Santa María la Mayor’s Islamic Roots and Catholic Grandeur

A repurposed mosque, a connection to Hearst Castle, Virgin Mary processional statues and rooftop views in Ronda, Spain. 

The unassuming façade of Santa María la Mayor reflects the adjacent Ayuntamiento (City Hall) and a Moorish minaret-turned-bell-tower. 

After enjoying a late lunch in Ronda, Spain, on the terrace at Don Miguel, the restaurant of the hotel with the same name, we agreed to visit the Iglesia de Santa María la Mayor (Church of Saint Mary the Great). Wally and I were traveling with our friends Jo and José and were delighted to have them as our local guides for the weekend.

The food was good, but the view overlooking the steep El Tajo gorge and Puente Nuevo bridge was even better. The limestone cliffs plunge 390 feet (120 meters) to the Guadalevín River below the bridge connecting the historic old town (La Ciudad) to its modern counterpart (El Mercadillo). 

“Architect Julia Morgan used the bell tower of Santa María la Mayor as the model for the ones at Hearst Castle, the estate of publishing tycoon William Randolph Hearst in San Simeon, California.”

Ronda’s iconic Puente Nuevo, or New Bridge, certainly isn’t “new” — having been completed in 1793 — but it is the most photographed.

As we navigated the cobblestone streets and approached the church, we paused to gaze up at its unusual double-galleried façade, which looks more municipal than religious. The balconies were added during the reign of Felipe II and were a privileged place for nobility to watch the equestrian tournaments held in the square.

José told us that the American architect Julia Morgan used the bell tower of Santa María la Mayor as the model for the pair at Casa Grande, the main house of Hearst Castle, the elaborate hilltop estate of publishing tycoon William Randolph Hearst in San Simeon, California.

Ronda didn’t just leave a mark on Hearst; it also captivated Ernest Hemingway and Orson Welles, both passionate bullfighting enthusiasts who found refuge here. Welles even chose to have his ashes interred in a dry well on the Recreo San Cayetano estate of his good friend, the matador Antonio Ordóñez, on the outskirts of Ronda.

A copy of the gorgeous illuminated Libro de Horas de la Reina Isabel (Queen Isabella’s Book of Hours). For some reason, the original is at the Cleveland Museum of Art. 

Sacred Transformation: The Evolution of Iglesia de Santa María la Mayor 

The church used Ronda’s principal mosque as its foundation. But long before that, the site was allegedly a Roman temple to Diana, goddess of the hunt. 

The conversion from mosque to church began in earnest following the Reconquista of Ronda by Christian military forces in 1485. By the following year, King Fernando II (1479-1516) reconsecrated it as an abbey dedicated to the Virgin of Encarnación.

A statue of Mary as the Queen of Heaven. One interpretation of the crescent moon she’s standing on is that it represents her perpetual virginity.

During the reign of Charles I (1519-1556), its status was elevated to “colegiata” — a collegiate church — led by a clergy of ordained ministers without the direct involvement of a bishop. Its official title is the Real Colegiata de Santa María de la Encarnación la Mayor de Ronda, but locals commonly refer to it as the Iglesia de Santa María la Mayor due to its 19th-century designation as a “high parish” or “parroquia mayor.” Mass is held on Sundays and public holidays at 1 p.m. and on Thursdays at 8 p.m. April through September. 

Traces of its Islamic past are evident in the square-shaped body and arched windows punctuating the bell tower’s brick exterior, which originally served as the minaret of the mosque. It was probably more cost-effective to appropriate and reuse than to completely rebuild. Even so, the renovation of Santa María la Mayor required substantial funding and took nearly two centuries to complete. 

The remains of the mihrab, a semicircular prayer niche covered with stylized Arabic calligraphy and indicating the direction of Mecca, is visible from within the vestibule. Beyond is the gift shop, where we purchased admission for 4.50€ or about $5 per person to gain entry.   

This three-tiered chandelier suspended from the central vault of the Renaissance nave includes 34 lights and 24,700 pieces of sparkling cut crystal.

Split Personality: The Interior of Santa María la Mayor 

Inside, the ornate space feels more like a cathedral than a church. Constructed in two phases, the Gothic half follows the floor plan of the former mosque, while the enlargement initiated after the earthquake of 1580 reflects the evolution of architectural styles that rose in popularity during its extended completion and renovations, including both Renaissance and Baroque elements.

This altar is an impressive example of Spanish Baroque, a style known for its exuberance, grandeur and rich decorative elements.

The Virgin de la Aurora shows Mary in her aspect as Our Lady of the Dawn, a beacon of hope and a source of spiritual guidance for Catholics.

Altar of the Sagrario

The central nave of the Gothic section features an ornate and detailed Baroque giltwood altarpiece. Standing within a niche beneath a Marian crown is the figure of the Inmaculada, the Virgin Mary, standing on clouds. She’s flanked by representations of her mother, Santa Ana; her father, San Joaquín; and the Arcangel San Rafael. Twisted Solomonic columns, covered with delicately carved grapevines and topped by Corinthian capitals, complete the tableau. During our visit, the revered image of the Virgen de la Aurora (Virgin of the Dawn) was displayed on an elaborate paso, or float used for processions.

The Christ child sits upon the shoulders of the giant Saint Christopher and holds a fancy rattle, er, globus cruciger, a small sphere with a cross affixed to its top, symbolizing his sovereign dominion.

Mural of San Cristobalón

The large-scale mural to the left of the altar depicts a larger-than-life San Cristobalón (Saint Christopher), the patron saint of travelers, carrying the baby Jesus upon his shoulders. It was painted by Rondenian artist José Ramos. 

The dramatic statue of Nuestra Señora del Mayor Dolor (Our Lady of Sorrows) depicts the Virgin Mary with her eyes cast heavenward, heart pierced by a sword, her hands clasped in prayer.

Altar of Nuestra Señora del Mayor Dolor

To the right is a highly ornate Churrigueresque-style altar framing a red velvet-lined niche holding the processional figure of Nuestra Señora del Mayor Dolor (Our Lady of Sorrows), which belongs to the religious brotherhood of the Hermandad del Santísimo Cristo de la Sangre. The sculpture depicts the moment when Mary learns that her son will die for the sins of mankind. Her eyes are lifted upwards and her hands are clasped, holding a rosary. Most dramatically, her heart is pierced with a silver sword, and a pair of cherubs flutter menacingly beneath her — one appears to be holding a hammer, and the other, pincers.

The Renaissance-period choir screen is embellished with imagery of the apostles and other saints and has a lectern stand holding a 16th century antiphonal (choir book). 

Coro

The choir screen was a Renaissance addition and features intricately carved cedarwood reliefs depicting the apostles and other saints. It’s no accident that it was placed strategically at the nave’s center as it served as a partition to divide the church into two social classes: aristocrats to the front and parishioners to the back. The lectern stand supports a 16th century antiphonal (choir book), its musical notations intricately inscribed on pages made of vellum. 

The high altar of Santa María la Mayor has an elaborately carved wooden canopy that showcases the Holy Spirit, the Archangel Gabriel and the Virgin Mary.

Baldaquino of the Altar Mayor

One of the most striking elements of the church is the impressive baldaquino, or canopy, located on the high altar under the central dome of the Renaissance nave. Carved from wood, it consists of four slender, finely carved Solomonic columns that support a towering highly decorated cupola topped by an angel. 

The original altarpiece was destroyed during the Spanish Civil War (1936-1939) and replaced by the baldaquino from Nuestra Señora de los Ángeles (Our Lady of the Angels). 

Within the ornate structure are the Archangel Gabriel and the Holy Spirit in the guise of a dove visiting the Virgin to inform her that she will conceive and give birth to Jesus Christ. 

Be sure to climb up to the rooftop, like Duke did, for a view of Ronda from above.

Up on the Rooftop 

We passed through the doorway to the right of the altar and climbed the narrow steps of the winding spiral staircase leading to the roof and viewing deck.

Jo stands on a balcony overlooking the square and the Ayuntamiento, the City Hall.

While we were there, the late afternoon sun cast a soft, warm glow over the terracotta-tiled rooftops of the old city, and it was so clear that we could see the rugged Sierra Nevada mountains in the distance.

Views of the Old Quarter and the mountains beyond from the rooftop

Seen from above, the spiral staircase leading to the rooftop resembles a snail’s shell. 

There’s a long bench if you need to rest or take a moment to enjoy the view. Make sure to peek through the small door at the top of the staircase to take in a bird’s-eye view of the interior of the church.

A figurine of the Baby Jesus with outstretched arms was one of Duke’s favorite pieces in the church’s museum.

Back Down on Earth

After exploring the rooftop, Jo, José, Wally and I returned to the ground floor and wandered through the church museum. It had several glass-front cabinets displaying various religious objects: vestments (clergy apparel), chalices and sculptures, including a life-sized glassy-eyed baby Jesus, which I imagine might get placed in the church’s crèche on Christmas Day. 

The Iglesia de Santa María la Mayor is a short distance from the Puente Nuevo, but its location in the leafy park-like Plaza Duquesa de Parcent feels a world away from the overcrowded tourist area. –Duke

Colegiata Santa María la Mayor 

Plaza de la Duquesa de Parcent s/n 
29400 Ronda Málaga
Spain  

 

Why Did Christ Have to Be Born of the Virgin Mary?

