Yet it would be a matter for regret that this attractive people, open to every new idea of progress, eager to distinguish themselves, as shown a hundred times in the defence of their liberties, should be swallowed up by the Saxon element. The “Timeo Danaos dona ferentes” is surely applicable here, and Mexico should beware of her powerful neighbour—_Caveant Consules_.
Mexico has a great wealth of monuments, palatial houses, and churches, the finest of which is the Cathedral, occupying the northern side of the Place d’Armes, with the Palace to the east, the Houses of Parliament to the south, and the Portal de las Damas on the western side. It was erected on the site of the sumptuous temple dedicated to _Huitzilopochtli_, the war god and the patron deity of the Aztecs, whose altars reeked with the blood of human hecatombs in every city of the empire. The first stone for this church was laid in the reign of Philip II., and the canonicate of Archbishop Pedro Moya de Contreras. The foundations, which extended as far as the north side of the old temple, embracing the whole space now taken up by the courts, were carried on under the energetic supervision of Alonzo Perez de Castañeda. The work required for these foundations, owing to the unsteady, marshy nature of the soil, was so enormous that in 1615 the walls only rose to some twenty feet above the ground. Philip III., on being informed of the difficulties which retarded the work begun by his father, sent a plan drawn by his own architect, which was to simplify the original one, and accelerate the completion of the church.
The principal sacristy was finished in 1623; the vaults in the middle nave were completed between 1623 and 1665. In 1667, the interior of the Cathedral being quite finished, the inauguration took place. The choir, however, was only completed in 1730, when the rich and marvellous balustrade, which divides the choir from the sanctuary, executed by Macao, was put up. This balustrade, composed of bronze and silver, which has all the appearance of burnished gold, is most striking in its general effect.
The expenses of this church (completed in 1791) amounted to 2,446,000 piastres, or £489,200. Seen from the square, the edifice has the imposing appearance of churches of the latter portion of the sixteenth century. The façade, though simple, is very imposing, and contrasts favourably with the other sacred edifices in the city; three doors intervene between Doric columns and open into the middle and lateral naves. Over the main door two stories superimposed and ornamented with Doric and Corinthian pilasters, support a most elegant steeple, crowned by three statues, representing the theological virtues. On each side, towers, severe in design, and topped by cupolas, rise to the height of 78 metres.[6] The interior is one mass of gold. The choir, which is immense, occupies the principal nave, and, by means of a costly composite gallery, is made to join the main altar, designed after St. Peter’s in Rome. The two lateral naves, destined for the congregation, have no choir or seats of any kind, and Mexican ladies, who are very regular in their attendance at church, are satisfied with kneeling or sitting on the damp stones of the pavement, whether from zeal or because it would not be “good form” not to do so, remains doubtful, whereas it is quite certain that their delicate constitution demands a less dangerous practice. The few men who are ever seen in the interior of a church generally stand; most, however, remain outside talking to one another, and waiting for the ladies, who on coming out reward them for their patience by a bewitching look or a graceful inclination of the head.