A Day Exploring the Sights of Colonia La Roma Norte
- lrhill9530
- Apr 23
- 69 min read
Updated: Apr 30
La Colonia Roma
Colonia Roma, also called La Roma or simply, Roma, is a district located in the Cuauhtémoc borough of Mexico City, just west of El Centro Histórico. The area is comprised of 3 similar, yet distinct neighborhoods: La Roma Norte & La Roma Sur, which are divided by Calle Coahuila, & La Romita.
During the pre-Hispanic period, the area where Colonia Roma is now was a very shallow part of Lake Texcoco, dotted with very small islands of firm ground, one of which was the village of Aztacalco ( which later became La Romita). Lake Texcoco was natural lake within the Valley of Mexico; the entire lake basin is now almost completely occupied by Mexico City. During the colonial period, Lake Texcoco was drained, & became rural lands first owned by Hernán Cortés & then by the Counts of Miravalle.
Colonia Roma's history goes back to the 20th century when affluent upper-class Mexican families were looking for somewhere to reside outside the busy Centro Histórico. The wealthy elite of Mexico City were fleeing the crumbling Centro Histórico because it was literally sinking into the ground, & the old buildings were deteriorating rapidly. The aristocracy of Mexico City were looking for wide-open spaces in which to build their mansions. Colonia Roma was originally planned as an upper-class Porfirian neighborhood. The area garnered interest among Mexican politicians & international businessmen. They invested in the development of the neighborhood, with the idea of creating a European-style town, inspired by the wide, leafy avenues & grand mansions of Paris in Art Deco & Art Nouveau styles.
Englishman Eduardo Walter Orrin became heavily involved in the development of Colonia La Roma. He had made his wealth in the circus, of all places. The Orrin Circus arrived in Mexico City in 1872 after touring the US & South America. The circus was a huge success in Latin America. It was so popular that Orrin was able to afford to build a permanent venue. The circus operated inside, what is now the Teatro Blanquita in Centro Histórico, for over 26 years! When Eduardo Orrin finally closed the circus, he turned his eyes to real estate development in the area just south of the Centro Histórico…what we know today as La Roma Norte!
In the 1940's & 1950's, La Roma drew in the best of the best of Mexico City. Artists, businessmen, & politicians arrived in style. Famous Chilangos, such as Álvaro Obregón, David Alfaro Siqueiros, & former president Mexico Luis Echeverría all found themselves living in La Roma Norte.
Colonia Roma's height as a wealthy enclave lasted from the 1900's to the early 1940's. Wealthy residents began to move to newer neighborhoods, like Polanco as early as the 1940's. In the 1950's, after WWII, the city began instituting lower rent regulations in La Roma; this act brought in a lower class of residents. By the late 940's, it had become a middle-class neighborhood in slow decline with the problems associated with urbanization beginning to appear. Older mansions began to give way to modern commercial buildings in the 1960's & 1970's; these tall buildings were not just an eyesore; they were unknowing starting to disturb the ground below them. The 1985 Mexico City Earthquake caused widespread destruction in the Colonia Roma, especially to the newer & more commercial & apartment buildings.
In the 21st century, La Roma Norte has been subject to increasing gentrification. It has experienced a revival, so that it is now one of the most chic &vibrant areas of Mexico City. La Roma Norte has become a bohemian area with restaurants, bars, clubs, shops, cultural centers, & art galleries. Many are housed in former Art Nouveau & Neo-Classical buildings, dating from the Porfiriato period at the beginning of the 20th century. There are efforts to conserve the area's architectural heritage. Today, the area attracts younger generations of artists, writers, & urban hipsters,; consequently, rents in the area are on the rise again. It is undoubtedly one of the trendiest neighborhoods in the city, rivaling Polanco as the center of the city's culinary scene.
La Roma Norte
La Roma Norte's signature boulevard, Avenida Álvaro Obregón, is where the vast majority of the hippest restaurants, bars, & clubs are found. It is home to about 1,100 mansions and other architecturally & historically important structures, most of them built between 1906 - 1939. Most of these are no longer residences, but rather offices, cultural centers, & other businesses. Examples of such adaptations include the Casa Lamm Cultural Center, the Casa Universitaria del Libro, the main building of the Universidad de Londres, & the various art galleries which are mostly found on Calle Colima.
Most of the streets of La Roma Norte are quiet, & lined with large, leafy trees, just how they were laid out when the colonia was built. The largest street is Avenida Álvaro Obregón, whose camellón has large trees, walking paths, & park benches. On weekends, these streets fill with vendors selling art, antiques, & collectibles.
La Romita
In the extreme northeast corner of La Roma is the pre-Hispanic village of La Romita, whose narrow streets are still significantly different from the rest of Roma. La Romita, a very small section of Colonia Roma, used to be an independent village & colonia. It was an independent village until the very early 20th century, when it became its own colonia in 1903 with the name of La Romita. When Colonia Roma was created, Romita was officially incorporated into it, but the local residents fought redevelopment. The local residents were of a significantly lower social class than the rest of Roma, so the wealthy residents avoided the Romita area out of fear. The area has since developed semi-independently from the rest of Colonia Roma, both in infrastructure & socially. Even today, the area is relatively difficult to access, with narrow streets leading to a very small plaza & a church called Templo de Santa María de la Natividad (which was first established in 1550).
The Cibeles area of Colonia Roma
The Cibeles area of Colonia Roma (west of Avenida de los Insurgentes), has fewer landmark buildings than the rest of the colonia It has a mix of offices, restaurants, retail, & residential. The Durango branch of the upscale Palacio de Hierro department store occupies a city block in the Cibeles area, & the landmark Fuente de Cibeles is at the center of a major cluster of restaurants, cafés, & clubs.
La Roma Sur
The Roma Sur area, which is east of Avenida de los Insurgentes & south of Calle Coahuila, is much more traditional than hip La Roma Norte. Many Latin American immigrants live there, plus restaurants & shops catering to them. The Mercado Medellín is located here; it is famous for Latin American goods & food, particularly from Cuba, Colombia, & Venezuela. La Roma Sur continues to be a predominantly residential neighborhood, & has not experienced the same level of gentrification as La Roma Norte. This area of the district gained international attention as a result of Alfonso Cuarón's 2018 film, "Roma"; Cuarón lived on Calle Tepeji as a child.
Breakfast at La Ventanita Café in the Cibeles Area
On our 2nd day in La Condesa, we spent the entire day, exploring the neighboring Colonia of La Roma Norte. We woke up early that morning, & immediately took an Uber to La Ventanita (Little Window) Café on the Plaza Villa de Madrid, where we had an early breakfast. I had read about La Ventanita Café a couple of years ago, and had, in fact, planned to eat breakfast there during our 2022 visit to Mexico City, but things didn't work out. I can tell you it was well-worth the wait! It is the most picturesque intimate & romantic sidewalk café.
Fuente de Cibeles
In the center of the roundabout in Plaza Villa de Madrid is the famous (& beautiful) Fuente de Cibeles, surrounded by stores & restaurants that make up the plaza. The fountain sits majestically just a few hundred yards in front of La Ventanita Café. After breakfast, we walked to over to admire the fountain & take pictures.
The fountain is located in what used to be the old historical Plaza de Miravalle. The old plaza was modified in 1980 to accommodate the fountain. At that time, the plaza was renamed the Plaza Villa de Madrid, which is commonly known as Plaza Cibeles because it features the Fuente de Cibeles. Four streets: Avenida Oaxaca, Calle Durango, Calle Medellín, & Calle Oro streets converge at the Plaza Cibeles.
The Fuente de Cibeles is a very large bronze sculpture. Inspired by the original fountain, which is located in the Plaza de Cibeles in Madrid, this replica was inaugurated on September 5, 1980, as a symbol of friendship & shared heritage between Mexico & Spain. It stands as a testament to the enduring cultural & historical ties between Mexico & Spain. The community around the plaza were primarily residents originally from Spain. They wanted to bring something to Mexico City that represented their homeland; Fuente de Cibeles was donated by those Spanish immigrants to Mexico. This intricate replica was meticulously recreated by artisans under the supervision of Spanish sculptor Manuel Manzano Monís. The Fuente de Cibeles is more than just a historical replica; it is a living, breathing part of Mexico City’s cultural landscape, serving as a focal point for community gatherings, celebrations, & public events.
