125 Museos
Clave / idMuseo/tipoResumen ENDescripción ENEditar
The former Government Palace, built in 1902, displays the history of Guerrero from pre-Hispanic times up to the triumph of the Restored Republic. A valuable collection primarily of the Mezcala culture, with costume from the viceregal period, the Manila galleons, mining and the War of Independence.The Regional Museum of Guerrero is located in a building dating to 1902, when it housed the Palace of Government. It is the only officially registered historical building in Chilpancingo and it is a most valuable part of the state’s heritage. The Neoclassical architecture is representative of the public buildings of the Porfiriato period. The mural paintings inside add to its artistic value. It was opened to the public in 1987.

The collection is mainly from the pre-Hispanic period. Other objects come from the viceregal period, including religious and military costume, lithographs, human remains and local fauna. The natural history collection includes minerals, dried specimens of fauna and flora, as well as information and illustrations of the physical geography of the state. The archeology collection includes samples of ceramics, shells, copper, obsidian, wood, bone and green stone from various cultures and periods from pre-Hispanic Guerrero, most notably the miniature sculptures from the Mezcala culture. The period of Spanish control includes material in the categories of art, religious worship and ornamentation and the military and commercial exchange with the Far East through the Manila galleons. Illustrations are presented of the Spanish military conquest, the encomienda system, the haciendas, mining and socio-political organization. The period of independence in the southern region of Mexico (referring to the states of Mexico, Puebla and Guerrero), emphasizing the role played by individuals such as José María Morelos y Pavón, Vicente Guerrero, Hermenegildo Galeana, Nicolás Bravo and Valerio Trujano. The scene is set by oil paintings, a light canon, a table which belonged to Vicente Guerrero, replicas of military insignia and a facsimile of the “Sentimientos de la Nación” (Feelings of the Nation) text. The nineteenth century section focuses on Independence to the Restored Republic, continuing through the 1847 Mexican-American War, the Revolution of Ayutla, the Reform War and the French Intervention. The participation of the south in these historical processes is highlighted alongside the establishment of the state of Guerrero as a political entity in 1849.
The history of Aguascalientes since prehistoric times up to Independence, in a magnificent Porfiriato-period (late nineteenth century) building, houses a collection covering regional paleontology, archeology, the Christian religion, the Chichimeca War, the inland Camino Real with its silver ingots, the distant prison and the founding of the city.

The museum has been found on Venustiano Carranza street since its creation, one of the most symbolic, traditional and best preserved thoroughfares of the set of historical monuments in the capital of Aguascalientes. It is just a few steps away from the Cathedral and the Palace of Government. It was opened to the public in April 1988 and officially inaugurated on October 3 of the same year.

Most of this majestic building, which houses the museum, was built by the self-taught architect Refugio Reyes Rivas, and for decades its walls were witnesses to the daily history of a family residence. This type of building was typical of the city of Aguascalientes during the period from the eighteenth century until the beginning of the twentieth century. Recent research shows that the estate already existed at the end of the nineteenth century, but the main architectural work, which gave the building its own individual characteristics, was carried out by Reyes Rivas at the beginning of the twentieth century. In his architecture, he usually included elements from various styles, and is therefore described as eclectic. However, in this building, the Neoclassical style takes precedence. The decorative elements of the chapel and the Gothic-inspired wooden altarpiece are also particularly special.

The building has a hallway and a central patio with an archway; the former bedrooms, the domestic chapel and a large space which includes the dining room are found distributed along the hallway. In the second courtyard, which was originally very large, the service areas, vegetable garden and stables are found.

From the start of the 1950s until 1986, when the INAH took it under their care, the building was home to the Christopher Columbus school, an educational institution founded and run by the Adoratrices Perpetuas Guadalupanas nuns.

The Regional Museum of the History of Aguascalientes has a reputation for being very diverse, due to the variety of its collection and the themes it addresses, as it shelters and exhibits a collection which ranges from paleontological pieces, archeological pieces, viceregal objects and textiles, to ancient photographs, documents, weapons and civil and religious garments.

The museum’s paleontological tradition comes from the region - principally the Mooser collection - as do salvaged and donated paleontological items. In the archeological collection, pieces from the El Ocote site, very close to the city of Aguascalientes, stand out, as well as others from Chichimeca towns and salvaged archeological items. As for the historical pieces, particularly special are the majolica pieces, civil and governmental documents such as letters, notices, diaries and publications; photographs from the end of the nineteenth century and the start of the twentieth century from Aguascalientes, Zacatecas, Jalisco, San Luis Potosí and Mexico City, and, of course, the large collection of religious and civil textiles from the eighteenth to the twentieth centuries. Furthermore, the museum has viceregal artwork from both anonymous and famous authors, such as Juan Correa and Luis Berrueco, and a collection of more than 300 altarpieces or votive offerings from the mid-twentieth century.

The history of Colima since early times is housed in this architectural jewel from the Porfiriato period. The archeology (influenced by the great volcano), pottery from the Capacha, Ortice and Comala regions, shaft tombs, evangelization, trade with the Philippines, the passage of Benito Juarez, the Revolution and the region today are all represented.