Virgin births weren’t unusual in pagan times — just in the Judeo-Christian tradition. Here’s how sex got tangled up with the idea of sin, and by extension, chastity became the ultimate sign of virtue. 

Nativity, Birth of Jesus by Giotto, circa 1305

Early Christians needed their savior to have been born of a woman without sin, and that included the act of fornication. Greek myths could have influenced their theology.

Mary, the mother of Christ, is held up as one of a kind among humans for getting pregnant and giving birth without ever having sex. 

But believe it or not, so-called virgin births weren’t uncommon in the pagan world. Pythagorus, Plato and Alexander the Great were all said to have been born of virgins by the power of a holy spirit. 

Alexander the Great’s mom dreamed of a lightning bolt striking her vagina — and lo and behold! She became pregnant with the future king of Macedon. In antiquity, “virgin” births weren’t all that uncommon.

“Christians, aware of the antique pantheon, are still worried by the parallel between Christ’s story and the dozens of virgin births of classical mythology,” Maria Warner wrote in her 1976 work Alone of All Her Sex: The Myth and the Cult of the Virgin Mary.

So how exactly does one conceive without fornication? We can turn once again to paganism. In Greek mythology, the closest parallel seems to be when Zeus turned himself into a shower of gold and impregnated Danae, who gave birth to the hero Perseus.   

Danaë and the Golden Shower by Andrea Casali, circa 1750

The Greek myth of Zeus impregnating a woman in the form of a golden rain could have inspired the form the Holy Ghost took with the Virgin Mary.

The Greek god Zeus metamorphosed into a swan to couple with Leda. Did this bird imagery inspire the Holy Ghost’s representatoin as a dove?

Then again, the Holy Ghost is often depicted as a dove, and in another encounter, Zeus, that shapeshifting, lecherous cad, adopted the form a bird as well: He became a swan to seduce (or, perhaps, rape) Leda, mother of Helen of Troy, the twins Castor and Pollux, and another daughter, Clytemnestra.

The Annunciation by Fra Angelico, 1445

The shaft of light symbolizing the Holy Ghost isn’t too different from Danae’s shower of gold. Notice the contrast of the Virgin with Adam and Eve being expelled from the Garden of Eden to the left.

Connecting Sex With Sin

Of course in these cases, Zeus is copulating with the women. It’s an act of lust, and, at least for the god, one of pleasure. That’s in stark contrast to the Christian idea of Mary’s conception of Jesus: She remains a virgin, her maidenhead unbroken, and there’s no animal-like rutting. 

This was an essential part of the Christ story. The fathers of the Christian church connected sex with sin early on, taking their cue from Genesis and the Garden of Eden: Fornication becomes necessary for reproduction, and the pain of childbirth a curse that Eve, and all women to follow, must bear. 

Sex was seen as the ultimate sin. Saint Augustine wrote in City of God, in 426, that the passion aroused by lovemaking was sinful — though the holy act of propagation was not. In a similar vein, he added, “We ought not to condemn marriage because of the evil of lust, nor must we praise lust because of the good of marriage.”

“[I]n this battle between the flesh and the spirit, the female sex was firmly placed on the side of the flesh,” Warner wrote. “For as childbirth was woman’s special function, and its pangs the special penalty decreed by God after the Fall, and as the child she bore in her womb was stained by sin from the moment of its conception, the evils of sex were particularly identified with the female. Woman was womb and womb was evil.”

The Annunciation from the Grabower Altar in St. Peter’s in Hamburg, Germany, 1383

Saint Ephrem the Syrian wrote, “Perfectly God, he entered the womb through her ear.” The idea was that by conceiving via her ear, Mary remained a virgin.

The Virgin Mary: Not Your Typical (Sinful) Woman

Mary’s impregnation is, in contrast, a serene, holy act. It’s possibly tied to the very words of the Angel Gabriel when he announces her role in bringing forth the Savior. In ancient times, some people actually believed pregnancy could come about through the ear. (It gives a whole new meaning to Iggy Pop’s lyric “Of course I’ve had it in the ear before.”)

A sixth century hymn that’s still sung today goes:

The centuries marvel therefore 
that the angel bore the seed,
the virgin conceived through her ear, 
and believing in her heart, became fruitful.

The son of God chose to be born of a virgin, according to Augustine, because it was the only way to enter the world without sin. So, “Let us love chastity above all things,” he wrote, “for it was to show that this was pleasing to Him that Christ chose the modesty of a virgin womb.”

Painful births were one of God’s punishments for Eve eating the fruit of the Tree of Knowledge of Good and Evil. But Jesus’ mother couldn’t be connected with anything so sinful, so she was said to be a virgin, pure and intact.

Slandering the Virgin Mary

The early Christian church had to defend itself against rumors that painted Mary in a negative light. Jews and pagans in Alexandria, for example, were saying that Jesus wasn’t conceived by God — instead, he was the bastard child of an incestuous union of Mary and her brother. 

It doesn’t seem far-fetched nowadays to question a scientific impossibility — but at the dawn of Christianity, virgin births wouldn’t have been too big of a surprise. For early Christians, anything to do with female bodily functions was dirty and sinful. So they would have insisted their savior had to have come from an inviolate womb. And, despite evidence to the contrary, Mary became a virgin. –Wally

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Shocking Revelations About the Virgin Mary in the Bible

The Gospels barely mention Mary. They get her name wrong. They show Jesus being rude to her. And they make us question if she was even a virgin.

The worship of Mary has taken over Catholicism. But there’s a surprisingly scant amount of appearances by her in the New Testament — and those that are there can be problematic.

The figure of the Virgin Mary holds a place of honor in Christian theology and devotion, where she’s revered as the mother of Jesus and an embodiment of purity and divinity. And for Catholics, she’s essentially a goddess in her own right — and some would argue, perhaps more revered than Jesus himself.

However, a closer examination of the biblical texts reveals a series of astonishing revelations that challenge commonly held beliefs about Mary. In her book Alone of All Her Sex: The Myth and the Cult of the Virgin Mary, Marina Warner presents a compelling analysis of the Gospel accounts, shedding light on the limited mentions of Mary, discrepancies in her portrayal and even doubts about her virginity. Published in 1976, Warner’s research continues to shock almost 50 years later.

“The amount of historical information about the Virgin is negligible. Her birth, her death, her appearance, her age are never mentioned.

Of the four declared dogmas about the Virgin Mary — her divine motherhood, her virginity, her immaculate conception and her assumption into heaven — only the first can unequivocally be traced to Scripture.”

— Maria Warner, "Alone of All Her Sex"

The Annunciation by Paolo de Matteis, 1712

There’s a lot of beliefs about Mary that don’t come from the Bible. But one story that does is the Angel Gabriel telling her she’ll get pregnant by the Holy Spirit and will give birth to the Son of God.

1. Mary is hardly mentioned in the Gospels.

“The amount of historical information about the Virgin is negligible,” Warner writes. “Her birth, her death, her appearance, her age are never mentioned.” 

Warner explains that “the sum total of the Virgin’s appearances in the New Testament is startlingly small plunder on which to build the great riches of Mariology,” the part of Christian theology devoted to Mary. “Of the four declared dogmas about the Virgin Mary — her divine motherhood, her virginity, her immaculate conception and her assumption into heaven — only the first can unequivocally be traced to Scripture,” Warner continues.

The Immaculate Conception by Giovanni Battista Tiepolo, 1769

The idea that Mary was born without sin like the rest of us can’t be found anywhere in the New Testament.

In the Bible, the Angel Gabriel appears to Mary of Nazareth. At first she’s troubled and confused, but Gabriel prophesizes Jesus’ birth, to which Mary answers (“her most precious speech in Mariology,” Warner states), “How shall this be, seeing I know not a man?” (Luke 1:34). 

Gabriel explains, “The Holy Ghost shall come upon thee, and the power of the Highest shall overshadow thee: therefore also that holy thing which shall be born of thee shall be called the Son of God” (Luke 1:38).

The Annunciation, from an illuminated manuscript created at Gladzor Monastery in Armenia by Toros Taronatsi in 1323

Strangely enough, though, the Gospel writers can’t even get her name right: She’s called Mariám 12 times and Maria seven times, according to Warner. 

Only Luke hits the major moments in what has become our understanding of the Virgin Mary. Even so, in Luke’s Gospel, Mary speaks a mere four times. 

In Matthew, she is silent. After the account of Jesus’ birth, Matthew mentions Mary only one more time.

Mark has a single mention of Mary (and it’s hardly flattering as you’ll see). 

John’s Gospel was written after the other three, “and it differs so considerably from them that for a time even its inclusion in the canon was at risk,” Warner writes. In it, the mother of Jesus is never mentioned by name, and it doesn’t repeat any of the incidents concerning her from the other Gospels. 

Christ Crucified With the Virgin, Saint John and Mary Magdalene by Anthony van Dyck, 1619

Jesus wanted to make sure Mary and John viewed each other as family — and then he was able to die.

She’s shown, perhaps, in the best light in John at the Crucifixion. As Jesus is dying on the cross, he sees his mother and “the disciple standing by, whom he loved” (i.e., John) and calls out, “Mother behold thy son!” and “Son behold thy mother!” John takes Mary into his home from that time on, the Gospel says. And Jesus, “knowing that all things were now accomplished,” drank vinegar and hyssop, and said, “It is finished” — “and he bowed his head, and gave up the ghost” (John 19:26-30). 