Even the business district surrounding the Plaza Cibeles is known for its Madrilenian style & influence. The presence of the Fuente de Cibeles has had a notable influence on local architecture & urban planning in Mexico City. The surrounding area, known as the Plaza Villa de Madrid, has been developed to complement the aesthetic & historical significance of the fountain. The plaza features a blend of modern & colonial architecture.
The original fountain in Madrid, Spain was commissioned by Charles III in 1777. Architect Ventura Rodríguez Rodríguez designed the work that was sculpted between 1777 & 1792. The work was carried out by 2 prominent artists of the time: Francisco Gutiérrez created the Cibele in her chariot, while Roberto Michel carved the 2 lions, representing Atalanta and Hippomenes. It took 15 years to sculpt the entire piece.
The goddess, Cybeles, is the Roman goddess of fertility; she wears a crown & carries a scepter & key, which are symbols of her power over Earth & the seasons. Her carriage is pulled by 2 lions, representing Hippomenes & his wife, Atalanta, who is one of the huntresses of the goddess, Diana. In Greek mythology, both were turned into lions by Cibeles as punishment for having sex in her sanctuary, which was considered a sacrilege.
Fittingly, as Cibele represents the seasons, she is surrounded in Springtime by one of Mexico City’s most impressive seasonal features, its Jacaranda trees. The best time of to see the Jacaranda trees is during later March & early April, when they are in full bloom, creating a halo of purple blossoms all around the plaza. The plaza is also surrounded by some very hip cafes & restaurants.
Museo Casa de Guillermo Tovar de Teresa: Part of Museo Soumayua Fundación Carlos Slim
Casa de Guillermo Tovar de Teresa is only a 3-minute walk away from the Fuente de Cibeles. Had I realized that at the time, I would have taken an Uber there before going to breakfast at La Ventanita Café (& that would be my suggestion to others). As it was, we took an Uber there on another day after visiting Diego Rivera's Museo Anahuacalli, which is in the San Pablo Tepetlapa neighborhood of Coyoacán. Owned & operated by Museo Soumaya Fundación Carlos Slim, admission to Museo Casa de Guillermo Tovar de Teresa is free.
Casa Guillermo Tovar de Teresa is a typical Porfirian house with a 1910 façade, located on Calle Valladolid in a modern La Roma Norte neighborhood. The façade is attributed to Gustavo Peñasco, while the house's interior was designed by Engineer Manuel Francisco Álvarez in 1911. The architecture is typical of single-family living spaces from the end of the Porfiriato era. Roberto J. Álvarez lived there in 1911; it was soon sold to the family of Manuel González, who was president of Mexico from 1880 - 1884.
The house was acquired by Guillermo Tovar de Teresa in 1995; he lived there until his death in 2013. Before taking up residence there, he made several improvements: he modernized the plumbing & electrical systems; he opened a skylight in the foyer: and he lengthened & roofed the checkered main hallway. He also added a library & a personal study. Then, every room was renovated in 19th-century style, with objects from New Spain & Mexico.
Guillermo Tovar y de Teresa is considered one of the most devoted chroniclers of Mexican history. He was both an art historian & collector. His collection focused on paintings, literature, & rare books. However, Guillermo Tovar y de Teresa was more than just an art historian & collector; he was a man of many talents & interests: a bibliographer, philanthropist, cultural promoter, scholar, music lover, & film enthusiast, as well as being deeply knowledgeable about the work of great Mexican photographers. Additionally, he was an expert on Mexican colonial period art, history, & literature.
Guillermo Tovar y de Teresa was literally a brilliant self-taught scholar. He learned to read long before he entered school. He learned to appreciate history & art books from a very young age, thanks to his grandfather, Guillermo de Teresa y Teresa, & his father, Dr. Rafael Tovar y Villa Gordoa. He said that his grandfather taught him to read from the pages of the newspaper. A child prodigy & committed collector, he dedicated himself to historical & artistic research. Guillermo Tovar saw collecting as an exercise in selection: it required good judgment & understanding of the symbolic significance of objects.
At the age of 7, he received from then-Presidente Adolfo López Mateos, "a medal in recognition of his dedication to the study of Mexican history & art." At age 11, he was invited by the Historian Jorge Gurría Lacroix to collaborate in the National Institute of Anthropology & History. At 12 years of age, he became an adviser on viceregal art for Mexican President Gustavo Díaz Ordaz. At 14, he had already given his first lectures at UNAM's Institute of Aesthetic Research, & at a very young age, he received a distinction from the Royal Academy of Fine Arts of San Fernando in Madrid. At 23 years of age, he published his first book, entitled "Pintura y Escultura del Renaissance en México". He published several books about Colonial Mexican art, & wrote for the newspaper, "La Jornada" . He was not only a Chronicler of Mexican history & art, but also a scholar of the Viceroyalty, the Second Empire, & the Porfirismo.
Guillermo de Tovar de Teresa died on November 10, 2013. After the historian's death, his brother, Mexico's first Secretary of Culture, Rafael Tovar de Teresa, undertook the task of compiling an inventory, but he also died shortly afterward. His family & research teams then completed the inventory of Guillermo Tovar de Teresa's collection. Today, his legacy is shared by Museo Soumaya, Carlos Slim Foundation.
Guillermo de Tovar de Teresa 's entire collection was acquired by the Fundación Carlos Slim, which operates the famous Museo Soumaya. Museo Casa de Guillermo Tovar de Teresa opened its doors in 2019, as part of the Museo Soumayua Fundación Carlos Slim. (Museo Soumaya Museum is a private museum & a non-profit cultural institution with 2 museum buildings in Mexico City: in Plaza Carso & Plaza Loreto. The institute also operates the house museum dedicated to the Guillermo Tovar de Teresa collection in the Roma neighborhood.)
Paintings, period prints, sculptures, previously unpublished photographs, antique furniture, embroidered tapestries, foreign tableware, & 20,000 volumes with 13,000 titles—many of them family heirlooms & the historian's acquisitions—are among the treasures & jewels of Museo Casa de Guillermo Tovar de Teresa, which has been declared a Mexican Artistic Heritage Site. Each room offers a glimpse into history. Tovar's libraries, photograph compilations, & archives comprise one of the most important collections in Latin America, now digitalized by the Carlos Slim Foundation. The most distinguished artists come together in this collection, including Pereyns, Lagarto, Juárez, Echave Rioja, Cabrera, Páez, Rugendas, Pingret, & Arrieta. A self-portrait by Édouard Henri Théophile Pingret is one of the most important oil paintings in the gallery.
Neighborhood Architecture
From the Plaza Villa de Madrid, we walked to the La Roma Norte's de la Sagrada Familia on Calle Puebla, which is only a 10-minute walk. Along the way we saw some beautiful old buildings.
La Parroquia de la Sagrada Familia
La Parroquia de la Sagrada Familia (The Parish of the Incarnate Word & the Holy Family) on Calle Puebla was the first church built in Colonia Roma; it was completed in 1925 after construction was interrupted for several years, due to the revolution. Construction work was completed under the direction of Father Gonzalo Carrasco, & the blessing of the tower and clock took place on November 1, 1925.
Just a century ago, Roma Norte was farmland, & had no parish church. In 1906, Mexican politician & lawyer Pedro Lascuraín lobbied the board of directors of the Chapultepec Land Company, arguing that having its own temple would be beneficial for the colony's growth. The land for the construction of the Sagrada Familia was donated by Don Pedro Lascuraín & Don Edward Orrín. Construction, sponsored by the Jesuit congregation, began in 1910 under the direction of Architect Manuel Gorozpe & Engineer Miguel Rebolledo. The ceremony for laying the cornerstone took place on January 6, 1910. The parish building project was interrupted from 1913 - 1917, due to the revolutionary struggle; construction was finally completed in 1925. The blessing of the tower & its clock took place on November 19, 1925.
La Parroquia de la Sagrada Familia is one of the most iconic buildings in this neighborhood. It stands out for its union of union of several architectural styles: neo-Gothic, neo-Romanesque, & Eclectic architecture (which is unlike the Baroque & Functionalist styles, which are much more dominant in Mexico City's rooftop landscape).