Its collection relates the most important details of the building’s history, from the pre-Hispanic era to the first half of the twentieth century. Opened in 1988, the Colima Regional History Museum has been installed in a building that was renovated during the Porfiriato period, having originally been constructed as a dwelling in the early nineteenth century in Portal Morelos. Together with the Smaller Cathedral or Basilica, the City Hall, the Hidalgo and Medellín Sites and the Garden of Freedom, it is part of the city’s architectural heritage.

The museum’s narrative teaches visitors about the evolution of the Mesoamerican peoples who settled in this area, the implements and new activities they adopted following the Conquest, Evangelization and trade with Asia, as well as the main historical events which Colima experienced during the nineteenth and part of the twentieth centuries.

Although the museum’s beautiful building also has viceregal architectural elements dating from the end of the eighteenth century, it has been modified due to a variety of circumstances: from repairs and improvements carried out by its owners, to the onslaught of natural phenomenons which, although in the past, the city frequently suffers from due to its geographical location.

At first, the building was know as Portal de Brizuela as it belonged to one of the main landowners in Colima, who ordered a Tuscan-style house to be built on the ruins of a porticoed building made from wood and tile known as Portal de los Regalado; a name given in memory of two Independence heroes.

The residence belonged to the Pérez Ayala family and had only one floor. However, after passing to one of their nieces, a renovation was carried out in 1948 on the orders of the niece’s husband, Juan de Dios Brizuela. The side street, Reforma, belonged to the De la Madrid family. An important resident of Colima spent his childhood here: Miguel de la Madrid Hurtado, former president of Mexico. In 1913 the building was converted into the Hotel Casino, under the management of an Asian businessman with the surname Li, who extended the mansion by adding a second floor to boost business.

It wasn’t until November 1989 that it began operation as an institution dedicated to promoting, preserving and protecting the cultural heritage of the state. Thanks to an agreement signed between the National Institute of Anthropology and History, the University of Colima and the Colima State Government, the building was incorporated into the university's cultural patrimony, under the management and supervision of the INAH.

A modern building in the Torreón park known as the Venustiano Carranza Forest, houses fine archeological examples from La Laguna (of the Paoqui, Cavisero, Ahomane, Anuopa, Irritila and other tribes), some pre-Hispanic pottery and the Licio Lagos Collection of pre-Hispanic art as well as ethnic costumes.

This museum holds archeological objects from the region which hold great historical value for the inhabitants of the desert and the north of Mexico. The Laguna region is shared by two states in Mexico (Coahuila and Durango) and this museum benefits the whole area. Its predecessor was the Laguna Cultural Centre, founded on November 6, 1970, by a group of distinguished citizens who wanted to publicize and exhibit the region’s heritage by means of a museum in the city of Torreón. When an interdisciplinary team of researchers from the National Institute of Anthropology and History (who had previously explored the Cueva de la Candelaria, located in the heart of the La Laguna region) discovered a significant number of mortuary bundles and other archeological objects, it became imperative to create a space which would allow for research, preservation and exhibition of these objects. Therefore, on November 22, 1976, the La Laguna Regional Museum opened its doors.

It has four permanent exhibition rooms. The first focuses on ‘Regional archeology’. This room exhibits the objects found in the Cueva de la Candelaria, mostly artifacts and instruments used by the Laguna tribes (Paoquis, Caviseros, Ahomanes, Anuopas, Irritalas, among others), as well as clothing and human remains. The second is ‘Central America’. It exhibits ceramic pieces from the Oaxaca area, the Gulf, the Mayan region, the West of Mexico and the Central Highlands. Next is the Licio Lagos Collection. It holds reproductions inspired by pre-Hispanic pieces from different Mesoamerican cultures, made by modern-day craftsmen and donated by the famous architect from Veracruz. Lastly is Ethnography. This exhibits clothing and objects belonging to groups from the states of Michoacán, Chiapas, Coahuila, Oaxaca and Guerrero.

Coming from the East on Blvd. Independencia, turn onto Mariano López Ortiz street or, from the West via Juarez avenue from the Historical Center.

First established in 1886 in a palace in the city of Morelia, the museum houses a splendid collection of pre-Hispanic artefacts, assembled by the institution’s first director, Nicolás León, as well as plates of rare codices, maps, ancient items of clothing and objects of historic importance such as the table where the Constitution of Apatzingán was signed.

This is the oldest museum in the National Institute of Anthropology and History’s network, with exhibits on the history and culture of Michoacán since the first human settlements until the final days of the Porfirio Díaz regime. The building itself is a remarkable construction dating from the second half of the eighteenth century and, according to the scholar Gabriel Silva Mandujano, it is the finest example of residential architecture in the city of Valladolid (as Morelia was previously called) of its time. Built in 1775, and originally belonging to Isidro Huarte, the mansion later became the property of Ignacio Montenegro following the first owner’s death. It was subsequently turned into the Tridentine Seminary, and eventually passed into the hands of Manuel Malo. During the administration of General Mariano Jiménez (1885-1892), the government acquired the property in order to establish an academy for girls, but on January 30, 1886, it was decided to establish a museum instead. The new institution was run by Dr. Nicolás León (1859-1929), a Mexican physician, historian, linguist, ethnologist, anthropologist, author and naturalist.

