the historic center of Mexico City on Madero Street #17 was built by the Count of San Mateo Valparaíso in the 18th century as a wedding gift for his daughter. It gained the name “Palace of Iturbide” because Agustín de Iturbide lived and accepted the crown as Mexico’s first emperor there after independence from Spain. Today, the restored building houses the Fomento Cultural Banamex and has been renamed the Palacio de Cultura Banamex.

The Torre Latinoamericana This is one of the best-known skyscrapers in Latin America. It was begun in 1948 and completed in 1956 and is 182 meters tall, antennae included. It is located on the corner of Eje Central and Juarez Streets. It was the tallest tower in Mexico prior to the construction of Torre Pemex. The building has survived two major earthquakes since it was built, one in 1957 and the other in 1985.

The Museo Nacional de Arte (MUNAL) is the Mexican National Art Museum, located in the historical center of Mexico City. The museum is housed in a neoclassical building at No. 8 Tacuba, Col. Centro, Mexico City. It houses a collection representing the history of Mexican art from the late pre-Hispanic era to the early 20th century. It is recognizable by Manuel Tolsá’s large equestrian statue of Charles IV of Spain who was the monarch just before Mexico gained its Independence. It was originally in the Zocalo but it was moved to several locations, not out of deference to the king but rather to conserve a piece of art, according to the plaque at the base. It arrived to its final location in 1979.

The Palacio de Correos de Mexico (Postal Palace of Mexico City) also known as the “Correo Mayor” (Main Post Office) is located in the historic center of Mexico City, on the Eje Central (Lazaro Cardenas) near the Palacio de Bellas Artes. It is an early 20th-century building built in the style of an Italian Renaissance palace. It was designed by Italian Adamo Boari, who also designed part of the Palacio de Bellas Artes across the street.

• Casa de Azulejos
• Colegio de Minería (College of Mining)
• Mexican Army Museum originally Bethlemites Hospital
• Garden of the Triple Alliance
• Cámara de Senadores
• Museo de Estanquillo (cartoons and magazines)
• Temple of San Felipe Neri “La Profesa”
• Interactive Museum of Economics
• Santa Clara church – Library of Congress
• Senate of Mexico Chambers
• Chamber of Deputies
• Teatro de la Ciudad
• Academia Mexicana

The Museo de la Secretaría de Hacienda y Crédito Público is an art museum located at Moneda Street #4. It is housed in what was the Palacio del Arzobispado (Palace of the Archbishopric), built in 1530 under Friar Juan de Zumárraga on the base of the destroyed pyramid dedicated to the Aztec god Tezcatlipoca. It remained the archbishphoric until 1867 when the Finance Ministry Accountancy Department was established there. The modern museum houses an exhibit dedicated to this god as well as a large art collection.

La Santísima Church is located the cornoer of La Santísima and Emiliano Zapata streets. Its full name is Temple and Hospital of the Most Holy Trinity (Templo y Antiguo Hospital de la Santisíma Trinidad). The church was built between 1755 and 1783 as a temple for the adjoining hospital/hospice for priests. The church still retains its original function but the adjoining hospital and office sites have since moved into private hands with only parts of the original structures still intact and preserved. The church is also noted for the fact that it has sunk almost three meters since it was built.

The José Luis Cuevas Museum is located just off the main plaza, or Zocalo of Mexico City in a building that was the convent for the neighboring Church of Santa Ines (Agnes of Rome). This convent was founded in 1600 by Don Diego Caballero and his wife Doña Inés de Velasco. The convent existed until 1861, when, due to the Nationalization of Church Property Act, all convents and monasteries in the country were disbanded. The convent’s church and residence hall where separated and the Church of Santa Inés still maintains its original function. The residence hall became private property, functioning mostly as tenements until artist José Luis Cuevas bought the property with the intention to restoring it and establishing the current museum dedicated to his art and art of contemporary Latin America.

The House of the First Print Shop in the Americas at the corner of Moneda and Licenciado Primo Verdad streets was the home of the first printing press/print shop in the New World. The house was originally constructed by Gerónimo de Aguilar in 1524 and is located on the outer edge of what was the sacred precinct of the Templo Mayor prior to the Conquest.

• Cathedral Nuestra Señora de Balvanera and Sanctuary of San Charbel
• Palacio de la Autonomia de UNAM, (Palace of UNAM’s Autonomy)
• Departamento de Estadistica Nacional (Dept. of National Statistics) building

Alameda Central is a public park in downtown Mexico City, adjacent to the Palacio de Bellas Artes, between Juarez Avenue and Hidalgo Avenue. It is a green garden with paved paths and decorative fountains and statues, and is frequently the center of civic events.

The area used to be an Aztec marketplace and after the Conquest, the Catholic Church used the area for the burning of heretics and witches.

The park was created in 1592, when Viceroy Luis de Velasco decided to create green space here as a public park. By the late 19th century, the park included a bandstand and gas (now electric) lamps.

The name comes from the Spanish word álamo, which means poplar tree, which were planted here.

On the south side of the park, facing toward the street is the Hemiciclo a Juárez, which is a large white semi-circular monument to Benito Juárez, who is one of Mexico’s most beloved presidents.

• Palacio de Bellas Artes
• Teatro Hidalgo
• Parish of Santa Cruz
• Museo Nacional de la Estampa (National Print Museum)
• Franz Mayer Museum
• Parish of La Santa Vera Cruz de San Juan de Dios
• Ex Temple of Corpus Christi

Mexico City’s Chinatown, known locally as “Barrio Chino”, is located on two blocks of Dolores Street, just south of the Palacio de Bellas Artes.

It is very small, consisting only of a number of restaurants and businesses that import goods. Its diminished size is because most descendants of Chinese immigrants to Mexico in the late 19th and early 20th centuries either intermarried with the local Mexican population and/or were expelled from the country in the 1930s.

Despite this, it is considered the nucleus of the approximately 3,000 families with Chinese heritage in Mexico City.

You can dial 078 from any phone, where you can find free information about tourist attractions, airports, travel agencies, car rental companies, embassies and consulates, fairs and exhibitions, hotels, hospitals, financial services, migratory and other issues.

Or dial the toll-free (in Mexico) number 01-800-006-8839.

You can also request information to the email correspondencia@sectur.gob.mx

MORE EMERGENCY NUMBERS:

General Information: 040 (not free)

National Emergency Service: 911

Radio Patrols: 066
Police (Emergency): 060
Civil Protection: +52(55)5683-2222
Anonymous Complaint: 089

Setravi (Transport Mobility): +52(55)5209-9913
Road Emergency: 074

Cruz Roja: 065 o +52(55)5557-5757
Firefighters: 068 o +52(55)5768-3700