The Marriage at Cana by Marten de Vos, 1597

Jesus is snippy with Mary at the event where he turns water into wine — a biblical passage that makes many a Catholic cringe.

2. Jesus is surprisingly rude to his mother.

In Mark’s recounting, Jesus has been preaching and attracting crowds, but his friends decide he has lost his mind, and his charisma is the work of the Devil (Mark 3:21). They call upon Jesus’ mother and brethren for help. Jesus asks, “Who is my mother or my brethren?” Then, looking around at those who have gathered to hear him, he declares, “Behold my mother and my brethren! For whosever shall do the will of God, the same is my brother, and my sister, and my mother” (Mark 3: 34-5). “Thus Jesus rebuffs his earthly family to embrace the larger family of his spiritual fellowship,” Warner writes. 

Matthew and Luke feature the same story — but by the time Luke tells it, he’s defending Mary and the rest of the family, stating that they “could not come at him for the press” of the crowd (Luke 8:19). 

The episode is paralleled later in Luke. A woman in a crowd calls out, “Blessed is the womb that bare thee, and the paps which thou hast sucked.” Jesus states, “Yea rather, blessed are they that hear the word of God, and keep it” (Luke 11:7-8). “Mary is not necessarily excluded from Jesus’ reply, but it certainly rings harshly,” Warner writes, adding, “The Catholic Church has consistently overlooked the hard-heartedness in Jesus’ words.”

John tells of the miracle at Cana, one of two conversations between Jesus and his mother (John 2:3-5):

Mother: They have no wine.

Jesus: Woman, what have I to do with thee? Mine hour is not yet come.

Mother [to the servants]: Whatsoever he saith unto you, do it. 

Jesus goes on to turn water into wine. “Mary, apparently rebuffed quite brutally by her son, understands that he will nevertheless perform a miracle,” Warner explains. 

The Marriage of the Virgin by Giotto, 1306

The big question is: Did Joseph and Mary have sex after she gave birth? It’s the most likely explanation for Jesus’ brothers and sisters.

3. Her very virginity is at question.

For many Christians, it’s unfathomable to imagine that the Virgin Mary, whose moniker is tied to her purity, might be the result of a poor translation. “[A]s for her virginity,” Warner writes, “the evangelists, far from asserting it, raise a number of doubts.” 

Of all the Gospels, only Matthew makes a clear statement about the virgin birth. He says that Jesus was conceived by the power of the Holy Ghost before Mary and Joseph “came together” (Matthew 7:20). 

But Matthew’s writer was using the Greek Septuagint translation of the Bible, where the Hebrew word “almah,” meaning a young girl of marriageable age, became “parthenos” in Greek — a word that carries a strong connotation of virginity.

Catholics “hold (not as an article of faith, but as a cherished and ancient belief) that Mary was virgo intacta post partum, that by special privilege of God she, who was spared sex, was preserved also through childbirth in her full bodily integrity,” Warner explains. Which, one has to imagine, means her hymen was intact. 

But Matthew’s language seems to suggest that Mary and Joseph had sex after the birth of Jesus: “Then Joseph … took unto him his wife: and knew her not till she had brought forth her first born son” (Matthew 1:24-5). Yes, that’s “knew” in the biblical sense. It’s basically saying Joseph and Mary didn’t have sex until after Jesus was born. But they did eventually do so — Mary didn’t remain a virgin. 

The Presentation of Christ in the Temple by Hans Holbein the Elder, 1501

If Mary was so pure, why did she have to undergo a period of cleansing before she could present Jesus in the temple?

Also problematic: Mary gives birth to Jesus and enters the temple only after the time for her purification has elapsed. Under Mosaic law, a woman must be cleansed of the impurity incurred at childbirth. But why would that be necessary if Mary was, miraculously, still a virgin?

A 16th century Russian icon of James the Just, one of Jesus’ siblings

And then there’s the issue of Jesus’ siblings, mentioned in Matthew, Mark and Luke. Some early thinkers of the Greek church came up with a solution that has no proof in the Bible: Joseph was a widower, and those children were from an earlier marriage. 

The Birth of Christ by Meister von Hohenfurth, circa 1350

Rethinking the Virgin Mary

Warner’s groundbreaking work Alone of All Her Sex challenges conventional beliefs surrounding the Virgin Mary, drawing attention to the limited scriptural references, Jesus’ puzzlingly brusque behavior to his mother and the ambiguity surrounding her virginity. These shocking revelations prompt a reevaluation of deeply ingrained perceptions and invite further exploration of the complex figure at the heart of the Christian and Catholic faiths. –Wally

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CLICK HERE: When Did Jesus Become God? 5 Startling Findings in the Gospels

Standards of Beauty (and Ugliness) in African Art

From scarification to the ideal male and female, discover what Westerners get wrong about how Sub-Saharan sculptures and other works of art are viewed in their own cultures. 

A ritual dance in Guinea, Africa features a Baga nimba or d’mba headdress, seen in the upper right corner, which represents the ideal fertile woman.

Westerners have collected African art for centuries. But do they really understand it? Who determines what is beautiful and what is ugly in African art? Can viewers judge art solely by the standards of beauty in their own culture?

That’s the question a recent exhibit at the Art Institute of Chicago sought to answer. The collection was massive, taking up six or so rooms, filled with over 250 works of art from dozens of cultures across Sub-Saharan Africa. 

The idea is to put art in its cultural context. How did the local communities view these works of art? And how were they used? 

“For some African cultures, scarification, including on the face, is a way to enhance someone’s beauty — especially that of a woman. ”

There’s often a religious aspect to these works. “So the art is not made just to be art,” says Constantine Petridis, chair and curator of arts of Africa at the Art Institute. “It’s art that serves a purpose, serves a function and has a meaning. And that contributes in a very deep and integral way to the survival and the wellbeing of both individuals and societies.” 

Much of this art is literally thought to save lives: It guards ancestors’ remains or fends off evil spirits. 

A Mangbetu woman in 1913 wearing a halo hairstyle with ivory pins, popular in the Democratic Republic of the Congo

African Art Viewed Through an African Lens

It’s time we reevaluated standards of beauty — and understood that what’s attractive or powerful to a Western audience could be very different than that of a Sub-Saharan group. 

“The hope is also to erase prejudices and preconceived notions that have, for a very long time, prevented people from appreciating this art,” Petridis says.

Let’s take a look at some of the commonalities found throughout African art — and see that beauty is more than skin deep.

Male guardian reliquary figures with the heads of children but muscular bodies of adults. Teeth have been sealed behind the eyes to help the statues act as intermediaries with ancestors.

Masculinity is depicted with youthful, muscular bodies and large hands and feet. 

In many African cultures, the ideal male figure is tall and lean, with long limbs, an elongated neck and muscular calves. Why? These physical attributes are deemed necessary to transport heavy loads on the head and to work hard in the fields.

“A youthful appearance in general connotes fertility and also good health and the capability of doing hard work,” Petridis says. 

Large hands and feet are seen as representing the energy and endurance needed on a hunting expedition. 

A statue of the Chokwe mythological hero Chibinda Ilunga, a legendary hunter, made in Angola in 1850

These physical characteristics are often depicted in African sculpture to emphasize physical prowess — essential in a society where men are responsible for hunting, farming and other demanding activities.

A ndop portrait figure of King Mishe miShyaang maMbul, made about 1770 in the Democratic Republic of the Congo. The oversized head symbolizes intelligence.

Works of art depicting male beauty aren’t just for aesthetic appreciation, though; they serve a vital purpose.

“All of these attributes represent or express political and religious authority, and as such, these objects would have been placed on an altar to serve to fight physical as well as metaphysical threats,” Petridis adds. 

A depiction of Kaatyeleo, the Ancient Mother, who nurses babies with the milk of knowledge and evokes authoritative power

The feminine ideal is voluptuous — big belly, rounded hips, a large butt — and sometimes sports a long neck.

The ideal female figure has been a subject of fascination and inspiration for artists throughout history, and African art is no exception. In African sculpture, the ideal female figure is often depicted as having a curvaceous body with wide hips and full breasts. These features are seen as symbols of fertility, femininity and maternal strength.

A portrait of a queen, the wife of King Njike, from early 20th century Cameroon. It once stood in front of the royal palace.

While the exact proportions of the ideal female figure vary between African cultures, there are some common elements frequently seen across the continent. For example, in West Africa, the ideal female figure is often portrayed with a prominent belly and rounded buttocks, while in East Africa, the focus is more on the breasts and elongated neck.

The curvaceous figure of the ideal woman is seen as a reflection of her role as a caretaker and nurturer, responsible for raising healthy children and maintaining a strong family.

An ikam crest mask from Nigeria depicts the fantastical hairstyles girls had created for their initiation into womanhood. Incidentally, these “beautiful maiden” masks were worn by men.

Female figures are frequently depicted with intricate hairstyles and elaborate jewelry, which are seen as a reflection of high status and beauty.

A mwana pwo or pwo mask from Angola is more realistic than other depictions of beauty in African art. It features elements a Westerner wouldn’t consider attractive, including extensive scarification and chipped teeth.

Scarification is considered beautiful. 

This particular aspect of beauty is probably the most difficult for Westerners to grasp. (Then again, look at our obsession with tattoos.) Scarification, a form of body modification that involves creating designs or patterns on skin by cutting or branding, has been practiced for centuries.