In the early years, León’s collection was itinerant and moved between the Colegio de San Nicolás and the Palacio de Gobierno, until it found a permanent home in 1915 in this palatial, baroque building in Morelia, in order to be preserved as part of an effort to raise public awareness of research work related to Michoacán’s cultural heritage.

In 2011, the historic building occupied by the Regional Museum of Michoacán was painstakingly restored, and a new exhibition design now invites the public to discover the region’s history from the perspective of archeology, history, and art; the collection consists of more than 300 items exhibited in 12 permanent galleries organized by theme and focused on the cultural development of today’s state of Michoacán.

The following murals in this building were also restored as part of this renovation process: Grace Greenwood’s “Hombres y máquinas” (“Men and Machines,” 1934); Philip Guston and Reuben Kadish’s “La Inquisición” (“The Inquisition,” 1935); Federico Cantú’s “Los cuatro jinetes del Apocalipsis” (“The Four Horsemen of the Apocalypse,” 1954); as well as Alfredo Zalce’s “Los defensores de la integridad nacional” (“Defenders of National Integrity,” 1951) and “Los pueblos del mundo contra la guerra atómica” (“The Peoples of the World Against Nuclear War,” 1951).

Various codex plates are also on display in the museum, including “Relación de Michoacán” (“Account of Michoacán) , the “Lienzo de Xiuhquilan” (“Canvas of Xiuhquilan”) and the “Títulos de Carapan” (“Titles of Carapan”). The exhibition also shows maps that highlight changes to the region after the Spaniards’ incursion and evangelization, as well as supporting visual materials to provide a chronological and geographical context to each historical event. Clothing, furniture and everyday items also form part of the collection.

Historic artefacts include the table on which the Constitution of Apatzingán was signed, a collection of portraits of historical figures such as Vasco de Quiroga, Agustín de Iturbide, Melchor Ocampo, and some governors of the state of Michoacán.

An eighteenth-century oil painting called “Traslado de las monjas catarinas a su nuevo convento” (“Journey of the Nuns of Saint Catherine to their New Convent”), by an anonymous artist, is one of the most popular exhibits due to its portrayal of the city; also worth seeing are the murals by artists such as Alfredo Zalce, the representation of the Conspiracy of Michoacán, and the Jicalán and Carapan oil paintings from the sixteenth century and eighteenth century, respectively.

An eighteenth-century stately home in Tepic which houses a vast and revealing collection of pre-Hispanic pieces from the western cultures: the Concheros, shaft tombs, urns from Mololoa and Aztatlán.

The building was constructed in around 1750. Its first owner was Miguel de Mora, a prestigious landowner. It was later occupied by Felipe Liñán y Mejía, a parish priest and ecclesiastical judge from Tepic. After this, it was acquired by a commercial business and bank belonging to Maximiliano Delius, who was also the German consul, and remained under this ownership from 1870 until 1930. In 1933, the state government bought the manor and used it as the “Fernando Montaño” elementary school until 1938, when it became administrative offices.

On July 29, 1949, the Regional Museum of Anthropology and History of Nayarit opened in the northern wing of the ground floor. This followed a proposal by the archeologist José Corona Núñez, who carried out important excavation work at the Ixtlán del Río Archeological Site. This site was the first to open to the public in Western Mexico and it amassed a significant collection including pieces from other regions in the state. With the building restored and with a new, larger collection, on May 23, 1969, the Nayarit Regional Museum re-opened, now occupying the whole building.

Between 2011 and 2012, it underwent further renovations, upgrades and enhancements with information and works from recent research projects, to show an extensive archeological overview of the pre-Hispanic peoples who settled in what is today Nayarit. This ranges from the Concheros Cultural Tradition to the Shaft Tombs Tradition, with local variations such as the Pit Burials, from the Classic period (200-900), as well as the incorporation of other funerary elements from the area around the Molola River and the Matatipac Valley, where the city of Tepic is now located. It also included the so-called Mololoa Urns and the Aztatlán Cultural Tradition, from the Late Classic period (850/900-1350), an exhibit which continues until the first contact and conquest of the Spanish.

The museum building is listed as a historical monument and it is all the more precious as examples of eighteenth-century architecture are scarce in the city. The building still retains its original floor plan, and an open-air courtyard with arches on its two levels and a beautiful fountain at the center, and a splendid Baroque entrance. Beside this latter, the ancient and original emblem of the Condes de Miravalle was installed in 1949, which had been brought from the hacienda of the same name for safekeeping. This building also exhibits fine original pieces of carpentry and blacksmithing.

