Palacio Nacional

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The National Palace (SpanishPalacio Nacional) is the seat of the federal executive in Mexico. It is located on Mexico City‘s main square, the Plaza de la Constitución (El Zócalo). This site has been a palace for the ruling class of Mexico since the Aztec Empire, and much of the current palace’s building materials are from the original one that belonged to the 16th century leader Moctezuma II.

Used and classified as a Government Building, the National Palace, with its red tezontle facade, fills the entire east side of the Zócalo, measuring over 200 metres (660 ft) long. It is home to some of the offices of both the Federal Treasury and the National Archives.

Description

The facade is bordered on the north and south by two towers and includes three main doorways, each of which lead to a different part of the building. The southern door leads to the Patio of Honor and presidential offices (no public access). The northern door is known as the Mariana Door, named in honor of Mariano Arista who had it constructed in 1850. The area next to this door used to be the old Court Prison, with courtrooms and torture chambers. It is now occupied by the Finance Ministry. It contains the Treasury Room, constructed by architects Manuel Ortiz Monasterio and Vicente Mendiola. The iron and bronze door is the work of Augusto Petriccioli. The National Palace in nighttime

Above the central doorway, facing the Zócalo, is the main balcony where just before 11pm on September 15, the president of Mexico gives the Grito de Dolores, in a ceremony to commemorate Mexican Independence. Part of this ceremony includes ringing the bell that hangs above the balcony. This bell is the original one that Father Miguel Hidalgo rang to call for rebellion against Spain. It originally hung in the church of Dolores HidalgoGuanajuato, but was relocated here. In the niche containing the bell, there is the Mexican coat of arms. On each side there is an Aztec eagle knight and his Spanish counterpart. These were sculpted by Manuel Centurion and symbolize the synthesis of Mexican culture and Spanish culture. Balcony where the president of Mexico gives the annual Grito de Dolores on Independence Day and the bell from the church in Dolores Hidalgo, Guanajuato

The central door leads to the main patio which is surrounded by Baroque arches. Only the balustrade of this area has been remodeled, conserving the murals by Diego Rivera that adorn the main stairwell and the walls of the second floor. In the stairwell is a mural depicting the history of Mexico from 1521 to 1930, and covers an area of 450 m2 (4800 ft2). These murals were painted between 1929 and 1935, jointly titled “The Epic of the Mexican People”. The work is divided like a triptych with each being somewhat autonomous. The right-hand wall contains murals depicting pre-Hispanic Mexico and centers around the life of the Aztec god Quetzalcóatl. Quetzalcóatl appears in the mural as a star, a god, and a human being. Created by serpents, he sails through space as a star that accompanies the sun at night. Quetzalcóatl then assumes a human body to teach the Aztec people as their king and patriarch. Last, when he sacrifices his blood to give life to men, he returns to the sky having completed his earthly cycle. Once he leaves the earth, Quetzalcóatl assumes the shape the morning star, called Tlahuizcalpantecuhtli. The cycle that he undergoes signifies the continuous cycle of life. Rivera’s creation of a Mexican identity helps to continue the reform that began with the Mexican Revolution of 1910. Before this time, any individualism from the Indians was discouraged as well as any allusion toward Aztec origins. The mural aims to dismiss any idea of inferiority.

In the middle and largest panel, the Conquest is depicted with its ugliness, such as rape and torture, as well as priests defending the rights of the indigenous people. The battle for independence occupies the uppermost part of this panel in the arch. The American and French invasions are represented below this, as well as the Reform period and the Revolution. The left-hand panel is dedicated to early and mid-20th century, criticizing the status quo and depicting a Marxist kind of utopia, featuring the persons of Plutarco Elías CallesJohn D. RockefellerHarry SinclairWilliam DurantJ.P. MorganCornelius Vanderbilt and Andrew Mellon as well as Karl Marx. This part of the mural also includes Frida Kahlo, Diego’s wife.[1] This mural reflects Diego’s own personal views about Mexico’s history and the indigenous people of the country in particular. The hall that hosts the Parliament.Center balcony of the National Palace

Diego also painted 11 panels on the middle floor, such as the “Tianguis of Tlatelolco” (tianguis means “market”), and the “Arrival of Hernán Cortés in Veracruz”. These are part of a series depicting the pre-Hispanic era. Peoples such as the Tarascos of Michoacán, the Zapotecs and Mixtecs of Oaxaca and the Huastecs of HidalgoSan Luis Potosí and Veracruz. However, this series was not finished.