Originally used as a post on a veranda in Nigeria, this carving is of a senior royal wife was created by a famous artist, Olówé of Ise. The scarification indicates her high status.

For some African cultures, scarification, including on the face, is a way to enhance someone’s beauty — especially that of a woman. 

Ogo Esu, god of the marketplace, the only orisha, or deity, consistently represented in human form. In Nigeria, his followers would dance with a staff like this, which has a phallic headpiece and cowrie shells associated with wealth.

Morality is synonymous with beauty.

In many African cultures, the concept of beauty is closely tied to morality and ethics. This is reflected in the use of a single word to describe both beauty and goodness. Likewise, the same word is often used to convey ugliness and immorality, highlighting the deep connection between physical appearance and moral character. 

A mbwoongntey, a cup used for palm wine in the Congo

Smooth skin is attractive.

While scarification has been a long-standing tradition in African art, the idea of smooth skin as a standard of beauty is also prevalent. In many African cultures, smooth, flawless skin is considered attractive, healthy and a sign of good hygiene. To achieve that look, some sculptures are polished to a bright shine using leaves or stones. 

But the idea of beauty extends beyond the individual. “A smooth surface is a metaphor for smooth, harmonious social relationships,” Petridis explains.

On the flip side, crusty, rough surfaces are seen as ugly.

A group of dancers from Guinea wearing Bamana Komo helmets with elements from the hyena, a nighttime scavenger.

Ugliness is tied to nature, the wilderness and animals, whereas beauty is connected to humans, the village and community. 

Nature spirits are thought to cause misfortune, illness and even death. Some sculptures were designed to be so strikingly beautiful they would lure in spirits, and the figure would take possession of them, avoiding the trouble they would have otherwise caused. 

“The sculpture becomes an abode, a home for the spirit, and it will receive offerings in order to keep it happy, and therefore remedy the problem in question,” Petridis explains.

This Baule monkey figure from the Côte d’Ivoire features a baboon-headed man representing a bush spirit and untamed wildness.

There’s a duality common throughout Africa: culture vs. nature, community vs. the wilderness. As such, idealized beauty is always presumed to be of human origin, associated with the realm of the village and society. 

At the other end of the spectrum, ugliness correlates with the wild and untamed realm of the jungle outside the boundaries of the village. The works that are deliberately created to be ugly reflect the widely shared belief that coarse and asymmetrical animal-like forms correspond with bad character, malignant magic and death. 

This dichotomy reflects the central role of community and social harmony in African cultures — and the threats that come from the untamed, uncontrolled and unpredictable aspects of nature.

This ngolo mask from the DRC features antelope horns to convey courage, while its protruding eyes signal aggression in the hopes of discouraging outsiders from approaching a boys’ training camp.

“Artists who intend to instill fear through their objects may represent ugliness by mimicking or referencing animals, especially powerful and fearsome ones,” Petridis says. “Additional features will be incorporated into fantastic compositions that comprise elements sourced literally from the natural world — actual animal parts: hides, horns, teeth, fur.”

Ugliness in African art has a power of its own. “They turn it into a dark, dangerous object, an object that inspires fear and terror and therefore also power and authority,” he continues. 

Antelope horns sit atop a nkisi figure from the DRC that depicts a blacksmith from folklore. It held great power and was created to protect an entire village.

Some art has elements of both beauty and ugliness and is meant to astonish. 

Petridis refers to this as “awesome art,” what Westerners might call the sublime. They are meant to both fascinate and terrify.

Nails are driven into a nkisi nkondi, like this one from the DRC, to atone for transgressions. If someone breaks an oath made to the figurine, it’s said to come to life to mete out justice.

“In a literal sense, it refers to objects that are meant to be awe-inspiring. They will literally stop you in your tracks,” he says. “And these objects are considered to be both beautiful and ugly, both terrorizing and attractive at once.”

A large d’mba shoulder mask used during ceremonies features scarification and pendulous breasts — aspects of the feminine ideal among the Baga people of Guinea.

Beauty Is in the Eye of the Beholder

When judging African art, see where there are overlaps or differences from your own preconceived notions, Petridis suggests. Always keep in mind that African art should always be viewed through the language and vocabulary of the culture it comes from.

“Beauty is essential and important and critical in the arts of Africa as well,” he concludes. “But it’s not necessarily the beauty that you as an outsider would see in it.” 

To avoid imposing your own tastes and preferences on art objects, you have to be open to learn and read about the culture in which they function, and what meanings and purposes they convey. And that new understanding is a thing of beauty. –Wally

Pretty in Pink: Parroquia San Miguel Arcángel

Discover the strange history of this iconic church, the lively Jardín it overlooks and the riotous Festival of San Miguel. 

Parroquia San Miguel Arcángel, an icon of San Miguel de Allende, Mexico

“It’s just like the Disney Castle!” 

It’s a refrain you’ll hear often when you show pictures of the iconic church in San Miguel de Allende. Only, for my money, it’s cooler, cuz it’s pink — and I’d much rather be in Mexico than Disney World. 

“The church was designed by a self-taught indigenous stonemason named Zeferino Gutiérrez, who was inspired by a postcard of a Belgian church.

Apparently, Gutiérrez had never seen a cathedral in person, so he just winged it, scratching his design in the sand with a stick. ”

You’ll never tire of seeing the Parroquia San Miguel Arcángel (they really need to come up with a solid nickname). And the good news is, almost every time you head out to explore the charming colonial town, you’ll find yourself passing by the church and the main square, known locally as el Jardín. 

Behind the church is a quaint cobblestone street.

A Towering Legacy: Construction of San Miguel’s Most Famous Landmark

The exact date of construction is a matter of debate. There’s a convoluted history on the church’s website, stating that the first iteration was in 1564 — while others believe it wasn’t completed until the 1700s. The church has undergone so many renovations and additions over the years that it’s difficult to discern what the original structure looked like.

Perhaps all those renovations is why San Miguel Arcángel is a delightful mishmash of different architectural elements. The exterior features a Neo-Gothic façade that was added in the late 19th century, while the underlying structure is more Mexican Baroque. 

San Miguel de Allende is for lovers.

But let’s face it: The real stars of the show are the towering spires. They’re the stuff of legend, designed by a self-taught indigenous stonemason named Zeferino Gutiérrez, who was inspired by a postcard of a Belgian church. Apparently, Gutiérrez had never seen a cathedral in person, so he just winged it, scratching his design in the sand with a stick. 

Whatever the case, the end result is magical — he created those fantastical, otherworldly spires that look like they belong in a fairytale.

Part of its undeniable charm is the fact that it’s pink. The stones used in the Parroquia San Miguel Arcángel’s façade are cantera, a volcanic rock likely sourced from nearby quarries. Over time, the stones have taken on a more vibrant shade of pink, winning the hearts of visitors and locals alike.

Duke sits on the steps at the side of the church.

The church sort of leans to one side, which has led to various theories about how it came to be that way. Some say it was built askew on purpose to ward off evil spirits or to align with the position of the sun. Others attribute its slant to an earthquake or even the Devil himself. In reality, the tilt is likely due to the sandy soil San Miguel Arcángel was built on, which has shifted over time. This natural phenomenon is known as subsidence and is a common problem in many parts of the world.

In recent years, efforts have been made to stabilize the church and prevent further subsidence. However, the tilt remains a distinctive feature of the Parroquia San Miguel Arcángel and adds to its unique character and charm. Hey, it worked for that Tower of Pisa.

The Parroquia San Miguel Arcángel has seen some violence over the years.

The Cristero War and the Parroquia San Miguel Arcángel 

The San Miguel Arcángel parish has seen some real action over the years. For one thing, it was witness to the bloody Cristero War of the 1920s. This violent conflict pitted Catholic rebels against the anti-clerical government of Mexico, with both sides fighting tooth and nail for their beliefs. San Miguel Arcángel wasn’t spared from the brutality — bullets and bombs left the church’s walls scarred and pockmarked. In addition, some of the priests of San Miguel Arcángel were killed or exiled during the conflict. 

The church was later repaired, a testament to the resilience of the locals and a symbol of Mexican history and faith.

The interior of the Parroquia San Miguel Arcángel didn’t go entirely as planned.

A Work in Progress: The Interior of Parroquia San Miguel Arcángel 

While I’m utterly smitten with the whimsical exterior of the Parroquia San Miguel Arcángel, the interior ain’t too shabby, either. It also features a variety of architectural styles, including Gothic, Baroque and Neoclassical. The high ceilings and intricate details create a sense of grandeur and awe. The main altar is adorned with gold leaf and features a statue of San Miguel, aka Saint Michael the Archangel, the church’s namesake. 

Wally thinks this would be a great place to propose to someone.

Off to the side is a smaller chapel adorned with surprisingly modern murals that look Cubist. 

A chapel in the back corner of the church has a Cubist-esque mural showing indigenous Mexicans on one side and Catholic monks on the other.

As impressive as the interior is, though, it’s not quite finished — or what was first intended. In fact, the original plans for the interior were much more grandiose, but due to a lack of funding and resources, many of the ideas were never fully realized. 

On the side of the church is a statue of Fray Juan de San Miguel, who founded the city and was, in turn, named for Saint Michael the Archangel.

Saintly Swordsman: The Legend of San Miguel

So who exactly is the archangel the church is named for? 