The façade, made of reinforced concrete, features a neo-Romanesque style, with stepped arches. In the center, there is a neo-Gothic rose window, surrounded by palm trees & 7 circles connecting them. The main portal features 3 semicircular arches in descending order, supported by Corinthian columns. At the top, there is a 4-sided tower with a double arch, a clock on each side, & 4 smaller towers at each corner.
The interior of the church has some Art Nouveau & Art Déco influences, exemplified by the stained glass windows & other decorative accents. The temple reflects a harmonious union of several styles such as neo-Romanesque, neo-Gothic, & eclectic.
One of the parish's most notable features is its multi-colored stained-glass windows, featuring organic designs of plants & flowers, as well as passages from the Bible & mysteries of the Christian faith. The church has 25 stained-glass windows: 12 along the nave, 8 in the dome drum, 4 in the side entrances, & 1 in the rose window. There are also 12 smaller stained-glass windows in the 3 interior doors. The windows are made in Mexico by the Italian company Talleri.
Throughout the parish, light blue columns support the ceiling arches, adorned with organic, curved lines. From them, hang large chandeliers that decorate the interior of the Sagrada Familia. Between the columns, stained-glass windows & murals with various images can be seen.
The church is fronted by a small atrium bordered by a wrought-iron fence constructed by the Gábelich workshop, which was in neighboring Colonia Doctores. It is one of the few wrought iron works to survive from the early 20th century.
Immediately behind the church, with its entrance facing north, is the Chapel of the Immaculate Conception. It is almost hidden by the busy city. The chapel is the 1942 work of Architect José Creixell. He later build the famous, & much more angular La Iglesia de la Inmaculada Concepción en El Prado in Iztapalapa, Mexico City.
La Parroquia de la Sagrada Familia was the home church of Father Miguel Agustín Pro, who was a counter-revolutionary, who fought against the Mexican government during the Cristero War, a secular war against the Catholic Church in the 1920's. His remains are in the church, & there is a museum next to the church that has been erected in his honor. He was executed by firing squad on the orders of Presidente Plutarco Elias Calles in 1927 when he was falsely accused of plotting the assassination of Presidente Álvaro Obregón. Father Miguel Agustín Pro became a touchstone for Catholics at the time. He was beatified in Rome on September 25, 1988, by Pope John Paul II as a Catholic martyr , killed in odium fidei ("in hatred of the faith").
La Parroquia de la Sagrada Familia is not far from the Romita neighborhood. The church serves as a hub for the community, where locals gather not only for worship, but also for cultural festivities.
Unfortunately, the church was closed when we were there, so I only got to see it from the exterior. I would like to go back on my next visit to Mexico City, & see the interior, the little on-site museum dedicated to martyred Father Miguel Agustín Pro, & the little Chapel of the Immaculate Conception, which is supposed to be immediately behind the church.
La Plaza Río de Janeiro (Formerly El Parque Roma & El Parque Orizaba)
From La Parroquia de la Sagrada Familia, we walked to Plaza Río de Janeiro, which was less than 5 minutes away. La Plaza Río de Janeiro is one of La Roma Norte's most iconic landmarks. It is located east of the Fuente de Cibeles, & north of Plaza Luis Cabrera.
Originally conceived as “Parque Roma” by developers in 1903, who donated the land at the intersection of Calle Durango & Calle Orizaba to create a green area for the surrounding neighborhood that they were developing at the time. The plaza of 1903 featured the present-day fountain & landscaped area. The entire development was a symbol of the Porfiriato, a period in which the aim was to beautify the capital & place it on the level of any other city in the world. Its innovative design included houses, buildings, and French-style constructions.
The plaza later came to be known to residents as Parque Orizaba (for the street that crosses the park from north to south). It was renamed Plaza Río de Janeiro in 1922 at the initiative of José Vasconcelos, then-Secretary of Public Education, perhaps because Brazil invited Mexico to celebrate its Centennial Anniversary that same year.
The central feature of Plaza Río de Janeiro is a fountain with a replica of Michelangelo’s "David", cast in bronze, in the middle of it. The fountain has always been a feature in the plaza, but the sculpture of "David" wasn't placed in the plaza until 1976, presumably by the park architect, Juan Alvarez Ordoñez, during a project led by the Mexico City government to reshape the neighborhood.
Edificio Río de Janeiro: Also Known as "La Casa de las Brujas"
The most emblematic building surrounding La Plaza Río de Janeiro is popularly known as "La Casa de las Brujas" (the Witches' House). Located on the eastern side of the plaza on the corner of Calle Durango & Calle Orizaba, its real name is Edificio Río de Janeiro. The popular name is due to the conical roof on one of its corner towers; it resembles a witch's pointed hat. The placement of 2 false openings & a window below the conical roof tower vaguely resemble a human face. According to Mexico City's Secretary of Culture, Alfonso Suárez del Real, the building received its nickname from the children who played in the garden at Plaza Roma (now Plaza Río de Janeiro).
The building was commissioned by Presidente Porfirio Díaz to commemorate the Centennial of Mexico's Independence. This red-brick castle-like structure, built in 1908, was originally designed as a luxury hotel by British Architect & Engineer Regis A. Pigeon. Its red brick facade features details characteristic of English architecture; while the conical roof is reminiscent of 12th-century German religious architecture. The building was notable for its Gothic style, which made it stand out from the French-style (Art Nouveau) of buildings in the neighborhood at the time. It was the first Gothic-style apartment building in Mexico City. Originally, the famous red brick building operated as a luxury hotel; the rooms had their own fireplaces. Later it became a luxury apartment building. Entrance was possible on horseback along Calle Durango. The building housed 4 luxury apartments.
Since its origin as a luxury hotel, the property has undergone significant changes; it is now a predominantly residential apartments with a bar on the ground floor. The most notable change was the remodeling that took place in 1942 under the direction of famous Mexican Architect Francisco J. Serrano. He was commissioned to convert the first floor façade & interior to have a more Art Déco look. Because of this, the building now seems trapped in 2 different times; it is composed of 2 distinct architectural styles: the top part of the building still in Gothic style, with the ground floor façade featuring Art Déco details, giving it a very eclectic façade with a mixture of several formal styles. Its architecture is notable for its Gothic, Renaissance, & Neoclassical elements, creating a unique fusion that attracts lovers of architectural beauty.
According to local legend, a shaman named Bárbara Guerrero, who was popularly known as Pachita, lived in the servants' quarters of Edificio Rio de Janiero. Pachita's fame transcended the boundaries of Colonia Roma, attracting a diverse range of visitors, from ordinary citizens to the country's political & business elite, all seeking solutions to ailments & illnesses that traditional medicine had failed to resolve. The rituals and ceremonies Pachita performed were described as powerful events, in which she reportedly invoked supernatural forces to guide her hand during the healing procedures. According to stories surrounding her, Panchita even performed spiritual surgeries, using only a knife without anesthesia, in a trance-like state in which she claimed to be the conduit of spiritual entities with healing powers. Neighbors & residents claim that supernatural forces still roam the building. Others maintain that the woman, who died in 1979, was merely a charlatan. Either way, Bárbara Guerrero is an integral part of the legend surrounding the Edificio Rio de Janiero; the legend of Pachita has woven an additional layer of mysticism around the building. These stories, over the years, have contributed to the building's reputation as a meeting place between the earthly & the supernatural.
La Plaza Río de Janeiro has become a great example of Mexican “eclecticism” with nearby beautiful buildings, all of varying architectural styles, forms, & color. It is surrounded by historic Art Nouveau-style buildings, old mansions, & modern residential buildings, as well as pleasant restaurants and commercial establishments.
La Romita
Pat & I then walked from the Plaza Río de Janeiro neighborhood to La Romita, which is only a 10-minute walk away. La Romita is a tiny neighborhood located in the extreme northeast corner of La Roma. It is defined as the area surrounding Calle Puebla, Calle Durango, & Calle Morelia, along with Avenida Cuauhtémoc Avenue. La Romita is a very small section of Colonia Roma. During the 20th century, the area had a reputation for being dangerous, & its residents were relatively poor. Today, the area is considered relatively safe, & a neighborhood with little crime. La Plaza Romita is an ideal place to escape the hustle & bustle of the city. It is incredibly quiet & peaceful...life definitely moves at a slower pace than it does in the rest of Mexico City. It is like you have been transported to a small village in the outskirts of Mexico.
