The Haciendas of Mexico: An Artist's Record — John Shaqi
The Haciendas of Mexico: An Artist's RecordBartlett, Paul Alexander
History
The Haciendas of Mexico: An Artist's Record
Bartlett, Paul Alexander
Bartlett, Paul Alexander, 1909-1990; Haciendas -- Mexico -- Pictorial works; Haciendas in art
The majority of hacienda structures were skillfully mortared in stone
block _cantera_ (limestone) by rule-of-thumb. Professional architects
like Francisco Eduardo de Tresguerras were seldom available. Instead,
artisans were employed who used various styles learned from early
ecclesiastical buildings.
Bitter rivalries between estates were part of the scene. Owners were
on the alert for a bankrupt hacienda that could be purchased at a very
low price. If extending landholdings meant violating the rights of a
village or of an individual farmer or rancher, those rights were
brushed aside, or contested legally.
[Illustration: Hacienda de Barrera, Guanajuato: residence.]
To bolster his stature, the hacendado placed a baronial device on the
façade of his residence or church: A coat-of-arms elevated his status.
He also respected his skin, and against the threat of _la intrusa_ (the
intruder) he installed gun slots, grilled windows, studded doors, and
armed his retainers. _La intrusa_ was his Old World enemy. Now and
then he raised a private army to repel difficult natives, belligerent
hacendados, or revolutionaries. Thick-walled, ponderous buildings
reflected his philosophy. They indicated his loneliness and his fear
of death as well.
As life became less threatening in the seventeenth and eighteenth
centuries, as roads improved and travel became safer and more
comfortable, hacienda owners erected open structures: Residences
appeared with multiple arches across the front, and tiled verandas led
to the outdoors. Two-story homes, with balconies on the second floor
became common. Eucalypti, jacaranda, chirimoya, and columnar cypress
shaded a complex of buildings: church, residence, _bodega_. In the
north country, a line of cottonwoods led to the gracious house, which
was stuccoed pink or pale yellow. Farther south, a grove of palms
graced the setting.
As time passed, viceroys, churchmen, lawyers, and teachers became more
and more aware of the language barriers that existed throughout the
country and that impeded progress. The Catholics, through their
_colegios_ (ecclesiastical schools) attempted to upgrade life. There
were no public schools.
Among the ecclesiastical orders, the Jesuits were major hacienda
owners. Their design-for-living began at 4:00 A.M. and ended at 7:00
P.M. At the most famous Jesuit hacienda, Santa Lucía, near Mexico
City, slaves were purchased, bred, sold, or retained for work on the
estate. There were no fiestas at Santa Lucía. For almost two hundred
years the hacienda functioned to support the ecclesiastical schools of
the order. The Colegio Máximo, in Mexico City, was the principal
beneficiary. Until June 25, 1767, when all Jesuits were deported from
Mexico, the estate prospered, selling wheat, corn, textiles, cattle,
sheep, and slaves. Its economic influence extended as far as
Guadalajara, Zapotlán, and Colima.
Public-domain text, read in full here on John Shaqi.
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