|Clave / id||Museo/tipo||Resumen EN||Descripción EN||Editar|
|One of the most outstanding colonial buildings in Zacatecas, it contains an excellent collection of the greatest painters of the period. Complemented by a fine collection of academic and popular sculptures of the religious art of New Spain.||One of the most important Mexican museums of viceregal art, it sits in the former Propaganda Fide Monastery of Our Lady of Guadalupe of Zacatecas, built by Franciscans over the course of the eighteenth century. It originally covered an area of roughly ten square miles and was built with the help of contributors and the Zacatecas city government. |
Due to the Reformation Laws, the friars were dismissed from the cloisters in 1859 and the Zacatecas state government allowed the building to be used for different purposes, including housing, a stables and a candle factory. Years later, some Franciscans returned and occupied the adjacent cloisters. In 1862, the Guadalupe school of arts and crafts was set up in a part of the building, on the initiative of the local authorities.
In 1878, the Guadalupe children’s orphanage was founded. In 1908, the Propaganda Fide schools were abolished, but not the Franciscan seminary. The building opened its doors as a museum of antiquities in 1917 and it was declared a national monument in 1939. In 1971, the orphanage closed, so its rooms were incorporated into the museum, which was declared a World Heritage Site by UNESCO in 2010.
The Museum of Guadalupe, located a few minutes outside the capital of Zacatecas, has 27 permanent galleries, which include an exhibit of viceregal art from the seventeenth century, and also of Mexican art up until the twentieth century. The art collection is comprised of pieces from the most important painters of New Spain, such as Cristóbal de Villalpando, Antonio de Torres, Gabriel José de Ovalle, Miguel Cabrera, Luis Juárez, Juan Correa, Nicolás Rodríguez Juárez and Antonio de Torres, and even twentieth-century painters such as Manuel Pastrana. There is also an exhibition of feather art, sculpture made from sugarcane paste, ivory and other materials, as well as a magnificent collection of sgraffito wooden statues of saints.
Among others, the museum visit includes the following areas: the facade, which stands out for its baroque style and its relief of Saint Francis of Assisi supporting the Virgin of Guadalupe; the San Francisco cloister, where a series of 26 canvases can be seen in their original order; a royal staircase, an example of baroque splendor, which retains three enormous canvases; the monastery library, which displays more than 9,000 volumes dating from the sixteenth century to the early twentieth century, and the Cloister of the Passion of Jesus, with 29 canvases which narrate the story of the martyrdom and crucifixion of Jesus.
Located in the center of the municipality of Guadalupe, facing the Jardín Juárez. 4.5 miles from Zacatecas, it can be reached via Adolfo López Mateos Boulevard or Arroyo de la Plata street.
|This magnificent coastal fort, completed in 1692, is one of the oldest in New Spain. It houses an outstanding collection of Mayan architecture and sculpture from the Petén, Rio Bec, Chenes and Puuc regions of Campeche State. It formed part of the city of Campeche’s nomination as a UNESCO World Heritage Site in 1999.||The Bastion of Our Lady of Soledad was built at the end of the seventeenth century and is the largest of the eight bastions which form part of the wall built to defend the town of San Francisco de Campeche against pirates. Construction was finished in 1692 and it was named after the Virgin of Soledad, the protector of sailors. In 1995 the city was awarded UNESCO World Heritage Site status as the Fortified Historic Town of Campeche. |
By 1896 the building was in ruins, and a few years later during the Revolution, the bastion was partially restored and used as a store by federal troops and the state government. It came under the jurisdiction of the War Ministry from 1929, which led to it housing the families of a number of officials, converting it into a residential area.
Full restoration was begun in 1937 and in 1958 it was taken over by Campeche Archeology Museum as its principal site. In 1975 the use of the space changed and it was reopened as the Museum of Colonial History. A new direction came about in 1995 when it changed again to become the Stelae Museum and finally in 2005 it focused on aspects of pre-Hispanic construction, reopening as the Museum of Mayan Architecture.
One of the Museum’s most interesting features is an explanation of how Mayan writing worked and translations of the texts that were carved into stone, wood or metal found on several of the architectural items on display there. Visitors can learn about how writing evolved during the Classic period (250-1000) and can find out the meaning of some complex Mayan glyphs. The classification of the architectural elements shown at the museum is also interesting for visitors. Here we can see characteristic features which typify the different regional styles found in the archeology of the state of Campeche, namely North Petén, Río Bec, Chenes and Puuc.