In pre-Hispanic times, the area where Colonia La Romita is now was a small island called Aztacalco (which means "place of herons"), surrounded by the shallow waters of Lago Texcoco (so shallow that it was almost like canals surrounding the island). It was named Aztacalco by the Mexica. Lago Texcoco was a large natural lake within the Valley of Mexico. The island of Aztacalco was located just off the coast of the Aztec capital of Tenochtitlán.
After the Spanish conquered the Aztec empire of Tenochtitlan, Aztacalco was one of the areas where indigenous people were allowed to continue living, so the neighborhood continued to be inhabited primarily by the indigenous population.
During the colonial period, large portions of Lago Texcoco were drained to create land, so the island disappeared, along with the waters of the lake. However, the town of Aztacalco remained. In 1529, Charles of Spain awarded the entire property to Hernán Cortés, along with El Bosque Chapultepec.
El Templo de Santa María de la Natividad Aztacalco is one of the oldest churches in Mexico City. It was built on the island of Aztacalco by order of Friar Pedro de Gante in 1530, less than a decade after the fall of Tenochtitlán. It was one of the first places where Catholic priests baptized indigenous Mexicans. The small church & atrium were shaded by the 2 ancient ahuehuete trees that still stand in La Plaza Romita to this day.
During the colonial times of the Viceroyalty, suspected criminals, mostly indigenous people, were hung from the 2 ahuehuete trees in front of La Romita's temple. The suspected criminals were taken to the church to ask for forgiveness, & then were hung in front of the church before a crowd. Although there is no known date for when public executions ceased, they continued to be held on Shrove Tuesdays until well into the 20th century. People from all over the city attended these events.
In the mid-18th century, a road connecting Mexico City & Chapultepec was built; it passed nearby the town of Aztacalco. Due to the fact that a tree-lined avenue in Aztacalco bore a strong resemblance to one located in Rome (Italy), Aztacalco was then given the name, La Romita. The neighborhood was also later referred to as the Potreros de Romita (the Pastures of Romita); presumably, horses grazed in the surrounding pastures.
Aztacalco began as an independent pre-Hispanic village; it remained so until 1903, when it was made its own colonia with the name of La Romita. Even when the pastures surrounding La Romita were subdivided to create a neighborhood for the city's upper classes, the town endured, remaining socially isolated, despite being officially part of Colonia Roma. Today, La Romita is a tiny part of Colonia Roma; however, it remains separate, distinct, & semi-independent from the rest of Colonia Roma. Part of this is due to the fact that it has always been a somewhat distant area, set apart from the rest of the city. The same mentality among residents when it was a small island, off the coast of Tenochtitlán. exists today. When Colonia Roma was created, Romita was officially incorporated into it, but the local residents fought redevelopment. The local residents were of a significantly lower social class than the rest of Colonia Roma; the wealthy residents of Colonia Roma feared & avoided the area. It was considered a dangerous area, mired in poverty.
The area has since developed semi-independently from the rest of Colonia La Roma, both in infrastructure & socially. Its residents still consider themselves distinct from the rest of the residents of Colonia La Roma. Even today, the area is relatively difficult to access, with narrow streets leading to the very small Plaza Romita & the little church called Templo de Santa María de la Natividad. The neighborhood is built around the church & the plaza.
La Romita's original Templo de Santa María de la Natividad Aztacalco underwent many transformations over the centuries, including restorations & additions in the 20th century, though the chapel still contains a 16th-century crucifix that was one of five sent by the King of Spain to Mexico.
The current structure is no longer the same structure as the one erected in 1530: the walls, tower, bell tower, & interior date from the 17th century, at least 200 years after the original temple was built. The current Romita Chapel was built on the site of the much older temple, built in 1530. In fact, La Plaza Romita is the former atrium of the original temple. Despite these transformations, it continues to be known as the La Romita Chapel or the Templo de Santa María de la Natividad.
Sometime after its initial dedication in 1530, the advocation of the original Templo de Santa María de la Natividad Aztacalco changed, & it was renamed La Parroquia del Verbo Encarnado (Church of the Incarnate Word). In 1929, another change occurred: the church was consecrated & dedicated to San Francisco Javier (Saint Francis Xavier).
Initially, the Templo de Santa María de la Natividad Aztacalco served as a parish church, but it was "demoted" to the status of chapel in 1962. Despite this, it remains the main church of the community, & has retained its historical significance.
In 1973, the chapel's nave & façade underwent several modifications. It still features a simple bell tower, a porthole above the entrance, & a niche topped with a stone cross, but a space for the choir was added, as was the the upper additions to the 2 aisles.
In 1950, Spanish filmmaker Luis Buñuel. filmed several sequences in the area for his film, "Los Olvidados".
Buildings & Street Shots From La Romita to Avenida Álvaro Obregón
After exploring La Romita, Pat & I then headed for La Roma Norte's signature boulevard, Avenida Álvaro Obregón, which was only about 15 minutes away. Along the way, we saw some beautiful budlings & interesting aspects of daily Mexican life.
Museo Casa del Poeta Museo Ramón López Velarde
Our first stop on Avenida Álvaro Obregón was the Museo Casa del Poeta Ramón López Velarde. It is located on Avenida Álvaro Obregón & Calle Córdoba. It is a small, simple museum that looks like it is run on "shoe-string" budget, but it was interesting, & well worth a visit.
It is a very strange combination of being a cultural & artistic venue, a very small on-site museum, dedicated to the “National Poet” of Mexico, Ramón Modesto López Velarde y Berumen, as well as housing the libraries of 2 figures who honored Mexico City with their writing: Efraín Huerta & Salvador Novo, all in a beautiful, yet not fully restored Porfiriato building. With just over 11,000 volumes, this cultural space becomes a must-see for those interested in national literature & poetry. Today, the Casa del Poeta Ramon López Velarde building hosts frequent literary & artistic events, like literary presentations, poetry readings, courses, workshops, conferences, special events, & exhibitions, in addition to museum & library services, as well as school visits. The museum collection includes books, photographs, & other items related to the life & work of the poet, Ramón López Velarde.
Admission was only $5.00 MXN per person, so for the two of us, we only paid $.49 USD. We definitely got our money's worth out of that 49 cents! I just wish that they would increase the admission fee, & dedicate that money to restoring this beautiful building.
The museum is housed in a magnificent building from the Porfiriato period. It was declared a historic monument by the National Institute of Anthropology & History (INAH) in 1982. In 1989, it was taken over by Mexico City. Today, it is run as a cultural center and library, dedicated to the poet’s work. The museum is located on the upper floor of the house.
The Museo Casa del Poeta Ramón López Velarde was conceived to pay tribute to the memory of Mexico's "National Poet" with the installation of a small on-site museum in what may have been his bedroom & study. Although very little information was available about the poet's life, Writer Guillermo Sheridan & the museum curators organized the exhibits with books, photographs, & other objects related to the life & work of the Zacatecas poet in an attempt to capture the atmosphere of a poor family, who had seen better days in their hometown of Jerez, Zacatecas. It is highly likely that López Velarde lived in a similar setting, There are a few actual personal items of his in the museum, like those woven & embroidered by his mother & sister, in his recreated bedroom.
The construction date of the building was not recorded, but architectural historians have dated it to the middle of the Porfiriato. It was inhabited by middle-income families in a growing part of the city. Ramón Modesto López Velarde y Berumen, who is known as the “National Poet” of Mexico, lived in the building for the last 3 years of his life, from 1919 - 1921. He achieved great fame in his native land, to the point of being considered Mexico's national poet. Despite his importance to Mexico, Velarde remains virtually unknown outside his own country.
By the end of the 1980's, the building was set to be demolished. However, in 1981, the Zacatecas State Government placed a plaque on the façade to commemorate the 50th anniversary of the death of López Velarde, & the INAH then declared it a historical & artistic monument. Thus protected, in 1989, the Federal District Department acquired the property, & made extensive renovations. Patios were roofed with skylights to increase the available area and ensure a better conservation of the property.