The oldest building in Monterrey, the baroque episcopal palace of 1787, houses the most complete museum of the history of the state and region, from the earliest times up to industrialization. It covers the people, the artists, the national heroes, invaders, eminent citizens and entrepreneurs.Of all the building constructed during the colonial period in the city of Monterrey, the Guadalupe or Episcopal Palace is the oldest. It is now home to the Regional Museum. It sits on a hill which overlooks the city, on lands which the local government granted to the Bishopric of Linares in the eighteenth century. Construction was completed in 1787, on the orders of the Majorcan-born Fray Rafael José Verger, of the Franciscan order, who was the bishop of Linares (the principal religious seat of the order before it was moved to Monterrey). It is built from limestone, its main facade finely carved in the Baroque style, with a series of arches and an impressive dome. In the nineteenth century and start of the twentieth, it served as a fortress to repel the US invasion of 1846, the French invasions of 1864 and 1866, the war between Mexican Republicans and Imperialists of the same time period, the La Noria and Tuxtepec rebellions of 1871 and 1876, and the first stage of the Mexican Revolution (1913 and 1914).

It has two floors and ten galleries which display a rich collection on the history of the state of Nuevo León and the northern region of Mexico, from the distant past up to the outbreak of the Revolution. The first thing we see is the chapel, dedicated to the Virgin of Guadalupe, with an altarpiece painted in 1783 by Francisco Vallejo. The Viceroyalty is illustrated with a superb portrait of the Viceroy the Duke of Linares, the work of Franciso Martínez in 1823, and with weapons which belonged to the Governor of the New Kingdom of León, Martín de Zavala. There are reminders and explanations of evangelization with the presence of signs and significant objects from the former church of San Andrés, which has since been demolished (the museum’s own gate was recovered from this monument). There is also a baptismal basin, a beautiful sculpture of Saint Domingo de Guzmán and a valuable collection of polychromatic sculptures of saints.

The War of Independence is, of course, represented by portraits of Fray Servando Teresa de Mier, Bernardo Gutiérrez de Lara and Santiago de Villarreal, which are displayed with explanations telling the story of their part in the war. There are also significant objects such as a printing press which Fray Servando brought with him when he returned to New Spain in 1817, in the contingent of Javier Mina. The grueling war of 1847 and the French Invasion are also presented through striking objects, such as the bayonet rifles with which Emperor Maximilian I of Austria was shot, or the flag which general Mariano Escobedo carried into battle. The most significant Nuevo León leaders of the nineteenth century (Santiago Vidaurri, Gerónimo Treviño and Francisco Naranjo) also have a space dedicated to them, with texts that recall and explain the paths they took and objects belonging to them which depict their way of life.

In relation to the dictatorship of Porfirio Díaz, the exhibition revolves around Bernardo Reyes, the governor of Nuevo León from 1885 to 1887 and from 1889 to 1909. He rebelled twice against President Madero, in 1911 and in 1913, when he died. His passage through history reflects the history of Nuevo León, its budding industrialization, first labor legislation and ardent political organization. All of this is illustrated through explanations and objects which belonged to him and his family. The carriage which President Porfirio Díaz used on a visit to the state capital is also displayed. This is followed by an exhibition on the beginning of industrial development, which began with the Brewery, the Glass Factory and the Iron Foundry, as well as the organizations which caused this development to come about and the impact that it had on society.

The organization and development of the Archdiocese of Monterrey is an important aspect of the museum and offers a powerful finale which expresses Nuevo León’s cohesiveness and solidarity throughout the centuries. This section begins with a reference to Bishop Verger and an excellent portrait of him by Juan Alzíbar from 1784, which are accompanied by objects belonging to the former pastor and examples of sacred vice-regal and nineteenth-century art from the state, with their proper historical explanations.
A modern building houses a vast collection about the life and culture of the state. Archeology, history (in the nineteenth century Puebla was laid siege ten times), academic culture, popular culture, customs, dances and a great variety of arts and crafts.The Regional Museum of Puebla encompasses prehistory (the most ancient remains of human activity in Mexico, dating to approximately 7,000 BC, are found in the Valley of Tehuacán) to the modern day. It was inaugurated in 1974 to celebrate the centenary of the Battle of Puebla (1862). It is housed in a modern building designed in 1962 by the architect Abraham Zabludovsky as part of the 5 de Mayo Los Fuertes Civic Center, an urban architectural project that turned this historic area into a type of park-monument for the public to enjoy.