It is located in the very center of the city, so tourists can reach it on foot from anywhere in the city.
|Situated in the modern Metropolitan Cultural Space of Tampico, the Huastec Culture Museum displays the development of the Tenek, Nahua, Pame, Otomi and Tepehua peoples from the earliest times to the present. Nearly 2,000 pieces from six Mexican states tell the story in spectacular fashion.||The museum safeguards and disseminates Huastec culture by uniting the archeological and ethnographic collections on the subject. It was opened on January 16, 1960 in a building that was part the Ciudad Madero Technological Institute but it switched to its new site on October 4, 2003 thanks to the efforts of a number of institutions, notably the Tamaulipas State Government, Conaculta, Tamaulipas INAH Center, San Luis Potosi INAH Center, Veracruz INAH Center and Patronato del Centro Cultural Tampico, A.C.|
It is located inside the Metropolitan Cultural Space of Tampico (METRO), and the museum plan is based on the diversity of the different Huastec culture groups (the Tenek, Nahua, Pame, Otomi and Tepehua) from the pre-Hispanic era to the present. The collection brings together nearly 2,000 pieces from the states in which the Huastec region lies, namely Hidalgo, Puebla, Queretaro, San Luis Potosi, Veracruz and Tamaulipas. It is a spectacular and groundbreaking exhibition covering the themes stated in the gallery names: Life, Fertility, Art, Death, Daily Life, World View, Body and Decoration, Work, Exchange, Sacred Space, Myth and Oral Tradition, and Huastec Heritage.
|Located at one of Mexico’s most important archeological sites, this museum displays more than 600 objects made from stone, wood, bone, shell, and obsidian from over the ten centuries the city lasted. The final “exhibit” is none other than the Pyramid of the Sun itself, framed in a great picture window.|
The Teotihuacan archeological site museum (now renamed the Museum of Teotihuacan Culture) is a modern construction that blends in with its surroundings thanks to its semi-underground, plant-covered design, making it appear like another mound awaiting exploration.
To explain the identity of the society that inhabited this valley from the second century BC until the eighth century AD, the museum’s collection includes everything from everyday utensils to artwork and religious artefacts, amounting to a total of 600 objects made in a variety of materials (clay, shell, bone, textiles, wood, different types of stone, and so on), in addition to some recreated scenes. Arranged into eight different galleries, the exhibits refer to various aspects of the city and society—its economy, society, politics, technologies and religion.
This museum, positioned to the south of the Pyramid of the Sun, complements other similar spaces on the site, such as the Teotihuacan Mural Museum "Beatriz de la Fuente" and a temporary exhibition gallery located in the former museum building.
Excavations and research at the Teotihuacan site began in 1675, when Carlos de Sigüenza y Góngora explored the front plinth of the Pyramid of the Moon. In 1910, President Porfirio Díaz ordered the construction of the first site museum: the Teotihuacan Museum of Archeology, with displays including the findings of archeologist Leopoldo Batres (1852-1926). Two other museums have since been built at the site: the 1964 site museum, this time under the auspices of the National Institute of Anthropology and History (INAH, founded in 1939) and, in 1994, the current Museum of Teotihuacan Culture.
The site museum of the 1960s, 70s and 80s—a period when the INAH’s archeological and historical work was carried out separately—shows exhibits as if found in their original setting, helping the observer “read” them scientifically, as well as to enhance their visual appeal. Fernando Gamboa, Daniel Rubín, Miguel Covarrubias and Alfonso Caso were among those involved in this new approach.
The findings of the Teotihuacan Project 1980-1982 and the Special Teotihuacan Project 1992-1994—taking the approach outlined during the latter program (contextualizing this mighty culture in space and time)—have been housed in the more recent museum: the Museum of Teotihuacan Culture, built on the platform of the 1910 museum. The culmination of a visit around this new space is the Pyramid of the Sun rising up majestically as the crowning jewel of the entire collection, seen through a large picture window, above a model of the entire city.