Ramón Modesto López Velarde y Berumen was born in Jerez de García Salinas in the Mexican state of Zacatecas in 1888. Velarde was brought up in an affluent family, his father having forged a career as a lawyer & his mother having inherited land. He was the first of 9 children of José Guadalupe López Velarde, who was a lawyer from Jalisco, & Trinidad Berumen Llamas, who came from a local landowning family. After an unsuccessful law career, his father founded a Catholic school in Jerez. In 1900, Ramón López Velarde was sent to a seminary in Zacatecas, where he remained for 2 years. Later, when his family moved, he transferred to a seminary in Aguascalientes. He was not a particularly dedicated seminary student. He left at the age of 17 to follow in his father’s footsteps by becoming a lawyer.
During his years in the seminary, Velarde spent his holidays in Jerez. It was during one of these trips that he met Josefa de los Ríos, a distant cousin 8 years his senior, with whom he experienced a deeply impactful, though ultimately unrequited love. Many of his works were influenced by his unrequited love for her. The earliest poem ascribed to Velarde, "Fuensanta" (1905) is believed to have been inspired by her; he portrays her as a chaste & pure woman, reflecting the idealized female figure in courtly love traditions. "Inquieto," his 2nd collection of poetry was written as a response to her death & is considered one of his most important work.
From a very young age, Velarde began to write for magazines of his province. In 1906, he worked with some friends to publish a local literary review called "Bohemio". Writing under the pseudonym of Ricardo Wencer Olivares, he published a number of early poems but the magazine did not have a very wide circulation. Bohemia" had ceased to exist by 1907.
He eventually abandoned his seminary studies in favor of a career in the law. In January 1908, Velarde began his law studies at the Universidad Autónoma de San Luis Potosí (UASLP). Soon after, his father died, leaving the family, which had returned to Jerez, in a desperate financial situation. This meant that he had to rely on his maternal uncles for money to carry on studying, but eventually received his law degree in 1911.
With the Mexican Revolution gathering pace, Velarde took up a post as judge in the town of Venado, a responsibility he carried out for almost a year. A fervent supporter of politico Francisco Madero, he headed to Mexico City where he hoped to find a position in government. Madero made no such offer, perhaps because of Velarde's militant Catholicism. Velarde subsequently began working on "La Nación," a Catholic publication, for which he produced essays & poems, as well as using his position to attack political figures such as the rebel Emilio Zapata. He left the journal soon after the revolt of February 9, 1913, & tried to escape the political turmoil of Mexico City, by returning to San Luis Potosí.
It was there that he began his courtship of María Magdalena Nevares Cásares. Though they never married, she remained a presence in his life. In fact, Velarde made a trip to San Luis Potosí in 1921, a couple of months before his death, to offer his condolences to her for the death of her father. He felt responsible for her, who (according to the provincial criteria of the time), was already becoming a "senorita quedada."
Velarde never married, but he seemed to be drawn to older women. Distant cousin, Josefa de los Ríos, his idealized love from his youth, was 8 years his senior. His next love affair was with a teacher, Margarita Quijano, who was older. Though they never married, María Magdalena Nevares Cásares, who impressed him with her “unusual copper sulphate eyes" was 10 years his senior. Velarde is reported to have had at least 1 daughter (though I could never find any specifics about her, like her name, birthdate, or even her mother's name).
Velarde continued to collaborate on various publications in Aguascalientes & later in Guadalajara. In San Luis Potosí, Velarde began reading modernist poetry; this radically changed his aesthetic sensibilities, transforming him into a fervent defender of modernism.
After briefly leaving Mexico City at the height of the revolution, Velarde returned in 1914, & settled there permanently. He began to focus more on his own poetry; he began to write more personal poems, marked by their nostalgia for his native Jerez (to which he would never return), & for his first love, "Fuensanta". In 1916, he published his second collection of poetry, "Inquieto". He also published his first book, "La Sangre Devota" (The Pious Blood) in 1916, which was well received by the Mexican literary community. The book concerned the Catholic liturgy, which was associated with the idealized world of the author's childhood in Jerez, & identified as the only refuge from his turbulent city life. The poem "Viaje al Terruño" is fundamentally an attempt to evoke a return to childhood.
Despite receiving increasing criticism for his Catholicism & provincialism, Velarde's literary prestige also began to rise. In 1919, he published "Zozobra" (Sinking), considered to be his major work. It was heavily ironic, drawing both from his provincial upbringing & his recent experiences in the city. "Zozobra" consists of 40 poems arranged cyclically, begun by the line "Hoy como nunca" ("Today as never"), saying goodbye to Fuensanta & his hometown of Jerez, & ending with the poem "Humildemente" ("Humbly"), which marks a symbolic return to his origins.
Velarde wrote for 2 journals promoted by José Vasconcelos Calderón (Minister of Education, who promised a cultural renovation of the country): México Moderno & El Maestro. Velarde published one of his best-known essays, "Novedad de la Patria" in El Maestro. However, it was his poem, "La Suave Patria" (The Gentle Homeland), which also appeared in El Maestro, that cemented Velarde's reputation as Mexico's national poet. "La Suave Patria" is an expression of the country's character & spirit, particularly during a time of upheaval. The poem evokes the intimate & lyrical aspects of the homeland, rather than focusing on typical political or revolutionary themes.
Velarde died in 1921 in Mexico City at the age of 33 at the height of his fame as a poet. He was buried in the Rotonda de las Personas Ilustres. His death was officially attributed to asphyxiation by pneumonia & pleurisy, although there was speculation that syphilis might have been to blame. Velarde left behind an unfinished book, "El Son del Corazón" (The sound of the heart), which would not be published until 1932, almost 10 years after his death.
Ramon Lopez Velarde was one of the great postmodern literary influences on poetry, despite a life cut short by pneumonia. In his day, he was widely considered “the national poet of Mexico.” López Velarde’s work is said to mark the transition between modernism & the avant-garde. His work was deeply entwined with the Mexican Revolution.
José Vasconcelos Calderón took up advocating for recognition of López Velarde' work upon the poet’s death. The literary group, Los Contemporáneos, saw in López Velarde the beginnings of modern Mexican poetry; their continuing reference to his poetry emboldened his legacy. In 1989, on Velarde's 100th birthday, Mexican author Guillermo Sheridan published a new biography of the poet, titled "Un Corazón Adicto: la Vida de Ramón López Velarde", which remains the most complete biography of Velarde to date.
El Centro Cultural Casa Lamm
My next stop along Avenida Álvaro Obregón was El Centro Cultural Casa Lamm, which is a cultural center in a restored mansion that dates back to 1911. The cultural center provides training of professionals in the fields of art & literature. It is among very few institutions, offering undergraduate & graduate coursework in Museum Studies & Art History. The widely-respected Galería Casa Lamm, a Mexican contemporary art gallery that promotes painters, sculptors, and photographers based in Mexico, is an extension of the academic program. Specifically, the cultural institute offers studies in poetry, novel writing, & theater of the 20th century. It also offers a master's degree in Literary Appreciation & Creation, which combines both classes on criticism as well as workshops for writers, mostly focusing on Latin American & European works.
On the ground floor of the building, facing Avenida Álvaro Obregón are a bookstore & restaurant that are open to the public. The restaurant, called Nueve Nueve Bistro Mexicano is centered on an open-air patio, accented by a black fountain. It is open for lunch & dinner, & serves drinks. The unique cuisine is led by Chef Mónica Beteta, who has designed contemporary dishes tailored to the country's different regions. Upscale dishes & colorful cocktails are served in an elegant, glass-fronted dining room overlooking the garden. The Liberia Pegaso bookstore contains large selections in English & Spanish books, especially art-related books, but there are also books on literature, history and poetry.
The restored mansion that houses El Centro Cultural Casa Lamm was built in the early 20th century when Colonia Roma was a new neighborhood for the wealthy leaving the historic center of Mexico City. It is one of the most representative examples of the architectural trend that predominated in the Mexican capital during the first decade of the 20th century. Built in 1911, the elegance of its design confirm the builder's desire to capture everything that referred to the aristocratic, recreating urban landscapes similar to the suburbs of cosmopolitan European cities. It is a beautiful building!