The permanent exhibit is divided into four sections that cover the following topics: 1) Introductory Gallery. This provides useful details on the state’s geography and climates, from the arid deserts of the south to tropical forests in the Sierra Norte. 2) Archeology Gallery. This looks back at prehistory, with remains and samples gathered from the Valley of Tehuacán, such as carved stone axes, scrapers and knives. As to the pre-Hispanic period, it has an excellent exhibit of polychrome ceramics produced by Cholulteca potters in the Postclassic period (900 to 1521 AD). 3) History Gallery. This covers the period from the Spanish Conquest of Mexico to the Mexican Revolution. The Tlaxcala Canvas, a colonial codex that illustrates the arrival of Spanish conquerors in the Puebla-Tlaxcala Valley, is of note from the period of the Conquest. The Vice-Regal period is represented by a wide variety of Talavera Poblana pottery pieces, together with paintings and gilded wooden sculptures. The period of Independence is illustrated with various cannons, weapons and uniforms. There is a coach and attire from the Porfiriato which allow us to appreciate the opulent lifestyle of the privileged classes, as well as helmets, military hats, weapons and utensils from the time. In connection with the Mexican Revolution—where Puebla played an important role—we see books, satirical posters and photographs that illustrate the revolutionary atmosphere which concluded with the heroic deeds of the Serdán brothers. 4) Ethnography Gallery. This displays instruments, tools and utensils used by various farming communities for their productive activities; everyday life through furniture, clothing, toys, medicines and school supplies; folk dances from different parts of the state, with their costumes and masks; and the cycle of life: a collection of ornaments made from colored paper, cloth, wax and plastic which refer to the life of a human being from birth to death.
A colonial building, the Former Monastery of San Francisco is home to Querétaro’s collection of archeology, history, culture and ethnology. It focuses on the Otomi and Chichimeca ethnic groups, the multi-coloured society of the viceregal period, and the restless society of the early independence period.Founded in 1936, it is the state’s oldest and most important museum. Its only forerunner, the National State Museum, operated from 1892 to 1934. The Regional Museum of Querétaro currently has 50,000 square feet of space open to the public, including the seven permanent galleries (17,850 sq. ft.), the three temporary exhibition spaces (5,600 sq. ft.) and an auditorium with a capacity for 250 people. Throughout the year, the museum offers a wide variety of activities to its visitors such as concerts, national and international touring exhibitions, talks, courses, workshops, theater plays and guided visits, among others.

The origin of the Regional Museum of Querétaro dates back to the first decade of the twentieth century, during the administration of the governor Francisco González de Cosío, when a collection of paintings was donated to the Academy of Fine Art from the Academy of San Carlos in 1910. This collection was made up of works by leading exponents of the painting of New Spain from the seventeenth and eighteenth centuries, such as Baltasar de Echave, Miguel Cabrera and Nicolás Rodríguez Juárez, to name but a few. Following two very complicated social and political processes—the Revolution and the Cristero rebellion—this collection, together with items from churches and monastery libraries, came to form the patrimony of the Regional Museum of Querétaro. It was established in the Former Monastery of Saint Francisco by Germán Patiño, a leading figure of the day and a fundamental actor in the first efforts to protect Querétaro’s heritage, to whom this initiative is owed. The Regional Museum became part of the INAH when this institution was established in 1939, falling under federal administration. Subsequently, in 1954, it was among the regional museums that underwent a process of reorganization by the Institute.

The building the museum currently occupies was originally the Franciscan Monastery of Santiago, which since its origins in the sixteenth century, served both as a center for the governance of social life in Querétaro and a focal point of the urban plan. It was in an enormous religious complex which, until the early eighteenth century, carried out a variety of functions linked to the daily life of the city’s inhabitants, as it was the first and only parish. Its influence reached beyond its own territory as it was headquarters to the Province of San Pedro and San Pablo of Michoacán for more than two centuries. For this reason, the social, economic and political structures which characterized the regional society during the colonial period grew up around it.

Throughout the seventeenth century, the monastery underwent intensive construction activity; more than a monastery, it became a religious complex. It reached a total built area of approximately 300,000 square feet, making it a self-sustaining miniature city. Furthermore, until 1803, it was also used to train novices and to teach reading and writing to poor children. After many historic changes and various uses, mainly as a barracks in armed conflicts during and after the Reform War, as well as some civil and commercial uses, on December 4, 1928, the building was handed over to the state government to establish a Museum of Colonial Religious Art and a School of Arts and Crafts. In 1935, it was placed under the responsibility of the Ministry for Public Education.

From the beginning of the twentieth century, a group of people from Querétaro led by Germán Patiño Días took over protection of the monument as part of a comprehensive plan for the recovery of the historical heritage of Querétaro. As a result, in November 1936, the Regional Museum of Querétaro was officially handed over to Mr. Patiño, its first director.

Since its establishment, the museum has been renovating spaces and expanding its functions. The last major renovations were made from 1995 to 2009, under the direction of curator Rosa Estela Reyes, and included aspects important to the museum’s work: reorganization of the exhibition design, documentation of the collection, cataloguing of the collection, image design of the museum and maintenance of the building. Interventions in the existing galleries and modification and creation of new museum spaces have allowed the museum and its superb collection to reach their full potential.
The late 19th century penitentiary building in Hermosillo, built in 1908, is the seat of INAH’s Regional Museum in the state. 18 rooms hold the permanent exhibition and another five are used for temporary exhibitions, covering the archaeology, history and culture of the region.Editar
An impressive construction notable for the church’s remarkable Mudejar-style coffered ceiling made with gilded wood. The museum preserves the pre-Hispanic and viceregal history of Tlaxcala—a vital ally for the Conquistadors—along with displays of nineteenth and twentieth-century luxury objects and tools.

