The Cathedral
The first work initiated in 1535 and concluded in 1574
The front part of the Cathedral is composed of the portal and two bell towers. The portal design is in eighteenth century baroque style
In the first portal are three access bays profusely decorated with floral reliefs; to the left of the central access, is the image of Saint Peter, and Saint Paul to the right. In the centre of the second portal there is a relief representing the Assumption of Mary
On the central calle of the third section there is another frame of equal quality, representing the “Adoracion del Santisimo.” It is flanked by Saint Marcial, Patron of Oaxaca, and the Archangel San Miguel (on the left) and by San Jeronimo and the Archangel Gabriel (on the right).
The pediment is curved and has a representation of the Holy Spirit.
Santo Domingo (Yanhuitlan)
Much has been written about the existence of a primitive temple, when Friar Bernardino de Minaya spent some time in the Mixteca between 1529 and 1530. Yanhuitlan was abandoned by the priests in 1520, but returned in 1535.
The construction of the temple was initiated in 1541, by Friar Domingo de la Cruz, at the same time the Teposcolula was built by Friar Pedro Peña. The temple presents a facade with renaissance architectural elements and plateresque decoration. It is known that, in 1550, the construction of the convent was already in process. At present, the ex-convent functions as a museum under the charge of the Institute of Anthropology and History.
Cuilapan de Guerrero
It was founded by Dominicans during the second half of the sixteen-century. The first to build the convent was the Portuguese, Antonio de Barbosa, later substituted by Agustin Salazar
The architectural complex is very characteristic for its green quarrystone construction and mainly by the Renaissance and Gothic lines applied to the construction and the ornamental elements of buildings that form part of it.
Open chapel: The chapel has made the Cuilapan convent famous by being the only one of its kind in Oaxaca
Santo Domingo de Guzmán
The majestic ex-convent of Santo Domingo unites beauty and magnitude. It is larger and more lavish than the Cathedral of Oaxaca, also a Dominican product.
The portal of its temple is a great stone retable framed by two high towers, unusual in Oaxaca, because their height, since they used to be smaller in this seismic zone.
This architectural complex was built between the sixteenth and seventeenth centuries
The construction work began in 1552, and lasted until the middle of the next century.
Santo Domingo was the centre of the challenging evangelisation task throughout the state.
Due to the Reform Laws, the Dominicans had to vacate the premises, which were occupied by the armed forces. For this reason, the temple remained closed to religious services from 1866 until 1902.
The decoration of the temple, one of the most outstanding examples of Mexican baroque, includes the exceptional genealogical tree of Santo Domingo de Guzman and 36 paintings that are located on the springing, which illustrate passages of the old testament.
Virgen de la soledad
The temple’s construction, the present Basilica, was begun in 1682
It was finished in 1689, and consecrated in 1697 by Bishop Isidro Sariñana y Cuenca, the same year the convent was included.
It is an elegant temple, notable for its sumptuous stone portal in the shape of a folding screen, richly carved in various stones
The interior of the temple keeps an image of the Virgin of Solitude among veneration objects. She is recognised as the Spiritual Patron of Oaxaca. She is adored and worshiped in similar manner to the Virgin of Guadalupe.
The temple is among the most outstanding religious architectural examples of the viceroyalty period in Oaxaca, mainly due to its main entrance’s baroque style of the seventeenth century.
Macedonio Alcalá Theater
Construction of the Theatre began in 1903, and finished in August, 1909.
Originally, it functioned as a theatre and casino, being called the Luis Mier y Teran Theatre. Later, its name was changed to General Jesus Carranza, and finally, during the 30’s, it received its current name of Macedonio Alcala, named after a famous Oaxacan musician and composer, author of the waltz "Dios nunca muere" [God Never Dies].
The design is markedly influenced by the Renaissance
The vestibule stands out because of its Louis XV influence, reflected in the white marble staircase, and beautiful allegory on the flat ceiling, representing the Temple of Art, where Fame and Reward are highlighted.
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