The house was originally constructed as part of Colonia Roma, which was a development in the late 19th and early 20th century on a former horse farm owned by Pedro Lascurain. While Lascurain was part of the project initially, Lewis Lamm took over in 1914, building houses for the wealthy moving out of the city center. The house itself was finished in 1911. Like others built during this time, the architecture broke with that of the colonial period, heavily influenced by European, especially French, trends of the late 19th & early 20th centuries. It initially was meant to be the residence of Lewis Lamm & his family, but he never lived there. He rented the property to the Marist Brothers, who transformed it into the Colegio Francés Jalisco, a school for boys. During the Cristero War, Lamm asked for the return of his property. He received it, but in poor condition. Upon Lamm’s death in 1939, his widow sold the property to the García Collantes family who lived in it until 1990; thus saving the house from the indiscriminate destruction suffered by most buildings of the time when they fell into the hands of builders indifferent to the historical value of architectural heritage.
In the 1990’s, Casa Lamm was chosen as a project to rehabilitate one of the old mansions, which was supported by local authorities. In 1993, restoration work on the house began, although much of the house’s original elements were lost, due to time & neglect. When restoration work was finished in 1994, it became El Centro Cultural Casa Lamm. The cultural center was part of a larger project to make Colonia Roma a center for the visual arts in Mexico, & attract more galleries & artists to set up shop in La Roma Norte. The ongoing project has had mixed success. However, security problems & lack of maintenance of public areas in Colonia Roma Norte by the city government have sometimes made it difficult to attract or keep artists & galleries, as well as cultural & educational institutions.
Now, the cultural center hosts exhibits, as well as offering classes in art & literature. Since it opened, it has hosted numerous art exhibitions. Casa Lamm is a cultural center, art school, & gallery. Its hours of operation are 12:00 pm - 7:00 pm.
Since the cultural center opened in 1994, it has hosted numerous art exhibitions. It contains works by pioneers, such as Charles Gerard, William Henry Fox Talbot, Henri Cartier-Bresson, Kati Horna, Karl Blossfeldt, Man Ray, Guillermo Kahlo, Edward Weston, Tina Modotti, Graciela Iturbide, Pablo Ortiz Monasterio, & Rafael Doniz, as well as by Alvarez Bravo himself. The entire collection has also been digitalized.
One of outstanding features is the integration of a10-meter high glass box supported by 4 columns. The light & transparent structure combines with the new functions of the space while not interfering with the original architecture of the house. The glass-hanging facades open to the garden integrating perfectly the interior with the exterior.
Comercial Pasaje El Parián
Just over 20 years after the founding of Colonia La Roma, the Comercial Pasaje El Parián was established in the heart of Colonia Roma on one of La Roma’s most important thoroughfare, Avenida Álvaro Obregón. La Roma at that time was a Parisian-style enclave for wealthy families in the Mexico City area. During the early days of the La Roma Norte neighborhood, the street we know as Avenida Álvaro Obregón was Avenida Jalisco, which followed the urban design: wide avenues, medians with large trees, & benches where people could spend time. On Avenida Álvaro Obregón between Calle Orizaba & Calle Jalapa was El Parián.
It was originally built in the 1920’s as a shortcut that connected Álvaro Obregón & Calle Chihuahua.
Don Manuel Echevería built El Parián in 1926, opening the doors of the neighborhood’s first local market, offering goods, like fruit, fish, & cold cuts to residents of the neighborhood. In fact, the word, "Parián", is of Tagalog-Filipino origin, & means "market" in Filipino. The space took its name from the long-demolished Mercado Parián, which occupied Mexico City’s central plaza from 1703 - 1843, and sold, among other goods, luxury products imported from Asia by Spain’s legendary Manila galleons. The grandiose name matched El Parián’s flamboyantly eclectic facade—crusted with limestone garlands, heraldic shields, and Art Nouveau mascarons—if not the modest ambitions of the shops inside, which sold fruit, fish, & cold cuts to local families.
Founder Manuel Echeverría envisioned a commercial space that also provided a benefit to all its tenants. Originally conceived as a market, it was later converted into a high-class commercial passageway. Over the decades, the space evolved into a meeting point, housing independent businesses & residential In fact, for a time, it included an interior pedestrian street, ground-floor shops, & upper-floor apartments.
This building was incredibly innovative at the time, as it was designed as a commercial space, where the tenants themselves could live. On the ground floor, you could find anything you needed, from butchers to flower shops; thus, making it a meeting point in La Roma. Inside El Parián was the Café de Europa, also known as Nobody's Café, where intellectuals of the time met, such as Manuel M. Ponce, Silvestre Revueltas, Diego Rivera, Fermín Revueltas, & Ramón Alva de la Canal.
The eclectic building has a horned figurehead over the door, & above that, a sign that reads "Pasaje Comercial." Its double windows on the second floor stand out, with arches displaying 4 coats of arms held by cherubs & griffins.
In Mexico City, alleyways are part of the richness of social & urban life, from traditional ones like El Pasaje Catedral (located at Calle República de Guatemala 10), the Pasaje Iturbide (located at Calle Gante 6), or the so-called Pasaje América (located Avenida Francisco I. Madero 18), all of them part of El Centro Histórico. There is also the Pasaje Polanco (located at Avenida Presidente Masaryk 360), designed by Francisco J. Serrano, & the unfortunately-destroyed Pasaje Jacarandas, designed by Architects Ramón Torres & Héctor Velázquez. That particular alleyway was an important part of Mexican social & cultural life in the Zona Rosa of the Juárez neighborhood, from the late 1950's until its disappearance in the 1980's. This passage should have formed a substantial part of the richness & diversity of modern Mexican architecture.
With the constant changes that the Roma neighborhood experienced in subsequent years, due to social shifts & the 1985 earthquake, the neighborhood, its inhabitants, & its customs changed, & many buildings fell into political disrepair, including El Parián.
At the end of 2020, El Parián was restored with a more modern concept while preserving its historical facade, becoming a neighborhood center for local design, independent brands, and gastronomic venues. Its restoration was a co-development between ‘Estructura Desarrollo Inmobiliario y Construcción’ & ‘Alpha Desarrollo y Estructura’, resulting in beautiful climbing vegetation on the walls, trees in the middle of it large corridor, as well as floors of exposed brick & concrete finishes.
The new Pasaje Parián divides its 3 floors into a variety of independent projects. Its ground floor houses gastronomic & local design establishments: a floral studio, a fine jewelry store, & a physical sales space for Instagram brands. On its 2nd floor, offices & art galleries are planned, while on the 3rd floor, a covered terrace is anticipated.
Among its variety of venues, you will also find different gastronomic options: La Vitrine, a French-Mexican pastry shop led by chef Sofía Cortina, with a distinctive menu for its traditional techniques and pastry innovation; Polpo with international tapas, artisan charcuterie, & an exquisite selection of wines with Chef Marco Carboni in charge.
Comercial Pasaje El Parián is a historic shopping mall. It has a beautiful facade. The Parían is one of the most emblematic commercial passages & one of the most iconic structures in the Roma neighborhood, holding a history as rich as its architectural beauty. Today, it is one of the symbols of the renaissance of Colonia Roma. Nearly a century after its construction, that corridor remains a mirror of the neighborhood that surrounds it.
Things I Still Want to See in Colonia La Roma
Despite spending over a day exploring La Roma, there are still a number of things that I did not get a chance to see & still want to see...another time, another trip to Mexico City...
Plaza Luis Cabrera
At the intersection of Calle Zacatecas & Calle Ornizaba in the vibrant Colonia Roma Norte, there is a small plaza called Plaza Luis Cabrera. It is named after the well-known turn-of-the-century writer, activist, & lawyer, Luis Vicente Cabrera Lobato. There is a beautiful fountain in the center of the plaza. The plaza is in the thick of La Roma Norte gallery scene. This picturesque park is characterized by its lush green spaces & artistic installations. The plaza is adorned with beautiful trees & manicured lawns, providing ample space for leisurely strolls, picnics, & relaxation. The park is not just a place for relaxation; it is also a cultural hub. Frequent art installations & events take place here, showcasing local artists & fostering community spirit. Visitors can often enjoy live music, art fairs, & various cultural exhibitions in the plaza. Moreover, Plaza Luis Cabrera is surrounded by a plethora of charming coffee shops and restaurants, making it an ideal location to stop for a bite to eat or a refreshing drink while enjoying the lively ambiance. You will see families, couples, & artists alike enjoying this urban oasis. The park’s central location also makes it easy to explore the surrounding neighborhood, filled with boutique shops, galleries, & street art.
