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13/02/2022

Puebla is the capital and the largest city of the Puebla State.

Temple of San Agustin

This convent and its temple occupied two entire blocks and date back to 1629. This is one of the most besieged constructions in all the war conflicts that the city suffered since it had a strategic position and defended the south and west entrances of the city.

Its exterior presents two covers of sober style.

The main one dates from the 17th century and is made up of two bodies and a finial, adorned with Doric-style pilasters and niches that house magnificent sculptures.

In the upper part, there is a central relief made of marble where “The vision of Saint Augustine” is represented, where the saint is seen prostrate on his knees and helped by a pair of angels.

The side portal is Herrerian style and has a more sober style than the main one. In the pediment that is broken, the Augustinian shield can be distinguished, which is a heart pierced by two arrows that symbolize the divine love that burned in Saint Augustine.

It has a cross plan and its dome is reminiscent of Byzantine-style domes.

Inside, the beautiful sculpture of San Nicolás Tolentino located in one of the side chapels stands out.

Templo de San Agustin on Google Maps

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Travel and discover Puebla City, the capital of the state of Puebla and the fourth-largest city in Mexico. Puebla is a colonial and one of the oldest cities in Mexico. Here you can find all tourist and historical information about Puebla City, places of interest, suggested excursions and recommended routes, and much more.