From Mexico City, take Federal Highway 85D for Pachuca. After a few miles a turn off leads to the archeological zone, entrance is via the Gate 5. Alternatively, from Mexico City, take Federal Highway 132D "Ecatepec-Pirámides" and follow the signs for Gate 5.
|This late-eighteenth-century retreat for the pulque magnates of Tlalnepantla now displays Mexica stone sculptures and pottery depicting nature, men and the gods, all within the setting of a stately residence.|
The galleries include displays of objects recovered from various sites around the Valley of Mexico, as well as some from excavations of the archeological zone of Santa Cecilia Acatitlan, and a dedicated space for Mexica sculptures as well as exhibits showing how people lived their daily lives in the region. Hidden away down narrow, cobblestone alleyways in Santa Cecilia Acatitlan, a neighborhood of Tlalnepantla, and partially hidden by the church of Santa Cecilia, this museum occupies a late-eighteenth-century mansion with a corridor and rooms ranged around a central patio.
It is named in honor of eminent physical anthropologist, Eusebio Dávalos Hurtado (1909-1968). The museum first opened its doors in 1964; it re-opened in 1982 and given a new exhibition design in 1996.
The sculptures were found at the site itself and also come from various locations around the Valley of Mexico, as well as from the states of Morelos and Veracruz. The first two galleries and garden are used for exhibitions of Mexica sculptures dating from the Late Postclassic (1300-1521), excavated from this site as well as from the Templo Mayor (Great Temple) and the National Museum of Anthropology. The sculptures are arranged according to three themes: “Landscape and natural resources in pre-Hispanic times,” showing figures of animals such as eagles, grasshoppers, toads, jaguars, tigers and snakes; “Physical traits and idealized forms of beauty in human figures” with necklaces, ear flares, masks and caps; “Religion and depictions of the gods,” such as Mictlantecuhtli, a Chac-Mool, and deities associated with forces of nature, such as the rain god Tlaloc. The exhibits are carved in materials such as tezontle, rhyolite, andesite and basalt. Displays in the garden include representations of shells, carved skulls and coiled snakes.
The four remaining galleries contain a collection of historical artefacts, and a living room, dining room and kitchen are decorated with period, domestic objects such as plates and jugs, photographs, religious images as well as furniture, to give a sense of daily life in the region. At the rear is a “tinacal,” a special type of vat used in the pulque-producing region.
From Mexico City, take Calzada Vallejo or Eje Central to Tenayuca, then the Santa Cecilia-San Rafael avenue to the town of Santa Cecilia; or via the Jesús Reyes Heroles road, take the Santa Cecilia-San Rafael avenue.
By public transport: via Metrobus line 3 running from Lindavista to Tenayuca.
|A large religious construction of military appearance, built by the Augustinian order in 1550 as a center for evangelization and study. Worthy of note are the numerous ancient murals, severe cloisters and other buildings. It holds temporary exhibitions of printed art.||Editar|
|A Franciscan convent built between 1544 and 1570, combining sober Mudejar and Plateresque styles, contains one of the few 16th century alter-pieces to be found in Mexico, the work of Simón Pereys. It shows the process of Christianization of central Mexico during the Viceroyalty through a variety of objects.||Editar|
|The 17th century ex convent of San Francisco in Pachuca houses a rich collection of images from the 19th century, illustrating historical events, daily life, landscapes and imagery. It shelters important works by representative photographers such as tina Modotti, Nacho López, Guillermo Kahlo, as well as the compilation of Agustín Víctor Casasola.||Editar|
|A famous building because, in 1909, the meeting of Porfirio Díaz and William Taft,
President of the USA, was held here. It also served as headquarters for General Madero in 1911, for Francisco Villa in 1913 and Venustiano Carranza in 1914. It has a collection of photographs of the Maderista uprising taken by reporters from El Paso.
There is a building in Ciudad Juárez, known as the former Customs Office, which today houses the Museo de la Revolución en la Frontera (Museum of the Revolution on the Border, MUREF). The building stands between the streets of 16 de Septiembre and Juárez in the center of the metropolis. It represents the border customs, as well as being an icon and the architectural pride of Ciudad Juárez. This historic building—the second most important after the Guadalupe Mission, finished in 1688—was designed by the prestigious architect George E. King in 1887 and built by the engineer Manuel Garfias. It was opened on September 10, 1889.