On the upper floor is what once was the Theatre Room of the viceroys, which became the Chamber of Deputies from 1829 to August 22, 1872, when the room was accidentally destroyed by fire. In this parliamentary chamber the Reform Constitution of 1857 was written. This and the Constitution of 1917 are on display.

The Palace has fourteen courtyards but only a few of these, such as the Grand Courtyard beyond the central portal, are open to the public. The National Palace also houses the main State Archives, with many historical documents, and the Biblioteca Miguel Lerdo de Tejada, one of the largest and most important libraries in the country.

On north annex of the building is the Treasury Room and the Benito Juárez Museum. Between the two is the Empress Stairway, built by brothers Juan and Ramón Agea. When faced with claims that their work was unstable and would collapse, they had a full battalion charge down them while they stood underneath. The Treasury Room is no longer in use. Leading to the Museum part of the complex, which used to be the Finance Ministry, is a statue of Benito Juárez by Miguel Noreña. This work was criticized at the time because it was felt that such an honored person should not be depicted sitting on his coattails, as it was contrary to social etiquette at the time. In the Finance Ministry patio is the Benito Juárez Room, where this president lived during the end of his term and where he died on July 18, 1872. The bedroom, living room and study have been preserved complete with a number of objects belonging to the president.

History of the building

Moctezuma’s “New Houses”

The site and much of the building material of the current building is of what were called Moctezuma II’s “New Houses“. This palace functioned as the Aztec tlatoani‘s residence and performed a number of official functions as well. The building was divided into two sections and decorated with marble and painted stucco. The main façade contained the shield of the monarchy, an eagle with a snake in its claws. It has three patios surrounded by porticos, indoor sanitary facilities, fountains and gardens. The bedrooms had tapestries of cotton, feathers and rabbit fur painted in bright colors. The floors were of polished stucco and covered in animal furs and finely-woven mats. There were rooms for servants, administrative staff, and military guards, along with kitchens, pantries and storage rooms. The richness of the palace surprised Cortés, which he relayed in letters to Charles I of Spain.

The palace also held a chamber reserved for the “tlacxitlan” where a group of elders, presided over by the emperor himself, would settle disputes among the citizenry. After the Conquest, these New Houses were not completely leveled to the ground but were sufficiently destroyed as to make them uninhabitable.

Cortés’ palace

The land and the buildings on it were claimed by Hernán Cortés, who had architects Rodrigo de Pontocillos and Juan Rodríguez rebuild the palace while Cortés lived in the “Old Houses” (now the Nacional Monte de Piedad building) across the plaza from 1521 to 1530.

Cortés’s palace was a massive fortress with embrasures for cannon at the corners and the mezzanine had crenels for musketeers. The façade had only two doors with arches (medio punto). Inside there were two patios, with a third being built after 1554 and a fourth sometime after that. Its garden was extensive, occupying much of the south and southwest portions of the property up to what is now Correo Mayor Street. The palace has living quarters, offices, two audience rooms, and a tower for gunpowder. A secondary building behind the main one has nineteen windows spanning its façade. It also had a parapet, above which was a clock and a bell. The main courtyard was built large enough so he could entertain visitors with New Spain‘s first recorded bullfights.

The Spanish crown bought the palace from the Cortés family in 1562 to house the Viceregal Palace. It remained so until Mexican Independence in the 1820s.

Viceregal palace

In 1562, the Spanish Crown bought the palace and land from Martin Cortés, son of Hernán Cortés, retaining much of the Cortés palace features.

Italian Capuchin friar Ilarione da Bergamo included a description of the viceregal palace in his travel narrative. He notes that the building is not just the residence of the viceroy and his family, but also has a number of government offices including the high court (Real Audiencia) and other legal offices, royal treasury agents, attorneys including those of the General Indian Court, as well as small prisons in the complex. During the tenure of viceroy Bernardo Gálvez, he sought a residence separate from the palace and plans for Chapultepec Castle were drawn up in 1785, to be constructed on a high point outside the core of the city.