Well, with a name like Miguel, which means “Who Is Like God,” it’s not surprising that he’s the commander of the heavenly host. He’s often depicted with a sword, ready to do battle against Satan and his minions. 

San Miguel is also the patron saint of police officers and soldiers. 

Plaza Allende, commonly known as the Jardín, is the bustling center of this charming colonial town.

The Heart of San Miguel: Exploring the Jardín, the City’s Vibrant Central Park

Parroquia San Miguel Arcángel overlooks the main town square, the Jardín, formally known as Plaza Allende. This lively square is the beating heart of San Miguel de Allende. If you’re looking to people-watch, hear a mariachi band, pose with the giant puppets called mojigangas or grab some street food (we had elotes one night that were delicious), this is the place to be. 

Dancing by the gazebo

A mariachi trumpeter

Mariachi bands entertain the crowds in the plaza in front of the church.

The Jardín is situated right in the center of town, which makes it a prime location for all sorts of festivities and events. It’s flanked by the church on one side, and rows of shops and restaurants on the others, so there’s always something to see and do.

Grab dinner at the elote stand.

Wally digs into his elote.

But the Jardín wasn’t always the lovely green space it is today. In fact, it used to be a marketplace where vendors sold everything from produce to livestock. It wasn’t until the early 20th century that the town decided to convert it into a park, complete with benches, a gazebo and trees that have been trimmed into circles.

If you can, time your trip to coincide with the Feast of San Miguel at the end of September.

Feast of San Miguel and the Crazy Castillos of the Town’s Biggest Fiesta

Duke and I happened to be in SMA during the Feast of San Miguel — but, as odd as it might sound, no one told us about it! Thank God we happened to be walking through the Jardín and noticed that they were erecting wooden scaffolds in front of the church. 

We looked at a flyer pasted to the wall that listed local events. Lo and behold, it was none other than the town’s biggest frickin’ festival! 

There was a café on the corner we’d been wanting to check out, so we popped in there and got some drinks while we waited for the festivities to begin. 

The week-long Festival of San Miguel, aka La Alborada, takes place around September 29, the saint’s feast day, usually culminating on the following weekend. 

The festival’s firework show was the most impressive we’ve ever seen — in part because of the gorgeous backdrop of the church spires.

And what a festival it was! A crowd gathered in front of Parroquia San Miguel Arcángel, and mariachis played their tunes. But the pièce de résistance were the castillos, those towers we had seen, rising up like giant matchstick sculptures in front of the church. 

Local craftsmen build these towering infernos, using skills and techniques that have been passed down through generations. It’s truly a sight to behold. 

The castillos are a wonder to behold.

When they’re lit, stand back — and let the sparks fly! The pyrotechnicians manning the castillos are like mad scientists, firing off bursts of firecrackers in all directions, painting the night sky above San Miguel Arcángel in a kaleidoscope of colors amid ear-splitting booms. The fireworks on the castillos emit high-pitched wails, spin like Catherine wheels, and form images and words. The whole spectacle was unlike anything we had seen before. 

Forget the drawn-out firework shows you see in the States; this was a machine-gun riot of color and explosions — the best we’ve ever seen. A huge grin was plastered on my face, and I’d turn to my neighbors, strangers united by sharing this marvel, and we’d shake our heads and laugh, unable to believe we were witnessing such magic. –Wally

Parroquia San Miguel Arcángel from el Mirador, overlooking the town of SMA

Parroquia San Miguel Arcángel

Principal s/n
Zona Centro
37700 San Miguel de Allende
Guanajuato
Mexico

 

Ramadan Revealed: Radical Traditions of the Islamic Holiday

Eye-opening insights into Muslim practices, including fasting, iftar, suhoor, zakat and the Night of Power. 

Ramadan: when Muslims don’t eat, drink water, smoke, have sex or doing anything bad during the day for an entire month?! Learn more about this holiday.

“Ramadan’s been interesting,” my friend living in Qatar once told me. “It’s only been two days and it’s already a country full of cranky, sweaty, dehydrated, hungry people. It’s no way to live.”

The concept of not eating, or even being allowed to drink water, during daylight hours for an entire month seems so foreign to us Westerners — and, yes, downright bonkers. It can’t be healthy, for one thing. 

“Ramadan is like Lent for Catholics.

Only instead of giving up something you love, you’re giving up something you need to survive. ”

You see, Ramadan is a bit like Lent for Catholics. Only instead of giving up something you love, you’re giving up something you need to survive. 

Ramadan is a time of spiritual reflection, self-discipline and community. But let’s be real — it’s also a time of intense hunger, caffeine and nicotine withdrawal, and dramatic mood swings.

But these sweeping generalizations miss the point. I didn’t have the full story of why Muslims celebrate Ramadan. So I decided to do some digging. 

Fascinating Facts About Ramadan

Ramadan is based on the lunar calendar, which means it starts 11 days earlier each year than the previous year. It takes 33 years for Ramadan to cycle back to a particular starting date. And once in a very blue moon, like in 1997, two Ramadans will fall within the same calendar year. The next time that will happen: 2033. 

The holiday began in 624 CE and commemorates the month in which the Prophet Muhammad is said to have received the first revelations of the Quran, the holy book of Islam, from none other than the angel Gabriel. 

The angel Gabriel delivers the Quran to the Prophet Muhammed — the event celebrated during Ramadan.

The word Ramadan comes from ramida, an Arabic root that means scorching heat or dryness. And no, it’s not referring to people’s parched throats on a hot day but the fact that Ramadan originally fell during the summer season.

Fasting during Ramadan is one of the five pillars of Islam, which are the basic duties that every devout Muslim must follow. The other pillars are prayer, declaration of faith, charity and pilgrimage.

Some years there are more hours of fasting due to longer daylight hours. The hours of fasting also change substantially throughout the world based on the hours of daylight in various locations. 

Not everyone has to fast, though. There are some exceptions, such as children (you’re on the hook only after puberty), and those who are elderly, sick, traveling, pregnant, menstruating, breastfeeding…or all of the above. You can either make up the fasts later or feed a poor person for each day you miss.

Fasting during Ramadan isn’t just about abstaining from food and drink — you have to forgo sex, smoking, and anything else deemed indecent or excessive. Muslims also try to avoid anger, gossip and bad deeds during the month.

You might think that fasting during Ramadan would work as a crash diet. But that’s not always the case. In fact, some people actually gain weight because they overeat after breaking their fast at sunset and shortly thereafter fall into bed. 

Once the sun has gone down, people can break their fast with the meal called iftar.

Iftar and Suhoor: Time to Stuff Yourself Silly

Break their fast you say? Well, it’s not like people could survive not eating or drinking water for an entire month. So, once the sun has set, Muslims have a meal called iftar, which traditionally starts with dates and water, as well as other foods like soup, rice and bread. 

Dates are the traditional food to break your fast once the sun sets during Ramadan.

Iftar is a time for celebration and indulgence. It’s a chance to gather with loved ones, share delicious food and thank Allah for the blessings of the day. 

People prepare plates of food for iftar. It must be hell cooking delicious-smelling dishes when you haven’t eaten all day.

Muslims then catch a few Z’s before getting up before dawn to eat a meal called suhoor. It’s a delicate balance between filling up enough to last until sunset without feeling like you’re going to burst. 

Prayer in Cairo by Jean-Leon Gerome, 1865

Prayer and Charity: The Chance for Forgiveness 

During Ramadan, Muslims attend special night prayers called taraweeh at mosques. They seek to deepen their relationship with Allah and cultivate a sense of spiritual peace and tranquility.

There’s also a strong focus on helping others. Islamic teachings encourage Muslims to set aside a percentage of their accumulated wealth to donate to charity (zakat) and do good works for the neediest in their community. “The best charity is that given in Ramadan,” Muhammed said.

The Night of Power is a mysterious occurrence during Ramadan. Muslims can seek it through intense prayer at a mosque during the last 10 days of the holy month.

The Quest for the Night of Power 

One of the most important moments of Ramadan is the Night of Power, or Laylat al-Qadr. The Quran declares that it’s “better than a thousand months” (Surah Al-Qadr, 97:3). 

I don’t quite understand what the Night of Power entails; it sounds a bit like an epiphany. According to the Prophet Muhammad, it’s an opportunity to ask for forgiveness of your sins.

But the Night of Power is elusive, mysterious, intensely personal. One way to seek the Night of Power is through the practice of i’tikaf, which involves secluding yourself in a mosque for the last 10 days of Ramadan. This intense focus on prayer and contemplation increases your chances of finding the Night of Power.

Many Muslims spend more time praying during Ramadan.

Another way to seek the Night of Power is through increased acts of worship, such as reciting the Quran, performing extra prayers or giving zakat. 

Finally, Muslims can seek the Night of Power through supplication and heartfelt dua, the act of calling upon Allah. Good news: “A fasting person, upon breaking his fast, has a supplication that will not be rejected,” Muhammad said. 

Massive amounts of people come together to celebrate Eid al-Fitr, the end of Ramadan.

Eid Al-Fitr: A Well-Earned Celebration 

After the month of fasting, prayer and spiritual reflection, Muslims around the world come together to celebrate Eid al-Fitr, the Festival of Breaking the Fast. (It’s pronounced like Eed al-Fitter.) It’s a time of joy, feasting and giving thanks.

The day begins with the Eid prayer, followed by a sermon in which the imam reminds the community of the lessons learned during Ramadan and encourages them to continue their spiritual growth throughout the year. 