The building was used for border customs until 1965, when the office was reinstated to the Bridge of the Americas, where it remains. The building which is now home to the MUREF was in disuse and abandoned for twenty years, but in 1985 the Government of the State of Chihuahua and the National Institute of Anthropology and History decided to restore it to set up a museum. A series of renovations were carried out to adapt the old building into the Historic Museum of Ciudad Juárez in 1990. It was finally unveiled on May 20, 2011. The building’s beauty and history make it one of the main attractions of this museum as a leading player in decisive events throughout Mexico’s history: in October 1909, it received the presidents Porfirio Días and William Taft to hold the first official conversation between presidents of Mexico and the United States; in May 1911, after taking Ciudad Juárez, Francisco I. Madero set up his offices there, as headquarters of the temporary presidency of the Republic, according to the San Luis Plan; in 1913 Francisco Villa set up his headquarters there, and in 1924 it once again accommodated the temporary presidency of the revolutionary government of Venustiano Carranza, as stipulated by the Guadalupe Plan.
The MUREF has accumulated a large collection of press and other types of photographs which it displays in part and replaces periodically. Many of them are very rare, and all of them are revealing. They are true historic documents originating from both Mexico and the United States, and many of them show events from the Mexican Revolution. They range from institutional, academic collections (the majority), to individual and even anonymous origins, complemented by numerous newspapers, posters, leaflets, brochures and objects. The exhibition rooms cover the following themes: 1. Mexican nationalism on the border; 2. Organization of the Mexican Liberal Party; 3. The triumph of Maderismo; 4. Radicalization of the struggle; 5. Francisco Villa; 6. The view of the Revolution; 7. The border as a setting; 8. Imaginaries; 9. The border customs post as protagonist and witness.
In this way, the Museum tells the story of Mexico’s history and shows the importance of people represented in the Mexican Revolution in the north of Mexico, as well as ordinary folk who were engaged in the struggle more than anyone. In particular, Francisco I. Madero, Francisco Villa, the followers of both leaders, the photographers of the Revolution and this building are the protagonists of this museum which, through its permanent exhibition rooms, allows both the people of Juárez and visitors from elsewhere to get to know the history of the city and of the whole region. It also helps the people of the north of Mexico to strengthen their roots and identity.
|Originally an ancient Franciscan Convent from early 17th century, built of large river stones. The center for Evangelization of the province of Tabasco during the Viceroyalty. It holds a collection of archaeological pieces, religious objects and others, illustrating the history of the region.||Editar|
|With its adjoining monastery, the church is considered one of the finest Baroque gems of the viceregal period. Both were built by the Dominicans with indigenous labor during the sixteenth and seventeenth centuries. The museum has fine examples of the pre-Hispanic, religious, romantic and contemporary art of Oaxaca. There is also an important ethnobotanical garden, an old library and a newspaper and periodicals library.||Known previously as the Oaxaca Regional Museum, the Cultures of Oaxaca Museum is housed in the magnificent former Monastery of Santo Domingo de Guzmán, built by the Dominican order in the sixteenth century. Construction began in 1575 and the final stage was completed in 1731. This is a splendid monument exemplary of the viceregal period of architecture. It has 14 permanent galleries covering archeology, history and ethnography, with nine thematic galleries and three temporary exhibition galleries. The majority of the archeological artifacts on display were found during the excavation works carried out by INAH in Oaxaca.|
Before it was established in this building, Oaxaca Museum went through various stages. It was founded on September 21, 1831 initially in a classroom of the Institute of Arts and Sciences of the State of Oaxaca, and it remained there until 1930 when the state government granted it space in the Girl’s Academy, which is today the Museum of Oaxacan Painters. It was officially launched as the Regional History and Archeology Museum of Oaxaca on November 23, 1933.
It moved again in December 1972, this time to its current location, as Oaxaca Regional Museum. The huge restoration and conservation project on the complex of the Monastery of Santo Domingo de Guzmán began in 1994, winning the Queen Sofia International Prize for the best restoration. This also implied the renovation of the museum, which was relaunched in 1998 under its current name, the Cultures of Oaxaca Museum.
Today the Cultures of Oaxaca Museum shares this space with other cultural and educational institutions: the Francisco de Burgoa Library, the Historical Ethnobotanical Garden and the Néstor Sánchez Public Newspaper and Periodicals Library. It also has multipurpose spaces where important academic and cultural events are held.
|The thousand-year-old cultures of the desert: unexpected production links between the arid land and the sea. An inspired building that won a top international prize for architecture.|
The Museo de Las Culturas del Norte (Museum of Northern Cultures) is located in the Area of Archeological Monuments in Paquimé, in Casas Grandes, Chihuahua, Mexico. Conceived by the architect Mario Schjetnan and the Grupo de Diseño Urbano (“Urban Design Team”), the 23,680-square-foot building was built in 1995. The designers were inspired by the architectural disposition of the pre-Hispanic buildings in Paquimé to incorporate the landscape into this project. The resulting building won the Latin American Grand Prize at the Architecture Biennial of Buenos Aires, Argentina that same year.