The campus of the Universidad de Londres is across the street from Plaza Luis Cabrera; lots of students utilize this green space. Calle Ornizaba & Calle Zacatecas, which intersect at the plaza, were 2 of the first wide, tree-lined boulevards built in La Roma around 1900. Calle Orizaba also connects La Plaza Luis Cabrera & La Plaza Río de Janeiro, which is to the north. In fact, Plaza Luis Cabrera was built as a mirror to the Plaza Río de Janeiro.
Plaza Luis Cabrera was briefly named Plaza Ajusco. The name was later changed to honor Luis Cabrera, a promoter of the Agrarian Reform. Plaza Luis Cabrera Plaza Luis Cabrera came about when La Roma was a far more working-class neighborhood.
Luis Vicente Cabrera Lobato (1876–1954) was a lawyer, politician, diplomat, critic, essayist, & poet. He is mostly remembered today for the work he did in securing peasant rights. Cabrera drafted the proposals that formed the basis for Mexico's1915 Agrarian Law, which was established by Presidente Venustiano Carranza, who was the 1st president of the new Mexican Republic. Cabrera joined the Constitutionalist Army in 1913. By 1914, Presidente Carranza appointed him Minister of Finance.
Sara Pérez Romero de Madero's House: Calle Zacatecas 88
At Calle Zacatecas 88 in Colonia La Roma Norte is a beautiful example of the neighborhood's beautiful turn-of-the-century architecture; it is a 3-story house with arched blue windows on the 2nd story. Interestingly, it was the house that Sara Pérez Romero de Madero, the widow of Francisco Ignacio Madero González, lived in after his death. She is known as the "First Lady of the Revolution" , as well as by her nickname, Sarita.
In 1903, after 6 years of courtship, Francisco I. Madero & Sara Pérez Romero finally got married in Mexico City, where she was residing; the couple had both a civil & a religious wedding ceremony. They did not have any children.
Francisco Ignacio Madero González was one of the leaders of the Mexican Revolution. His anti-re-electionist party against Porfirio Diaz caused the end of Diaz' 34-year dictatorial reign, & ignited the Mexican Revolution in 1910. Madero would go on to become 37th President, serving from 1911 - 1913, when he was deposed & executed in 1913 by Victoriano Huerta, a general who had served under Díaz, who then became Mexico's 39th dictatorial president.
Born into a very wealthy family, Francisco Ignacio Madero González was well-educated, & started to be politically active in 1903. He founded his own newspaper, in which he advocated social justice & democracy. In particular, he criticized the gap between the rich & the poor in Mexico. For the presidential elections in 1910, Madero organized the “Anti-Reelectionist” party. His campaign became very popular, which is why Diaz arrested him & others on a falsified charge of plotting armed insurrection. In 1909, when Madero was jailed in Monterrey, Pérez Romero lived with him in prison. However, when Madero was transferred to San Luis Potosí, she was forced to rent a house near the penitentiary because they did not let her be with her husband, but Pérez Romero saw him whenever she could. Madero was bailed out of jail by his wealthy father, but Diaz had "won" the election. In response, Madero called for armed revolution. Pancho Villa & Pascual Orozco commanded Madero’s army in the Battle of Juarez in April / May 1911, which they won. Their victory led to Diaz’s resignation, & to the election of Madero as the 37th President of Mexico. Today, the people of Mexico see him as the father of revolution that eventually would do much to level the playing field between the rich & the poor.
Sara Pérez Romero played a significant role in supporting Madero's political & social activities, including during the Mexican Revolution. Sara Pérez Romero became a partner with Madero in promoting social & political changes. She actively supported his political activities, including during the Mexican Revolution. Together with Carmen Serdán Alatriste & Aquiles Serdán Alatriste, she formed a group which supported the anti-reelectionist party in the days before the outbreak of the Mexican Revolution. Sara was often called Madero's serape; because they were so close, she was fundamental in many of his political decisions.
She accompanied him across the whole country in his presidential campaign up to the moment of his capture in 1913. She accompanied him to all areas: to soldiers' camps, party conferences, as well as to speeches & talks.
Being the first lady, Pérez Romero rallied the troops, held festivals in favor of the victims of the armed movement, assisted at workers' meetings, received the organizers of women's political clubs, & attended committee meetings.
In February 1913, there was a coup against President Madero, which is often referred to as the 2nd phase of the Mexican Revolution. The coup, called "La Decena Trágica", ended with the apprehension & assassination of President Madero, of Vice President José María Pino Suárez, & of various other Madero supporters. The coup was carried out by General Victoriano Huerta & supporters of the old regime, with support from the United States.
For ordinary citizens of Mexico City, the 10 days of bombardment & displacement were horrific. While most fighting occurred between opposing military factions, artillery & rifle fire inflicted substantial losses among uninvolved civilians & major damage to property in the capital's downtown. The February 19 pact between the 2 rebel generals put an end to the violence in Mexico City, & marked the end of the 10 days of violence. However, the political drama continued. Pérez Romero asked Henry Lane Wilson, the US Ambassador to Mexico (who strongly supported the coup & vehemently opposed Madero) to intercede & protect the life of Madero, as well as the other government figures who were captured by Huerta, but the Ambassador rejected her petition. While in custody, Madero & his vice president resigned, expecting that they would be allowed to go into exile; however, they were subsequently murdered on February 22, 1913. General Huerta then became Mexico's 38th President, with the support of the US & German ambassadors, as well as most of the Mexican state governors.
Upon the death of her husband, Pérez Romero was exiled to Cuba, where she was taken in by the Ambassador Manuel Márquez Sterling. Subsequently, she briefly lived in the US. In 1921, she returned to Mexico City, where she set up house at Zacatecas 88, where she lived the rest of her days there as Madero's widow. She became a well-known philanthropist & activist in the neighborhood. She was part of the Club de Lealtad a Madero (Loyalty to Madero). She remained dedicated to her husband until her death in 1952. There is said to have been in the central patio of the house a large statue of Madero, surrounded by his favorite flowers, as well as several other altars to him in the house. She remained there until her death, living off a government pension.
Sara Pérez Romero de Madero died in her home at Calle Zacatecas 88 on July 31, 1952, 39 years after Madero's assassination. She was laid to rest in the Panteón Francés in Mexico City in the same tomb where her husband was buried. Her coffin was covered with the flag of the White Cross, which she funded together with Elena Arizmendi in 1911. Upon the flag were the words "Por la Humanidad" ("for humanity"). Five of Madero's brothers & many of his relatives assisted with the burial. Also present were the 2 former presidents & he incumbent at the time, Presidente Miguel Alemán Valdés.
Jardín Pushkin (Pushkin Garden)
Jardín Pushkin (Pushkin Garden) is a city a park on the east side of the Colonia Roma, just west of the Colonia Doctores. Originally it was named Jardín Jesús Urueta by Presidente Álvaro Obregón. Urueta, who died in 1920, only a few days into his service as Ambassador to Argentina, had campaigned to get president Madero elected in 1911. He then worked tirelessly against the Huerta administration during the 3rd phase of Mexican Revolution. He was already an established writer, journalist, & scholar.
The park was re-named in the 1950's only after the USSR donated a bust of the great Russian poet & writer Alexander Pushkin, which was then placed in the park. Pushkin, is a famous Russian poet, who many consider to be Russian's greatest poet & the father of Russian literature.
Every Sunday & Wednesday this park has a tianguis (a small open-air market) that runs along Morelia Steet from Calle Colima to Avenida Álvaro Obregón.
A 2016 remodeling of the park was widely criticized for replacing too much earth with too much concrete, but it is still a widely-valued green space for residents & visitors to the neighborhood.
Casa Prunes: "Best Example of Art Nouveau Architecture" in Colonia La Roma
Casa Prunes, located on Calle Chihuahua between Calle Merida & Calle Córdoba in Colonia La Roma, is the 1916 building that is considered the "best example of Art Nouveau architecture" in Mexico City's La Roma neighborhood by the book, "Ciudad de México Guía de Arquitectura". The El Universal newspaper described the building as “the only property in the Mexican capital that retains the Art Nouveau style in its entirety.”