People go to a mosque on Eid al-Fitr — and after the sermon, the feast begins.

After the prayer and sermon, Muslims exchange greetings of “Eid Mubarak” and engage in acts of charity and kindness. 

Finally, Eid al-Fitr is a time of feasting and indulgence, with traditional sweets and delicacies being shared among family and friends. 

Girl Reciting Quran by Osman Hamdi Bey, 1880

Ramadan and Self-Transformation 

I now have a better understanding of Ramadan. The religious holiday is a spiritual detox, a month-long opportunity for Muslims to purify their hearts, minds and souls. It’s a time to leave behind bad habits and negative behaviors, and focus on strengthening their connection with Allah and becoming better individuals.

It’s also an opportunity to wipe the slate clean. As the Prophet Muhammad said, “Whoever observes fasts during the month of Ramadan out of sincere faith and hoping to attain Allah’s rewards, all his past sins will be forgiven.”

Ramadan is a time of self-reflection, charity and forgiveness.

I’m sure that the intense sacrifice Muslims make during Ramadan leads to some pretty powerful revelations about one’s self and helps people be more empathetic to the less fortunate.  

“Ramadan is a time for us to remember what is essential in life, to let go of our attachments to the trivial and the mundane, and to connect with the divine and the transcendent,” says Omid Safi, a professor of Islamic studies at Duke University. 

Maybe that’s not so unhealthy after all. –Wally

Dispelling Myths and Misconceptions About the Church of Satan

They don’t actually worship the Devil, for one thing. Here are 5 surprising facts you need to know, from Satanist beliefs to the controversies that hound them — and the differences between the Church of Satan and the Satanic Temple.

There’s nothing scary about the Church of Satan — except, perhaps, their propensity for creepy costumes.

In the classic Saturday Night Live skit, Dana Carvey dresses up as the priggish Church Lady, and she’s got one thing on her mind: “Is it…Satan?!” For her, Satan has everything to do with it. And when discussing the Church of Satan, it’s ironic (and surprising) to learn that Satan doesn’t really have anything to do with it. 

When you hear the words “Church of Satan,” like the Church Lady, you might picture a bunch of cultists clad in black robes, worshiping the Devil in nefarious ways. Maybe sacrificing a kitten or puppy now and then. 

But the reality is much less salacious. The Church of Satan, founded in 1966 by a former carnie named Anton Szandor LaVey, is really just an organization that rejects traditional religious dogma in favor of individualism, rebellion and personal freedom. 

“Satanism is often misunderstood as a religion promoting evil, violence and debauchery.

In fact, it’s a peaceful and individualistic philosophy that champions personal freedom, critical thinking and rationalism.”

— Blanche Barton, former high priestess of the Church of Satan

“Satanism is often misunderstood as a religion promoting evil, violence and debauchery,” Blanche Barton, former high priestess of the Church of Satan, told Rolling Stone. “In fact, it’s a peaceful and individualistic philosophy that champions personal freedom, critical thinking and rationalism.” 

Here are some of the most surprising facts about the Church of Satan that will make you question everything you thought you knew about Satanism.  

No baptism by the Devil necessary — in fact, Satan is really just a symbol for the carnal, material and earthly aspects of life.

1.  They don’t actually worship Satan.

Despite what the Bible thumpers might tell you, members of the Church of Satan don’t actually worship Satan as a literal being. There is no red-skinned Devil clutching a pitchfork and eager to torture sinners for eternity in Hell. Instead, they see Satan as a symbol of individualism, freedom and self-determination. According to the Church of Satan’s website, “Satan represents the carnal, material and earthly aspects of life.” By embracing these qualities, members seek to live life to the fullest and pursue their own desires and goals, no matter how “sinful” they may seem to others. In fact, Satanism preaches atheism. 

What does the Church of Satan believe? If booze and drugs are your thing, you do you — so long as you don’t hurt anyone.

2. Evil isn’t what it’s all about. Satanic beliefs center on being true to yourself and questioning authority.

The Church of Satan has a set of guiding principles known as the Nine Satanic Statements, originally written by LaVey in 1969 in The Satanic Bible. These statements emphasize the importance of individuality, skepticism and critical thinking. For example, the first Satanic Statement reads, “Satan represents indulgence instead of abstinence!” (Not sure why LaVey felt like he needed to shout them all.) This encourages members to indulge in all of life’s pleasures, including sex, drugs and rock ’n’ roll.

Members of the Church of Satan seem to be very dramatic — and that includes Anton Szandor LaVey, its founder and author of The Satanic Bible.

The Nine Satanic Statements

Here’s the full list:

1. Satan represents indulgence instead of abstinence!

2. Satan represents vital existence instead of spiritual pipe dreams!

3. Satan represents undefiled wisdom instead of hypocritical self-deceit!

4. Satan represents kindness to those who deserve it instead of love wasted on ingrates!

5. Satan represents vengeance instead of turning the other cheek!

6. Satan represents responsibility to the responsible instead of concern for psychic vampires!

7. Satan represents man as just another animal, sometimes better, more often worse than those that walk on all-fours, who, because of his “divine spiritual and intellectual development,” has become the most vicious animal of all!

8. Satan represents all of the so-called sins, as they all lead to physical, mental or emotional gratification!

9. Satan has been the best friend the Church has ever had, as He has kept it in business all these years!

There’s mention of vengeance, of selfishness, of sins. The Church of Satan doesn’t believe in limiting its members’ choices or imposing moral restrictions. Instead, it encourages Satanists to pursue their own desires and goals — as long as they don’t harm others or infringe on their rights. (It’s not so far off from the Wiccan Rede, “An’ it harm none, do what ye will.”) This means that members are free to engage in activities that might be considered taboo or controversial by mainstream society and prudish worshippers of other religions, from BDSM to witchcraft — and even, God forbid, playing Dungeons & Dragons.

“Satanism is about elevating and empowering the self, not wallowing in guilt or self-denial. It’s about pursuing one’s own desires and goals, while respecting the rights and freedoms of others,” says Peter H. Gilmore, author of The Satanic Scriptures.

The Church of Satan takes a libertarian approach to politics and society, emphasizing individual rights and freedoms above all else. According to the Church of Satan’s website, “Satanists believe in free will, self-preservation and autonomy.” This means that the church is opposed to authoritarianism, censorship and other forms of control that limit individual expression and freedom. So if you’re sick of the government telling you what to do and think, maybe it’s time to join the Satanist movement.

Satan Exulting Over Eve by William Blake, 1795

3. The Church of Satan doesn’t require specific rituals or practices — but orgies are OK, it that’s your thing.

Unlike many other religious and spiritual organizations, the Church of Satan doesn’t require its members to engage in specific rituals or practices. Satanists are free to choose their own path and approach. However, the Church of Satan does offer resources and guidance for those who want to participate in Satanic rituals or ceremonies, including baptisms, weddings and even orgies (releasing lust is seen as an essential need).

Devil worshippers are everywhere — and they’re coming for your children! That was what some people believed in the ’80s, during the Satanic Panic. Thankfully, Wally’s parents still let him play D&D.

4. The Church has been embroiled in numerous controversies, including the so-called Satanic Panic.

The Church of Satan has faced controversy and opposition from mainstream society since its inception. Some people have accused the Church of promoting violence and immorality, while others have labeled it a dangerous cult. However, the Church of Satan has consistently maintained that it’s a legitimate religious organization that promotes personal freedom and individualism, and has even won legal battles in defense of its rights.

In the 1980s and ’90s, the Church of Satan became embroiled in what was dubbed the Satanic Panic, a wave of hysteria that swept across the United States and other countries. During this time, many people believed that Satanic cults were operating in secret, engaging in human sacrifice, ritual abuse and other horrific acts. While there was no real evidence to support these claims, the Church of Satan was frequently targeted and was blamed for influencing the behavior of alleged cult members, including brainwashed youth.

The Satanic Temple is a much more political group than the Church of Satan. They fought to have a statue of the demon Baphomet placed outside the Arkansas State Capitol next to a sculpture of the 10 Commandments as a protest against the lack of a separation of church and state.

5. The Church of Satan shouldn’t be confused with the Satanic Temple — the group behind the Baphomet statue in Arkansas.

While the Church of Satan and the Satanic Temple share some similarities in terms of their general beliefs and philosophies, they are distinct organizations with different leadership, history and goals.

The Satanic Temple, founded in 2013, has a more politically active and socially engaged mission. It uses the symbol of Satan as a tool to challenge authority, promote religious freedom and individual liberties, and advocate for social justice and progressive values. The Satanic Temple is organized as a nonprofit and engages in various campaigns, such as advocating for reproductive rights and opposing government-sanctioned displays of religion.

In 2018, the Satanic Temple wanted a bronze statue of Baphomet, a deity with a goat’s head and a human body, to be placed next to a monument of the 10 Commandments on the grounds of the Arkansas State Capitol.

While the statue was ultimately never installed due to a legal dispute, the controversy sparked a heated debate over the separation of church and state and the role of religious expression in public spaces. The temple’s involvement in the statue project once again highlighted the organization’s commitment to free speech and individual rights, and raised important questions about the limits of religious expression in the public sphere.

“We are not merely fighting to install this statue in Arkansas, we are fighting for the constitutional rights of all Americans,” Lucien Greaves, co-founder of the Satanic Temple, told NPR.