According to the designer, the museum was organized around a large, open-air, circular courtyard, and is partially sunken into the ground to camouflage it with the archeological and desert environment. It has a central garden and three adjacent gardens which allow natural light to enter. It also has three exhibition galleries, each of them connected to a differently shaped courtyard. To emphasize the links between the spaces and the flow between the galleries, a gallery has been shaped around the central courtyard, defined by two large, suspended beams. Their curves create a strong contrast with the museum’s reticulated ceiling. The museum’s layout does not have formal sections in order to increase the number of viewpoints. This also brings the exhibition areas and the outdoor courtyards together visually, merging the exhibition with the structure of the space. In addition, the aesthetic qualities of the pieces are highlighted through simple shapes and colors, creating an appropriate balance between them and the educational information. The museum houses and exhibits the Charles Di Peso collection, the site’s leading research archeologist, who received funding from the Amerind Foundation in 1956, in collaboration with the National Institute of Anthropology and History (INAH). His archeological research brought to light data on the history of the people in the area.
The museum exhibits an extraordinary collection of archeological pieces from the area. The beautiful ceramics are the highlight, but there are also ornaments and ritual objects made from shells, bone, turquoise and copper, and utensils and tools made from stone. Paquimé’s function as a trade center is emphasized through a display of raw materials which were found in large volumes during the excavation work.
The exhibition follows a chronological sequence, from the first settlers in the region until the time of the city’s peak, showing the characteristics of its earthen architecture, people, economic activities, daily life and religion, and ending in its ruin and abandonment.
|An important religious and mission complex in Baja California, it is one of eighteen established by the Mexican Province of the Company of Jesus, to teach, evangelize and protect the ethnic groups in the region from sins. This lasted until all Jesuits were expelled from the Spanish empire in 1767 on the order of Charles III. Its collection focuses on the missionaries and their pupils.|
The museum provides an overview of the 18 missions set up by the Company of Jesus in the peninsula of Baja California. It is located beside the Mission of Our Lady of Loreto, in its former storage building. It was built in the seventeenth century by the Jesuits, however, with the order for mass expulsion in 1767, it passed into the hands of the Franciscans and, afterwards, of the Dominicans. A collection of religious art, weapons and tools from the seventeenth and eighteenth centuries can be viewed within its six permanent exhibits. Through these objects, the visitor can gain an idea of how the missions establised by the Jesuits in Baja California developed. In addition, the museum provides information on the settlements which existed in the peninsula when the Spanish arrived, and it displays objects which these first settlers used for agricultural and cattle work, as well as in their daily lives.
Since its founding, the Loreto Missions Museum has been considered one of the most important cultural spaces not only in the state of Baja California Sur, but also in the peninsula of Baja California and even in the US state of California. This is because it is the original site of human occupation and development in the vast territory of the Californias. Indeed, it can even be considered a museum of sacred art, due to the type of collections which predominate. This would make it the only one in the north-east of Mexico, and the oldest in the region.
The museum’s collection is currently comprised of sacred works of art, particularly oil paintings, as well as sculptures made from carved wood, using estofado and polychrome techniques from the eighteenth century. It also contains ethnographic objects from the farms in the northern highlands of the state, as well as stone tools used by the original inhabitants of the peninsular who lived in the Loreto region.
|Built soon after the conquest, a Dominican monastery with magnificent baroque moldings produced by local indigenous people. Splendid exhibition on the European presence, indigenous resistance and evangelization, in which there are fine examples of Mayan textiles from the codices and fascinating information on the founding of San Cristobal de Las Casas.||The Former Monastery of Santo Domingo de Guzmán is an iconic sixteenth-century building in the city of San Cristobal de Las Casas, and its facade is considered to be one of the best examples of Latin American Baroque. The Chiapas Highland Museum started up in 1984 and it was consolidated four years later with the support of the historian Jan de Vos and his wife Emma Cosío Villegas, who created the first gallery which aimed to recover lost strands of local history. |
The museum was restored and reopened in 2012 as a joint project of the National Institute of Anthropology and History, the Chiapas State Government and the cultural and social arm of Banamex bank. The ground floor has two large permanent galleries on archeology and history, together with other smaller spaces, a central Dominican patio and a chapel. On the upper floor there is a major exhibition of textiles. The exhibition displays cover the six overarching themes of this museum: 1. The geography of the Mayan region at the time of the Spanish invasion. 2. The conquest, the establishment of the Villa Real (Royal Town), the viceregal period and indigenous resistance. 3. Evangelization carried out by the Dominican order and indigenous paganism. 4. The iconographic narrative of pre-Hispanic textile clothing drawing on the Paris, Madrid, Dresden and Grolier codices, with a brief overview of the manufacturing of the period. 5. The founding of the city: architecture and urban design, and 6. The history of the monastery.