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San Andrés Cholula is the municipal seat of San Andrés Cholula Municipality located in the center-west of the state of Puebla in the central highlands of Mexico, 122 km east of Mexico City and eight kilometers west of the city of Puebla. It is one of the two municipalities, along with San Pedro Cholula, that make up the modern city of Cholula or Cholula de Rivadavia. The city has remained more or less divided under different political organizations. However, the two halves share a common religious and social tradition that binds the city as a whole. San Andrés is known for being historically indigenous and still contains a larger indigenous population. It is also home to a number of colonial-era churches decorated in Talavera tile and in a style called Indigenous or Folk Baroque. The best-known example of this is the church in the Santa María Tonatzintla community.
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Soon after its foundation, Puebla was well known for its fine ceramics, especially for the style that would be called Talavera. This has been due to the abundance of quality clay in the region, drawing some of the best artisans. Between 1550 and 1570, Spanish potters from Talavera de la Reina in Spain came to Puebla to teach the locals European techniques of using the potter’s wheel and tin-glazing. These new methods were mixed with native designs to give rise to what became known as Poblano Talavera. The glazing technique was first used for the tiles that still decorate many of the buildings in this city. Later, it was used to make pots, plates, jars, religious figures, and other items. By the mid-17th century, the industry here had become well-established. Guilds were formed and ordinances passed to ensure quality. Blue was used only on the most expensive pieces due to the cost of the mineral used to produce it. The period between 1650 and 1750 was known as the Golden Age. In 1813, the constitution eradicated the potter’s guild and revoked the ordinances established in 1653 to standardize production. Now anybody could use this ceramic method in any style they wanted, and the lack of regulations led to a decline in technique and artistic quality. The Talavera market crashed. Out of the 46 workshops in production since the 18th century, only seven remained. When Enrique Luis Ventosa, a 29-year-old Catalan, arrived in Puebla in 1897, there were just six workshops left. Ventosa was fascinated by the history and fine craftwork that had distinguished Puebla from the rest of Mexico. He became the leading force behind a renaissance in Talavera ware. Another impetus to the rebirth of the Puebla tile was that collectors found out about it. In 1904 an American named Emily Johnston de Forest traveled to Mexico with her husband and discovered Talavera. She established contact with scholars, collectors, and dealers who assisted her in building her collection. Eventually, her collection was given to the Metropolitan Museum of Art in New York City. Other museums, like the Philadelphia Museum of Art, built their own collections. The Franz Mayer Museum in Mexico City has the largest collection of 726 pieces.
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Traveling to Puebla from Mexico City by bus Traveling to Puebla from Mexico City is fairly straightforward via bus. There are continual bus services between Mexico City and Puebla throughout the day and night both from the TAPO terminal (also known as Terminal Oriente) and from Benito Juarez International Airport. Buses leave for Puebla approximately every fifteen minutes from TAPO and every 40 minutes or so. Occasional buses go to/from the other terminals in Mexico City – e.g. ADO buses run a service from the Terminal del Norte several times a day. Travel time from TAPO to Puebla’s CAPU is usually around 2 hours, but this time may vary by up to a full hour depending on Mexico City traffic conditions at that time of day. Getting to Puebla City by air Alternatively, Hermanos Serdán International Airport (PBC) is an international airport located near Puebla with direct flights from Houston (United), Dallas (American), Panama City (Copa), and several cities within Mexico. From the airport, there are a few ways to get to the city center. Volaris offers a shuttle to the city center, which leaves once in the morning and once in the afternoon. There is also a public bus that passes by the airport every half hour. The bus is orange and will drop you off by the Ferrocarrilera. Buses to and from Puebla City There are two bus terminals in Puebla: the Centro de Autobuses Puebla (CAPU), the main bus terminal, and Estrella Roja’s 4 Poniente bus terminal, this terminal is located in downtown Puebla. Both Estrella Roja and ADO run buses to the much larger CAPU. Buses are also available from many other cities and towns, including Oaxaca, San Cristobal de las Casas, Tuxtla Gutierrez, Cuernavaca, Xalapa, Veracruz, Zacatlán, Cuetzalan, Tlaxcala, Tehuacán, Huamntla, and Juchitan among others, including less frequent services to destinations such as Cancún, Mérida, Puerto Escondido, and Acapulco. Taxi Taxis are naturally more expensive, but in Puebla, they are deemed safer. Negotiating a fare before entering a taxi is normal as the taxis do not carry meters in Puebla. If the driver does not offer you a fare that you like, you can always just wave them off and wait for the next taxi. At 4 Poniente, there are secure taxis (called Top Driver Express) in which you pay the cashier and not the driver. Secure taxis are also available from CAPU. Several local buses enter the station, and many others pass within 1-2 blocks. 4 Poniente is a much smaller terminal, though CAPU is relatively easy to navigate as well. Get around in Puebla Traveling within Puebla can sometimes be stressful as the local public transportation system is entirely privatized, leading to hundreds of bus routes, none of which are mapped out. If you know where you are going, you can ask around as to which route will take your destination, but often transfers are necessary for long distances, which can be confusing, especially if you are not familiar with the language. Safety note about buses: they are generally safe, but they tend to carry pickpockets, especially when crowded. Always have a hand over any bags/backpacks that you have. The buses generally run from about 07:00 to 22:00.
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Talavera pottery (Talavera poblana) is a Mexican and Spanish pottery tradition from Talavera de la Reina, in Spain. The Mexican pottery is a type of majolica (faience) or tin-glazed earthenware, with a white base glaze typical of the type. It comes from the town of San Pablo del Monte (in Tlaxcala) and the cities of Puebla, Atlixco, Cholula, and Tecali (all these four latter in the state of Puebla), because of the quality of the natural clay found there and the tradition of production which goes back to the 16th century. Much of this pottery was decorated only in blue, but colors such as yellow, black, green, orange, and mauve have also been used. Majolica pottery was brought to Mexico by the Spanish in the first century of the colonial period. Production of this ceramic became highly developed in Puebla because of the availability of fine clays and the demand for tiles from the newly established churches and monasteries in the area. The industry had grown sufficiently that by the mid-17th century, standards and guilds had been established which further improved the quality, leading Puebla into what is called the “golden age” of Talavera pottery (from 1650 to 1750). Formally, the tradition that developed there is called Talavera Poblana to distinguish it from the similarly named Talavera pottery of Spain. It is a mixture of Italian, Spanish, and indigenous ceramic techniques. The tradition has struggled since the Mexican War of Independence in the early 19th century when the number of workshops was reduced to less than eight in the state of Puebla. Later efforts by artists and collectors revived the craft somewhat in the early 20th century and there are now significant collections of Talavera pottery in Puebla, Mexico City, and New York City. Further efforts to preserve and promote the craft have occurred in the late 20th century, with the introduction of new, decorative designs and the passage of the Denominación de Origen de la Talavera law to protect authentically, Talavera pieces made with the original, 16th-century methods. Authentic Talavera pottery mainly comes from Talavera de la Reina in Spain, the town of San Pablo del Monte (in Tlaxcala), and the cities of Puebla, Atlixco, Cholula, and Tecali, in Mexico; as the clays needed and the history of this craft are both centered there. All pieces are hand-thrown on a potter’s wheel and the glazes contain tin and lead, as they have since colonial times. This glaze must craze, be slightly porous and milky-white, but not pure white. There are only six permitted colors: blue, yellow, black, green, orange, and mauve, and these colors must be made from natural pigments. The painted designs have a blurred appearance as they fuse slightly into the glaze. The base, the part that touches the table, is not glazed but exposes the terra cotta underneath. An inscription is required on the bottom that contains the following information: the logo of the manufacturer, the initials of the artist, and the location of the manufacturer in Puebla. The design of the pieces is highly regulated by tradition. The paint ends up slightly raised over the base. In the early days, only cobalt blue was used, as this was the most expensive pigment, making it highly sought after not only for prestige but also because it ensured the quality of the entire piece. Only natural clays are used, rather than chemically treated and dyed clays and the handcrafting process takes three to four months. The process is risky because a piece can break at any point. This makes Talavera three times more costly than other types of pottery. Because of this, Talavera manufacturers have been under pressure from imitations, commonly from China, and similar ceramics from other parts of Mexico, especially Guanajuato. Guanajuato state petitioned the federal government for the right to share the Talavera designation with Puebla, but, since 1997, this has been denied and glazed ceramics from other parts of Mexico are called Maiolica or Majolica. Today, only pieces made by designated areas and from workshops that have been certified are permitted to call their work “Talavera.” Certification is issued by the Consejo Regulador de la Talavera, a special regulatory body. Only nine workshops have so far been certified: Uriarte Talavera, Talavera La Reyna, Talavera Armando, Talavera Celia, Talavera Santa Catarina, Talavera de la Nueva España, Talavera de la Luz, Talavera de las Americas, and Talavera Virglio Perez. Each of these needs to pass a twice-yearly inspection of the manufacturing processes. Pieces are subject to sixteen laboratory tests with internationally certified labs. In addition, there is a test done by the Faculty of Sciences of the University of Puebla to ensure that the glaze does not have a lead content of more than 2.5 parts per million or cadmium content of more than 0.25 parts per million, as many of the pieces are used to serve food. Only pieces from workshops that meet the standards are authorized to have the signature of the potter, the logo of the workshop, and the special hologram that certifies the piece’s authenticity.
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