Despite their differences, both the Church of Satan and the Satanic Temple share a commitment to individual freedom, critical thinking and opposition to oppressive authority. They also both seek to challenge the dominant religious and moral values of society, and promote a more nuanced and rational understanding of the human experience.

Satan in His Original Glory: ‘Thou Wast Perfect Till Iniquity Was Found in Thee’ by William Blake, circa 1805

Speak of the Devil

The Church of Satan is more than just a bunch of weirdos chanting in black robes (though, if you see some of their pictures on their website, that seems to be a part of their ceremonies). It’s a legitimate religious organization that promotes individualism, free thought and personal freedom. While it may not be for everyone, the Church of Satan is certainly not the sinister cult that many people make it out to be. Whether you’re a hardcore Satanist or just a curious outsider, the Church of Satan is a fascinating and provocative institution that deserves to be taken seriously. 

Stop worrying about centuries-old moral codes? Do what’s right for you — so long as you don’t hurt others? That all sounds pretty heavenly to me. 

So why not join the dark side and see what all the fuss is about? Who knows — you might just find your true calling as a card-carrying member of the Church of Satan. –Wally

When Did Jesus Become God? 5 Startling Findings in the Gospels

Matthew, Mark, Luke and John offer differing views of Christ’s divinity. Some say he became divine at his baptism, others that he has always been one with God. Plus: Did the idea of the Virgin Mary come from a misunderstanding?

Jesus was crucified and came to be viewed as divine after his resurrection. But as time went on, the Gospel writers altered this view, offering different takes on when Jesus became one with God.

Icon of the Crucifixion by Andreas Pavias, second half of the 15th century

What did the earliest Christians believe? The first writings about Jesus reveal that his original followers thought that he became divine upon his resurrection. 

But that’s not a belief shared in all of the books of the New Testament. In fact, there was hardly a consensus among early followers. “Different Christians in different churches in different regions had different views of Jesus, almost from the get-go,” writes Bart D. Ehrman in the 2014 book How Jesus Became God: The Exaltation of a Jewish Preacher From Galilee. 

“If Jesus claimed to be equal with God,
wouldn’t the earlier Gospels have mentioned it? ”

---

Here are five surprising findings revealed in a study of the Gospels.

Early Christians believed Jesus became divine upon his resurrection — but in the earliest Gospel, Mark, the timeline had been moved back to his baptism.

Theophany, an icon of the Baptism of the Lord, 20th century

1. The Gospel of Mark doesn’t mention that Mary was a virgin, and declares that Jesus became divine only after being baptized. 

According to Mark, Jesus was fully human up until the point that John the Baptist baptizes him. Once this happens, the Spirit of God descends as a dove and a voice from the heavens declares, “You are my beloved son, in you I am well pleased” (Mark 1:9-11). 

It is only after this has happened that Jesus begins his own ministry, now one with God, and is able to perform miracles (walk on water, raise the dead), cast out demons and forgive sins.  

The author of Luke literally changed the words of God because the earlier view that Jesus became divine after being baptized had become a heresy.

The Baptism of Christ by Domenico Ghirlandaio, 1490

2. A passage in Luke was changed from its original to downplay the statement that Jesus became the Son of God at his baptism.

We don’t have any original documents of the New Testament. What we do have are copies made centuries later — many of which have been altered and differ from each other. One such passage about Jesus’ baptism in Luke tweaks what God says. “But in several of our old witnesses to the text, the voice says something else,” Ehrman writes. “It quotes Psalm 2:7: ‘You are my Son, today I have begotten you.’” 

Why make this change? Ehrman says that “when scribes were copying the texts of Luke in later centuries, the view that Jesus was made the Son [of God] at the baptism was considered not just inadequate, but heretical.” Jesus was always divine, and any other teaching needed to be suppressed — even if that’s what early Christians believed.

What if Mary wasn’t a virgin? The earliest mentions of her don’t say anything of the sort — and the concept only sprung up in Matthew with a bad translation.

The Creation of Man by Natalie Lennard, 2017

3. The Gospel of Matthew mentions the virgin birth — but this is a misinterpretation of an early prophecy.

The book of the Old Testament prophet Isaiah declares, “A virgin shall conceive and bear a son, and his name shall be called Immanuel” (Isaiah 7:14). Never mind that Jesus isn’t actually called Immanuel; the author must have made the connection because the name translates to “God Is With Us.” Turns out the quote isn’t actually about the coming messiah at all. 

To top it off, Matthew mentions the virgin birth because of a bad translation. The author read a Greek translation of Isaiah many centuries later. The original Hebrew word, alma, means “young woman” but it was translated with the Greek parthenos, which carries the connotation of a young woman who has never had sex. It’s this misinterpretation that leads Ehrman and other biblical scholars to believe that this is the origin of Mary becoming the Virgin. 

As time when on, Jesus’ divinity got earlier and earlier, until the last Gospel, John, states that he had always been one with God.

Jesus Christ by Cathy Dobson, 1994

4. It’s not until John, the latest of the Gospels, that Jesus is declared to have always existed as an equal to God.

The author of John doesn’t hold that Jesus was exalted into a divine state; he is the same as God and was his human incarnation on Earth for a few decades. This is the view of Jesus held today by most Christians — but it’s certainly not what his earliest followers, including the 12 Disciples, believed. As previously mentioned, they thought that Jesus became divine only after his resurrection and later ascension into Heaven. 

The Gospel of John declares that Jesus is the Word of God and was essential to Creation. The text deliberately calls to mind the opening lines of Genesis.

The ceiling fresco of Chiesa di Sant’Orsola in Como, Italy, painted by Giovanni Domenico Caresana, 1616

5. An even higher view of Christ is found in the Gospel of John: that Jesus is the Word of God — and, as such, is responsible for creating the world. 

The Gospel of John is the latest of the four, written in Greek 60 or so years after Jesus died, in a different part of the world — Ephesus, in modern-day Turkey. 

“For John,” Ehrman writes, “Jesus was an equal with God and even shared his name and his glory in his preincarnate state.”

Take John 5:17-18, one of many examples: “This was why the Jews sought all the more to kill him, because not only was he breaking the Sabbath, but he was also calling God his own Father, thereby making himself equal to God.”

Much discussion has taken place around the so-called Prologue of John, the first 18 verses of the book. It presents the most elevated view of Jesus’ divinity imaginable: “even before he appeared, he was the Logos of God himself, a being who was God, the one through whom the entire universe was created,” Ehrman explains. 

But if that was the case, and Jesus made such claims about himself, wouldn’t the earlier Gospels have mentioned it? There’s nothing to be found in Matthew, Mark or Luke, however. 

The four Gospel writers all have their own take on when Jesus became God.

Christ in mandorla with the Evangelists, from the Reichenau Illumination, early 11th century

Christians today tend not to take such a close look at the Gospels, not noticing the discrepancies and not aware of the historical evidence. It’s shocking to think that the form of Christianity practiced today doesn’t align with some of the views of the Four Gospels. John’s view of Jesus as one with (but somehow distinct from) God the Father has won out. But it seems as if it could easily have gone another way. –Wally

What Did the Earliest Christians Believe?

The original views of Christ differ significantly from current beliefs. No virgin birth, no divine status during his lifetime — instead, Jesus was a mortal like the rest of us, until God decided to resurrect him and he became the Son of God.

The first Christians didn’t believe that Jesus had been born of a virgin or was already divine. He was a typical human until God resurrected him.

The Resurrection by James Tissot, circa 1890

How can we know what the earliest Christians believed when the first writings about him are from 20 years after his death? 

Scholars turn to what’s called preliterary sources — that is, snippets of text, whether they’re hymns or creeds of faith, that have been inserted into later books of the Bible. You can tell they’re most likely earlier oral traditions that have been added because they not only use terminology found nowhere else in the works, but they also often present different theological views. 

For instance, in Romans 1:3-4, Paul describes Jesus as he “who was descended from the seed of David according to the flesh, who was appointed Son of God in power according to the Spirit of holiness by his resurrection from the dead.”

The first part expresses a long-held belief by Jesus’ followers: that he was the promised messiah from the line of King David. This is a surprising inclusion for Paul, the earliest Christian author; nowhere else does he emphasize Jesus’ messiahship. 

The second part of the Bible verse holds a key element of early Christian belief: Jesus became the Son of God at his resurrection. A similar snippet from Acts 13:32-33 posits the same view, even though that’s in stark contrast to what the author later writes (and is currently part of the Christian faith) — namely that Jesus was divine from the moment of his conception.

“There is no talk about Jesus being born of a virgin and certainly no talk of him being divine during his lifetime.”

— Bart D. Ehrman, “How Jesus Became God”

Jesus was said to have been resurrected and, some time after, ascended into Heaven to be with God.

The Ascension by Benjamin West, 1801

What’s most striking is that “there is no talk about Jesus being born of a virgin and certainly no talk of him being divine during his lifetime,” writes Bart D. Ehrman in How Jesus Became God: The Exaltation of a Jewish Preacher From Galilee, published in 2014. “He is a human figure, possibly a messiah. But then at a critical point of his existence, he is elevated from his previous lowly existence down here with us, the other mere mortals, to sit at God’s right hand in a position of honor, power and authority.”

Ehrman emphasizes the importance of this act: “the man Jesus is showered with divine favors beyond anyone’s wildest dreams, honored by God to an unbelievable extent, elevated to a divine status on a level with God himself, sitting at his right hand.”