From Tuxtla Gutiérrez, take the Federal Highway 190D for 53 miles to reach San Cristóbal de Las Casas. Then take the Andador Eclesiástico Norte thoroughfare to reach Santo Domingo de Guzmán.
|The monuments at Teotihuacan were once decorated with colourful murals. Samples of these are to be found in this museum, together with an explanation of the techniques used and other related objects. There is also a provisional explanation of the script.|
Inaugurated in 2001 and refurbished in 2006, this museum shows visitors another aspect of the ancient city of Teotihuacan, were every building was once decorated with many different kinds of painting.
This space contains a large number of mural fragments, as well as models and detailed information about the work involved in creating a mural. The range of exhibits—organized by nine themes spread across 13 different galleries—also includes a vast collection of archeological artefacts, notably stone carvings, obsidian pieces and pottery.
From Mexico City, take Federal Highway 85D for Pachuca. After a few miles a turn off leads to the archeological zone, entrance is via the Gate 3. Alternatively, from Mexico City, take Federal Highway 132D "Ecatepec-Pirámides" and follow the signs for Gate 3.
|The history of the valley of Córdoba since the 5th century B.C. up to the Viceroyalty. There is a noteworthy statue of Tonatiuh, musical instruments, reference to the slave trade and the rebellion led by Gaspar Yanga, the undefeated leader, who managed to found the first village without slavery on the continent, in 1570.||Editar|
|In 1947 the bones of the Man of Tepexpan were discovered, at that time the most ancient in Middle America (7,000 years old). The site has numerous remains of the period: prehistoric animal bones and stone tools on exhibition in the museum, together with a collection of ancient skulls.||Editar|
|An unusual pyramid with a complete broad staircase and temple on the top, sign of an important Huasteca city, influenced by the Toltecs and Mexicas, exhibits an original collection of sculptures of Tlaloc and Xipe Tótec, the gods of rain and corn.||Editar|
|Finest example of the Chalchihuite Culture. Possibly founded by priests emigrated from Teotihuacan to the plains of Zacatecas, the museum houses a rich collection of finely made instruments, jewellery, figures and offerings, including the symbol of the eagle and the serpent.||This archeological museum, opened in 2007, exhibits the remains of the pre-Hispanic culture of Chalchihuites, with around 350 archeological finds from the excavations. It provides a clear view of the daily life and beliefs of the ancient inhabitants of the region whose most important ceremonial center of the early period was Alta Vista. It has been established that this shrine was the result of external cultural development, founded by a group of priests from Teotihuacan. The research carried out on the site has also revealed very significant cosmological and astronomical aspects. It is known that the founders of this center managed to record the solstices and equinoxes precisely from different points of observation, and that they oriented their buildings to specific points of the compass.|
The modern building complex has a large circular exhibition gallery. The displays feature 350 archeological pieces, found in the first instance by the archeologist J. Charles Kelley and his team from the Southern Illinois University in the United States, and subsequently in partnership with the archeologists of INAH Zacatecas.
The four main topics covered are: the broader context, everyday life, the apogee and the terminal period. The collection includes instruments worked in stone, ceramic items, wood skin and bone, anthropomorphic and zoomorphic figurines, turquoise and malachite necklaces, pendants made from flint, malachite and quartz, and fragments of battlements. There is an important mortuary offering of earthenware pots bearing the symbol of the eagle subduing the serpent found in Structure 2B, also known as the Pyramid of the Sun, as well as a scoreboard for the ball game, squashes or gourds decorated with natural pigments, rings made from nut shells with turquoise and malachite inlay; small cups, a pot associated with the pulque cult and human remains which show signs of disease, or perforations and deformations of a ritual nature. Visits are complemented by a video on astronomy and Alta Vista’s relationship to the Mesoamerican world view.