The Ex Convento de Nuestra Señora de la Asunción, a former monastery built by the Franciscans using an indigenous labor force, was inaugurated as a museum in 1981. The church’s interior is unique in Mexico for its Mudejar-style coffered ceiling made of carved wood with gilded details. Founded in 1528, it was the third monastery built by the Spaniards after their arrival: the first and second were in Mexico and Texcoco; only the one in Tlaxcala remains. It has an atrium, low and high cloisters, “capillas posas” (simple chapel structures designed to cater to large congregations, positioned outside the main religious buildings in New Spain) and outdoor chapels, a central patio and a garden.

The building has been put to many different uses throughout its history: after being a monastery it was converted into a prison, a college, a military barracks, INAH’s regional office, and even a home for the workers involved in its continuous restoration. The museum’s history can be traced back to the times of Próspero Cahuantzi, governor of Tlaxcala during the regime of Porfirio Díaz, when a museum annex was set up next door to the Colegio de Niñas, which disappeared at the outbreak of the 1910 Revolution. After intermittent attempts to create a regional museum, anthropologist Yolanda Ramos Galicia was commissioned in 1978 by the INAH Puebla-Tlaxcala Center to carry out the project.

The museum was finally inaugurated in 1981 in the Ex Convento de Nuestra Señora de la Asunción. After repair work being carried out over the years, a decision was taken to undertake a complete restoration which included a structural survey, an electrical refit, and measures to damp-proof the building and ensure the drainage system was working. It reopened on December 19, 2015.

The permanent exhibition has 12 main themes: one on paleontology in Tlaxcala, four on the pre-Hispanic period, five on the viceregal period, one on the nineteenth century, and another on the Mexican Revolution. The display includes 200 items with their respective information panels: ancient bone remains, pottery, stone sculptures, obsidian knives, carved and decorated shells, paintings, books, furniture, documents and photographs. The collection totals some 5,000 objects that, along with the recent findings such as those from Quimicho and finely crafted sixteenth and seventeenth-century wall tiles, are rotated; there are also modern, interactive exhibits.

A majestic Porfirian (late nineteenth-century building) holds a valuable collection of Maya pieces (some are on loan to the State Museum in Mérida), and hosts temporary exhibitions, lectures, concerts and workshops about the ancient and modern indigenous peoples of Mexico.The museum building is emblematic of the Yucatán state capital. Known as Palacio Cantón, it stands on the Paseo Montejo, one of Mérida’s main avenues. Construction began in 1904, as the official residence of General Francisco Cantón Rosado, a native of the city. The project was overseen by the Italian architect Enrico Deserti, and was implemented by local architect and nephew of the owner, Manuel G. Cantón Ramos. This mansion reflects the economic boom enjoyed by the elite as a result of henequen cultivation on the haciendas of Yucatán. The styling may be termed Francophile, but is better known as neo-French, and the inside and outside details are by the sculptor and artist Michele Guacomino.

The building was completed in 1911 and it was occupied by the general and his family until 1932. The government of the state of Yucatán acquired the property to convert it for public use. One of its first uses was as the state’s School of Fine Arts (1932-37), before it became the Hidalgo School (1937-48). In 1959 the Crescencio Carrillo y Ancona Yucatán Anthropology Institute took over the building to found the Yucatán Archeology and History Museum and the Center for Mayan Studies.

It was not until 1980 that the Yucatán Regional Museum began to be created at Palacio Cantón. There was an attempt to transfer it to another site, the former Juárez prison in 1988, but it was unsuccessful; and so the collection returned, and since then the museum exhibitions and activities have continued uninterrupted. The content underwent a change in 2012, with the introduction of major temporary exhibitions on a range of topics.

Today, 36 years after it first opened, the Yucatán Regional Museum in Palacio Cantón is an example of harmony between the past and the present. It is a dynamic space offering exhibitions, conferences, cultural and academic events to promote an understanding of the culture of pre-Hispanic and contemporary peoples.

Palacio Cantón is without doubt an emblem of the city of Mérida, the capital of Yucatán. It is, above all, a link that connects the region’s past to the present, while projecting the region into the future.
The history and culture of the San Luis Potosí region and its predecessors: the Mesoamerican and Huasteca cultures, the city of Tamtoc, the Viceroyalty, Independence, the wars of the nineteenth century, the period of Porfirio Díaz and the Revolution: these are all exhibited in a splendid building dating from 1591 which incorporates the beautiful Aranzazu chapel.

This museum holds one of the most significant archeological heritages in the Huasteca region and has an outstanding gallery of pictures from the viceregal period. Located in the historical centre of the city of San Luis Potosí, the Regional Museum is part of a Franciscan monastery. Construction began in 1591 and monks were already living here the following year. The museum occupies the service courtyards, corridors and library of the former Franciscan monastery. The Reform Laws did away with the monastery as an institution, and it was replaced in the ancient building by workshops and schools for arts and trades, as well as a funeral home, residences and a masonic lodge. This lasted until November 20, 1952, when the museum was opened under the auspices of Ignacio Marquina as the director of the INAH and Ismael Salas as State Governor. In 2004, it received the Prize for Cultural Heritage Preservation for the architectural restoration work and restructuring of the museum, granted by the state government, the INAH and the School of Architects of San Luis Potosí, A.C. The museum’s restoration and conversion work began in 1949, when the INAH took over ownership of the building. The Aranzazú chapel and the temple of St Francis were declared national historical monuments.