This belief helped give a positive spin to a man whose followers must have been disheartened that their messiah didn’t destroy their oppressors but was instead tortured and executed by them. It certainly wasn’t what any of them was expecting of their hero. 

But Jesus’ “resurrection confirmed for them that even though he had not conquered his political enemies — the way the messiah was supposed to — God had showered his special favor on him by raising him from the dead,” Ehrman writes. 

Early Christians thought that Jesus was indeed their messiah despite having been crucified. God resurrected him and made him his adopted son and heir — with all the power and glory that involved.

The Resurrection of Christ by Rafael, 1502

Adopted Sons

To the people of the time, there wasn’t any stigma attached to being an adopted son — in fact, quite the opposite. In Ancient Rome, the adopted son was the chosen heir. “He was made great because he had demonstrated the potential for greatness, not because of the accident of his birth,” Ehrman explains. 

Take Julius Caesar. He had a son, Caesarion, with Cleopatra — but not too many people have heard of him. Instead, it’s his nephew and adopted son, Octavian, who has a major place in history: He went on to become Augustus, the first emperor of the Roman Empire.

So when the earliest Christians talked about Jesus being God’s adopted son, they were saying this: “He received all of God’s power and privileges. He could defy death. He could forgive sins. He could be the future judge of the earth. He could rule with divine authority,” Ehrman writes. “He was for all intents and purposes God.” –Wally

The Marvelous Murals of the Sanctuary of Atotonilco

No surprise that this UNESCO site has been dubbed the “Sistine Chapel of Mexico.” Pair it with La Gruta hot springs for an easy day trip from San Miguel de Allende. 

Most of the murals at Atotonilco depict scenes from Jesus’ life, including his resurrection (top) and the Last Supper (just below).

We knew we wanted to pair our trip to La Gruta Spa with a visit to the Sanctuary of Atotonilco (a tough one to pronounce, but try, “Ah-toe-toe-neel-ko”). 

The trouble was, we didn’t know how we would get there. To get to La Gruta, we had to bum a ride from someone who works at our first stop of the day, the quirky Chapel of Jimmy Ray, because we couldn’t get any cell service to call a cab or Uber.

Most of the murals at Atotonilco show scenes from the life of Christ, including the resurrection. The style is known as Mexican Folk Baroque.

I looked on Google Maps and determined that the church was only a 15-minute walk away. And once we got past the somewhat busy road that runs in front of the hot springs complex along a highway, we were able to walk on a peaceful cobblestone sidewalk. In fact, we started to see signs indicating that this is a pilgrimage route. So we followed them along a quiet road, Calle Principal, through a canopy of trees, and into a small village, where the church of Atotonilco can be found amid a few businesses and market stalls. 

Almost every inch of the walls and ceilings are covered in murals that date back to the mid-1700s.

“Pilgrims complete their journeys on their knees, wear hair shirts, tie cacti to their chests and wear crowns of thorns.

Atotonilco has also become a hotspot for flagellants — religious devotees who whip themselves to mimic the pain Jesus experienced en route to his crucifixion.”

The façade isn’t much — the wonders lie within.

A statue of Don Miguel Hidalgo y Costilla, a Catholic priest who, while waving a banner of the Virgin of Guadalupe taken from the Sanctuary of Atotonilco, delivered an impassioned speech for the people to break the yoke of Spanish oppression — and launched the Mexican War of Independence

From the — dare I say — bland exterior, you’d never guess at the gorgeous artwork inside. The façade consists of white walls devoid of decorations, aside from a window here and there. The wall around the church makes it feel like it’s more of a fortress than a sanctuary.

The main church was closed off when we visited — and we were surprised to see that it had plastic chairs instead of pews.

When we went, there was a crowd of tourists, mostly from Mexico, all pressing into the small space. For some reason, the church itself was roped off, with pink and purple plastic chairs in lieu of pews, and the altar visible in the distance. 

The frescoes were painted over three decades by a local artist, Miguel Antonio Martínez de Pocasangre.

There are supposedly quite a few chapels and niches inside the structure, but we were only able to go into the Capilla del Santo Sepulcro, or the Chapel of the Holy Burial — for a small fee. A couple of dioramas depict Jesus’ death on the cross. But it’s the intricate, gorgeous paintings, created by a local artist, Miguel Antonio Martínez de Pocasangre, that prompted UNESCO to declare this a World Heritage Site in 2008.

John the Baptist baptizes his cousin Jesus in the Jordan River in this mural at Atotonilco.

Judas, shown with a demon straddling his back, betrays Jesus for 30 pieces of silver, while a dog barks at him.

Most of the murals at Atotonilco show the life of Christ — though at least one is from the Old Testament of the Burning Bush talking to Moses.

The frescoes cover the main events of Christ’s life — his baptism by John the Baptist, the Last Supper, Judas’ betrayal, the walk to his crucifixion, his resurrection outside his tomb — though I did spot at least one Old Testament story as well: Moses and the Burning Bush. And there are words everywhere — even long passages of text. The walls are a Bible come to life. 

A holy water font surrounded by de Pocasangre’s murals

An indigenous ruler represents the Americas near the entrance of the church.

The walls of the sanctuary are like a book come to life — there are entire paragraphs in Spanish throughout.

The color palette is minimal — mostly salmon and tan, with some blue, brown, gold and bits of green acting as leaves on the curlicue motif, all set against the white walls of the church. 

A local priest, Father Neri, had a dream where Jesus told him to build a church. Neri did so, founding el Santuario de Atotonilco.

A Dream Come True

Atotonilco means Place of the Hot Waters in the local indigenous tongue. Father Luis Felipe Neri de Alaro had been preaching in the nearby town of Dolores but had fallen ill and decided to check out the curative powers of the thermal springs. 

While dozing under a mesquite tree one day, Father Neri had a dream in which Jesus wore the crown of thorns and carried the cross. Christ said that he wanted the spot where the priest was napping to become a center of penitence and prayer. Neri awoke, filled with divine inspiration, and did just that, founding el Santuario de Atotonilco in 1740. Another possible factor in determining to build the church here: The site was used in fornication rites among the indigenous peoples of the area, and Neri wanted to stop this practice.

Construction continued over the next 36 years. Neri commissioned de Pocasangre to paint the now-famous murals. The artist’s style is known as Mexican Folk Baroque — a blending of local traditions and the ornate flourishes of Flemish masters. 

The statue of el Señor de la Columna shows Jesus with a bloody back from being whipped. It’s paraded through town in a procession held the week before Easter.

Hair Shirts, Crowns of Thorns and Flagellation 

Meanwhile, Neri wanted to honor Christ’s wish in the dream he had — namely, that the sanctuary not just be a place of prayer but one of penitence as well. And Neri’s view of this was of a gruesome, physical variety. 

A symbol of flagellants is Christ tied to a column being whipped, as seen at the top of the image.

From the church’s origin, it has been a place of pilgrimage, with several weeks each year devoted to rites of penitence, drawing up to 5,000 pilgrims in a single week and 100,000 a year. The attached building consists of dormitories and dining halls to house the influx of pilgrims. 

Behind the church are dormitories and dining halls for the 100,000 pilgrims who visit each year.

And many of these pilgrims are hardcore. They complete their journeys on their knees, wear hair shirts (garments made of rough, uncomfortable cloth), tie spiked nopal cacti to their chests and wear their own crowns of thorns. Atotonilco has also become a hotspot for flagellants — religious devotees who whip themselves to mimic the pain Jesus experienced en route to his crucifixion. 

It would’ve been interesting, to say the least, to have been in the village during one of the times when the flagellants descended upon it. But, alas, the town was quite sleepy when we visited.

Looking back at the main entrance to the Sanctuary of Atotonilco

In 1994, the frescoes got a refresh — by the same team that worked on restoring the Sistine Chapel in Vatican City.

The sanctuary, with its numerous murals and frescoes, has been declared a UNESCO World Heritage Site.

Not surprisingly, after 200 years or so, the frescoes had faded. In fact, in 1994, the World Monuments Fund named Atotonilco one of the world’s 100 Most Endangered Monuments, which inspired a major restoration project that same year. The church was in good hands: Some of the team that had worked to restore the Sistine Chapel in the Vatican City helped breathe new life into these frescoes. In addition, the walls were cleaned, the foundations reinforced and a new drainage system installed.

In the Capilla del Santo Sepulcro, or the Chapel of the Holy Burial, there are scenes of Jesus appearing after his resurrection.

Jesus shows off his stigmata to prove that he was crucified and yet rose from the dead.

Duke and I did our best to snap some photos and move through the crowd, though the front of the chapel was a popular spot for family photos among the locals. 

The only area open for tourists when we visited was a side chapel that showed Christ on the cross — a popular spot for family photos.

Another diorama, this one to the right of the main altar, shows Jesus being taken down from the cross.

A statue of Joseph with baby Jesus on his shoulder, while behind him Veronica shows the veil she used to wipe Christ’s face while he was en route to Calvary to be crucified.

After about half an hour, we decided to head back. We lucked out and saw a taxi passing by as we emerged from the sanctuary. We waved it down and caught a ride back to San Miguel de Allende for a reasonable rate. –Wally

Follow the pilgrimage signs to reach the impressive Sanctuary of Atotonilco.

Santuario de Jesús de Nazareno de Atotonilco

Calle Principal s/n
37700 Guanajuato
México

 

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