The palace was the site of viceregal power and centrally located so that when there were outbreaks of violence toward the regime, the palace was a target. Due to tensions between the viceroy and the archbishop, the palace was set on fire by supporters of the archbishop in 1624. On 8 June 1692, the palace was almost completely destroyed. Viceroy Gaspar de Sandoval then had Friar Diego Valverde reconstruct the palace. Historian Manuel Rivera Cambas states that after reconstruction, the palace lost its fortress-like appearance, and took on a Baroque appearance. Its crenels were converted into windows with ironwork grilles. framed in stonework. Inscriptions were etched above these windows and coats-of-arms were places to the sides. A smaller, third door was added on the north side of the building. On the inner, secondary building, tall windows with small ironwork balconies were installed. The south door led to what was named the “Patio of Honor”; in this section were the viceroy’s quarters. The mezzanine held the offices of the Secretary and the Archives of the Viceroyalty. The lower part has servants’ and halberdiers‘ quarters as well as storage bins for mercury. This Patio of Honor opened in back toward a garden for the use of the viceroy and his court. The north door led to a small patio in which was located the jail and the guards’ quarters. When the Royal Botanical Expedition to New Spain was at work in Mexico (1787-1803), the establishment of the Royal Botanical Garden on the model of that in the imperial capital of Madrid was an essential mandate of the enterprise. The viceregal palace itself became a site of the botanical garden, with excavations of the original site done so that fertile soil could be substituted. The palace essentially remained unchanged until after independence in the 1830s.

Many of Mexico’s leaders after independence made changes to the Viceroy Palace, including renaming it the “National Palace”. Mexico’s first ministries were installed such as the Ministry of Hacienda (internal revenue), Ministry of War, Ministry of Justice, and the Ministry of Internal and External Relations, as well as the Supreme Court. During an uprising led by Valentín Gómez Farías against then-president Anastasio Bustamante, the southwest balustrade was seriously damaged during a siege lasting twelve days. In 1845, the old Chambers of Deputies was constructed, with the Senate on the upper floor of the south wing. In 1850, Mariano Arista had the old north prison door cemented shut and constructed the current northern door. He also converted the north wing into barracks of the “Batallón de Guardia de Supremos Poderes” (Battalion of Guards for the Supreme Powers). In 1864, Maximilian of Habsburg had three flagpoles installed in front of the three main doors. By the central door was the Mexican flag; at the north door was the flag of Austria and at the south door was the flag of France. He also had Lorenzo de la Hidalga construct the grand marble staircase that is in the Patio of Honor in the southern wing, as well as having the public rooms roofed and furnished with paintings, candelabras, and chamber pots from Hollenbach, Austria and Sirres, France. In opposition, Benito Juárez chose to have his quarters in the north end of the Palace, rather than in the traditional southern end.

In 1877, the Secretaría de Hacienda y Crédito Público (Secretary of Internal Revenue and Public Credit), José Ives Limantour, as part of his overhaul of the department, moved their offices to the north wing, finishing in 1902. He chose the largest room in the wing for the Office of Seals. In 1896, the bell that Father Hidalgo rung at the parish of Dolores, Guanajuato was moved here.

A number of changes were made during the rule of Porfirio Díaz. The English-made clock on the parapet was moved to the tower of the Church of Santo Domingo. The façade was cemented over and etched to look like stone block. Cloth awnings were placed on the windows of the upper floors. On pedestals near the main door, statues of female forms were placed. Inside, the ambassador’s room, the dining room, the kitchens, the lounge, the garages and the stables were all refurnished. This was done at a time when French style was popular in Mexico.

Between 1926 and 1929, the third floor was added during the term of President Plutarco Elías Calles by Alberto J. Pani, an engineer and then finance minister and designed by Augusto Petriccioli. Merlons were placed on the towers and parapet and decorative caps were placed on all three doors. The Dolores Bell was placed in a nich