Within its four galleries, it is possible to gain an overview of the cultures of Mesoamerica, as well as the history of the people of Potosí, from the evangelization of the Guachichil Indians, the daily life and faith of the settlers in the viceregal period, to the fight for independence and the agricultural revolution.

Mesoamerica Gallery. This gallery gives a tour of the cultures who occupied a large part of the present-day lands of Mexico and Central America. Huasteca Potosina. As well as describing the geography of the Huasteca region, it explains the ethnical and funerary customs, describes the first settlers of the region and provides a description of Tamtoc, the most important site in the north-east of Mexico, located in the town of Tamuín. Aranzazú chapel. This building is in the Baroque style and its decoration and roofed atrium make it a work of architecture unique in America. Foundation. This galery contains the original document for the foundation of San Luis Potosí as a federal state, as well as maps of old San Luis.

In the former city hall of Santiago Tuxtla, the place Hernán Cortés chose for his estate as Marquis, where the first winepress of the continent was founded, the rich archaeological finds of the Olmeca, Totonaca and Mexica cultures are exhibited as well as interesting pieces from the time of the Viceroyalty.Editar
This museum—housed in a large Augustinian construction built near Teotihuacan in a Plateresque and Gothic style, dating back to 1539—has an invaluable set of very early murals and impressive cloisters. The collection includes pre-Hispanic objects, as well as religious paintings and sculptures from the viceregal period.

This former Augustinian monastery, where construction began in 1539, is notable for its facade in the finest Plateresque style, as well as for its murals, the earliest to have been painted in Latin America. After painstaking conservation work, the complex was converted into a museum in 1921. Until 1992 it contained sculptures and paintings related to Catholicism, books from the church’s collection, pre-Hispanic objects and architectural features rescued after the building had suffered serious flooding, as well as works taken from other monasteries. In 1992, an exhibition was held on historical and significant works of art in selected areas of the former monastery: in the kitchens, the room adjoining the refectory, and the refectory itself. In 2000, a monk’s cell was included as part of the exhibition design, together with a gallery of notable Augustinians, and 2012 saw the completion of one of the phases of restoration along with a new exhibition brief.

Collections are not yet on show, although visitors can still explore the beautiful building. The ground floor houses the pilgrims’ entrance, gatehouse, kitchen, refectory, room adjoining the refectory, the “De profundis” hall and the large and small cloisters; visitors to the top floor will find areas such as the monks’ cells, the west gallery, the large and small cloisters, the chapter house, the elevated open-air chapel and library.

The church—open to worshippers—has an atrial cross carved in the Tequitqui style (a form of Christian art practiced by the indigenous people shortly after the Conquest). Some important figures—bishops, cardinals, friars, as well as Old Testament prophets and saints wearing Augustinian habits—are all represented at the apse, with its Gothic ribbing. Other outstanding features include a Solomonic Baroque, golden, wood-painted altarpiece, depictions of scenes related to the birth of Jesus, an eighteenth-century virgin, scenes from the Passion of Christ, and some remarkable frescos and friezes illustrating psalms and words of Augustinian philosophy.

The former Augustinian monastery has had a tumultuous history. Twice during the seventeenth century and once again in the eighteenth, three storms caused the waters of Lago Texcoco and the Presa del Rey to overflow and flood the church, engulfing the ground floor in water and mud. Following the loss of their religious works and archives, the religious order abandoned the property. However, the secular clergy reoccupied it in the mid-nineteenth century, despite it still lying under a layer of mud.

Mexico’s national heritage monument department (Inspección General de Monumentos Artísticos e Históricos) decided to rescue the building in 1920, and by 1921 it was already being used as a museum. The top floor, having escaped the ravages of the flooding, was in a suitable condition for displaying sculptures.

In the mid-twentieth century, restoration work on the former monastery was completed after the dredging work was finished and some parts of the ruins restored.

From Mexico City take the Mexico-Pirámides highway until the exit for Acolman. Or, from the north of Mexico City, take the Texcoco-Lechería highway until the turn off for Tepexpan, where it joins the Mexico-Pirámides highway.

Sitio histórico
The house that José María Morelos bought in 1801, in Valladolid (Morelia), for his sister to live in, houses a magnificent museum about his life and his role in the War of Independence, as well as the archives of two million documents from the Bishopric and Government of Michoacan.Editar
Centro comunitario
This monumental former monastery was founded by the Dominican Order and built by indigenous Tepoztecans. Valuable mural paintings are preserved inside. It has been a UNESCO World Heritage Site since 1994, as one of the earliest sixteenth-century monasteries on the slopes of Popocatepetl.The monastery was built between 1555 and 1580 by indigenous Tepoztecans under the orders of Dominican friars, and it was dedicated to the Virgin of the Nativity. It has an extensive atrium, posa chapels, a cloister adorned with a fountain, a garden and a single-naved church. The main entrance facade of this church shows Our Lady of the Rosary accompanied by Saint Dominic and Saint Catherine of Siena, angels and cherubim, the monogram of the Virgin Mary and the flowered cross with stars typical of the Dominican Order, as well as a faithful hound with the torch of the faith, another symbol of the Dominican presence. The church’s apse displays gothic ribbing. The inside of the monastery has beautiful al fresco decorations in vaults and corridors, which include geometrical shapes and flowers dedicated to the Virgin, symbols of the Dominican Order, acanthus leaves and strange kings with fishtails, amongst other unidentified figures, as it was common at the time for people to decorate churches, monasteries and convents with drawings copied from books of the period.

In 1993, the INAH began a project to restore it. The Parish Church of the Nativity is now a working church, whilst the former monastery houses the Tepoztlán Museum and Historical Documentation Center. The museum was inaugurated on November 26, 2000, and is located on the top floor of the cloister. It consists of five exhibit rooms, in which visitors can get to know different aspects of the history and people who lived in what is today the municipality of Tepoztlán, Morelos.

The building’s diversity of styles is noteworthy, as renaissance, gothic and plateresque elements have been added to a medieval-style courtyard. Also of note are the very elaborate and numerous original mural paintings still preserved within it, above all in the lower cloister, most of which were applied to the church in the sixteenth century.

An inquisitive eye (and a trained guide) will enable visitors to discover more than one hundred graffiti scratched in the walls of the building over the course of its history. These document another course taken by the building, when visitors during its period of neglect seized the opportunity to record their passage. The viewing platform located on the former monastery’s top floor is a must-see. Through its arches, we can appreciate the extraordinary landscape of Tepoztlán, including the northern range of the Tepozteco and the eastern valleys towards Cuautla.

The first room of the History Museum contains a large scale relief model of the municipality of Tepoztlán for visitors to get their bearings and discover this territory’s natural diversity, with its different altitudes, micro-climates and contrasting vegetation. These characteristics led to most of the area being declared a National Park in 1937, and an ecological reserve in 1988 (the Ajusco-Chichinautzin Biological Corridor). It is currently a Protected Natural Area. The Historic Museum and the Documentation Center complement the visit by offering a closer look at culture and history of the people of the region, as well as providing an insight into their worldview.

The magnificent building that houses the museum was declared a UNESCO World Heritage Site in 1994.
Sala de exposiciones
Constructed in 1899 as a hospital, this national heritage building is now used by various institutions and includes the exhibition galleries of the National Institute of Anthropology and History (INAH) for the state of Durango, with a large collection of objects on the pre-Hispanic Chachihuite culture and a space for temporary exhibitions.

The museum, galleries and offices of the INAH’s Durango regional center are located in the Conjunto Cultural Durango, a government-run cultural center that also houses the Durango Cultural Institute (ICED), the Museum of the Revolution and the Arrieta Brothers, the Gallery of Religious Art and the Rafael Trujillo Film Museum.

Originally planned as a state hospital, construction of this complex began in 1899, but the presidential crisis and Mexican Revolution prevented its completion due to a budgetary shortfall. The unfinished building was then used as an army barracks and stables for the cavalry until 1916, when some areas were converted into classrooms. Later, in 1938, the state established the “Juana Villalobos” boarding school for children from poor families.

During the state governorship of Maximiliano Silerio Esparza, the monumental building was converted into the Durango Cultural Center, and after May 6, 1999, into the Durango State Cultural Institute—its current official title. Built in a Neoclassic architectural style, notable for its arched columns, the complex consists of a total of 19 buildings, 16 of which are part of the original project and the remainder added later in the twentieth century. The property covers a total area of 15 acres and has a built size of 95,000 square feet. The Durango State Cultural Institute was declared a heritage monument by the National Institute of Anthropology and History in 1982. The INAH Durango Center has two galleries: the first contains the permanent exhibition, with an important collection on the Chalchihuite culture; the second is used for temporary exhibits for local citizens of Durango to learn about northern Mexico’s history and culture.

An extraordinary collection in a splendid building. The 17th century Jesuit college of San Francisco Javier contains paintings from the Viceroyal periods in Yucatán up to the 19th century, with particular emphasis on academic painting and caricatures.Editar
Sitio arqueológico
Shows the ancient technique for collecting and storing rainwater: cysterns, tanks, ducts and drains. It also houses some fine Puuc style sculptures: religious and stately pieces, examples of writing and the village. It shows how the ancient Maya lived in close harmony with nature.ALREADY DONEEditar


Los contenidos de este portal pertenecen al Instituto Nacional de Antropología e Historia de México, pueden ser descargados y compartidos sin modificaciones siempre que se reconozca su autor y sin fines comerciales.

logo mediateca blanco

Lugares INAH