It is called Casa Prunes, after the original architectural firm, Arquitectos Prunes, that built it in1916, as noted in the panel on the façade above the doorway. Note its sinewy & almost menacing stone window reliefs & ornate entrance. The building is a collection of styles; however, its façade is heavily Art Nouveau.
In 2006, Higuera + Sánchez architects restored the building for Grupo Pegaso, rescuing it from a state of abandonment.
Casa Prunes, a cocktail bar & restaurant that fuses the past with the avant-garde in an Art Nouveau mansion, opened in August 2021. It has established itself as a local favorite, offering complete dining experiences that celebrate originality. With chef Aaron Mizrahi in charge, the dishes showcase his expertise with the grill. With a focus on the quality & traceability of ingredients, this new foodie haunt honors creativity & good seasoning.
The central courtyard has an impressive 9-meter Great Gatsby-style bar with inventive cocktails, a selection of wines fermented in-house, & a noteworthy collection of Mexican spirits. The all-day Sunday brunch features oysters & Mexican brunch dishes, served alongside Mimosas &Spritzes. They also offer a Chef table, & have a Cigar lounge.
Casa Universitaria del Libro (University House of Books) (CASUL) - Universidad Nacional Autónoma de México (UNAM)
The Casa Universitaria del Libro (University House of Books) - UNAM is located on Calle Puebla & Calle Orizaba in Colonia La Roma Norte. It is located right across the street from La Parroquia de la Sagrada Familia, & just a block north of the Plaza Río de Janiero.
It was originally designed as an elegant residence for Joaquín Baranda MacGregor, a pre-eminent politician, & his wife, Dolores Luján Zuloaga. The building dates from a construction period between 1920 -1925, although it had been planned some time earlier. It was finally occupied in 1929. Construction started when the Roma neighborhood became an area that housed families from different cultures, something that would place it as one of the most desirable neighborhoods for residents of higher social status. Its architecture is distinguished by having styles that predominated at that time, such as Art Nouveau, Art Déco & Eclectic. The mansion was created by the same designer as the church.
The mansion featured a half-basement, an elevator, & a double drainage system that separated sewage from rainwater back in the 1920's! The building was constructed with multiple closets, & finished with wood & marble paneling, tapestries, plasterwork, stained glass, & fine wood floors. The entrance features a large irregular hexagonal hall, with a central staircase leading up to a great stained glass. The stained glass features the church of San Francisco Javier in Tepotzotlan, one of the most beautiful churches in Mexico. Today the 2-story house is iconic for its green wrought iron scalloped gates & bright green shutters.
The Baranda MacGregor family occupied the mansion until 1940, when it was rented to serve as the Brazilian Embassy. The family sold the property in 1945 to the Centro Asturiano, who used it as a headquarters & social club for some 40 years. On the grounds is a 5-story building, dating back to 1951. This building houses the library, a television room, as well as a newer ballroom & banquet hall. The Asturiano Club, needing a larger space, moved to Polanco in 1986, & began to lease the building free to the Universidad Nacional Autónoma de México (UNAM); thus, the Casa del Libro opened in 1986.
Initially, Casa Universitaria del Libro - UNAM specialized in the promotion of mostly written works produced by those associated with UNAM. It sponsored approximately 250 activities per year, such as book readings & signings, conferences, seminars & round tables. There is no other bookstore in Mexico, dedicated solely to the promotion of a university's academic & literary production. The UNAM Office of Cultural Diffusion took over in 2018; since then, the facility has been put to use serving the cultural needs of this community. The Center hosts book presentations, courses, workshops, diploma courses, concerts, & lectures. The building is a venue for various academic activities & book publications from the UNAM, & home to exposition halls, galleries, a reading room, bookstore, & library. Today it serves as a cultural & community center, especially for the UNAM community.
The security guard will let you into the foyer if you ask, where you can see the sweeping staircase & the intricate stained glass window, depicting the Jesuit Temple of Tepotzotlan.
Although unproven, it is still rumored that this house was used for prostitution at one point, & there is also a local legend that a ghosts wanders through its halls, rooms, and especially on the terrace.
La Roma Norte's Original Panadería Rosetta on Calle Colima
La Roma Norte's original Panadería Rosetta on Calle Colima is just a couple of blocks away from La Plaza Río de Janeiro & La Casa de las Brujas. In fact, from La Casa de las Brujas, you turn your back on La Casa de las Brujas & walk to the statue of David in La Plaza Río de Janeiro; then you turn left to head out of the plaza on Calle Orizaba: then take the first right onto Calle Colima; & the original Panaderíaa Rosetta will be 1/2 block on the right. The famous location regularly sees long queues, stretching down the street, so it is best to arrive when they open at 7:00 am.
The original bakery has an intimate setting, with weathered walls and vintage tiles, creating an atmosphere that feels both historic and contemporary. The scent of butter and coffee greets you at the door, with the the display cases full of an array of perfectly crafted pastries that make the wait worthwhile.
At the heart of Panadería Rosetta’s fame lies their signature Rol de Guayaba, which has has earned its place as one of Mexico City’s most coveted food items. It bridges the gap between traditional Mexican flavors and French pastry techniques. The guava, a fruit deeply rooted in Mexican culinary tradition, is transformed into something entirely new yet somehow familiar. Their impressive array of pastries features everything from traditional French croissants to innovative Mexican-inspired creations. Their Berlinesas (Mexican-style filled doughnuts) are lighter and less sweet than traditional doughnuts, with fillings that change seasonally to reflect available ingredients. Sweet options include chocolate-laden morning buns, fruit-studded danishes, and their interpretation of traditional Mexican pan dulce.
Chef Reygadas' breads are equally impressive, from her crusty sourdough loaves to delicate brioche. Her sourdough starter had been fermenting for over 15 years years.
Panadería Rosetta has invested as much thought in their drinks as their pastries. The Flat White, in particular, can hold its own against any specialty coffee shop in the city. Their hot chocolate is made with high-quality Mexican cacao.
Their breakfasts are also an experience. Their Croque Monsieur stands out. They also have an array of fresh pastries, eggs Benedict variations, and Mexican-inspired breakfast items, all served in a cozy setting. Panadería Rosetta has gained an international profile, despite its small size. Celebrities, like Harry Styles and Dua Lipa, have made their way to Panadería Rosetta.
It is best to visit Panadería Rosetta on a weekday morning (before 9:00 am) in order to skip the notorious lines that form later in the day.
Owner & Head Chef Elena Reygadas studied gastronomy at the International Culinary Center, a French Culinary Institute in New York, and thereafter spent 4 years working at Giorgio Locatelli's Italian restaurant, Locanda Locatelli, in London. Her love of bread and baking was born at the International Culinary Center. She received the 2014 Latin America's Best Female Chef Award from the San Pellegrino World's 50 Best organization. The British magazine, Restaurant, has twice ranked Restaurant Rosetta on its list of the World's Best Restaurants (at number 34 in 2024, & number 49 in 2023), and Reygadas received their Best Female Chef of 2023 award. Her work across different aspects of gastronomic culture is part of what earned her the title of The World’s Best Female Chef 2023. Rosetta was also awarded one Michelin star in 2024 in the first Michelin Dining Guide, covering restaurants in Mexico.
The panadería was originally inside her Restaurante Rosetta on Calle Colima. Early on, neighbors would come knock at the door in the morning to ask for breads. The place that would become the original panadería was a small gallery across the street from the restaurant. Reygadas told the owner of the building that she would be interested in the space, should it become available. The space finally became available, and Reygadas opened the original Rosetta Panadería in 2012. She now has 4 panaderías scattered around the city; we only visited to the satellite panadería on Calle Puebla.
During our next visit to Mexico City, I definitely want to get up early, and have a 7:00 am breakfast at the original Panadería Rosetta on Calle Colima, across from her famous restaurant, which I loved. I think I will have their Croque Monsieur, one of their signature Rol de Guayaba, and a cup of their Mexican Hot Chocolate.
La Roma Norte's Mercado Roma on Calle Querétaro: Mercadoroma
La Roma Norte's Mercado Roma on Calle Querétaro, also known as Mercadoroma, was the first gourmet public market in Mexico City. It is gastronomic corridor that brings together the best of Mexican cuisine. This gourmet public market has become a fixed point for foodies & culinary connoisseurs. With its modern design & wide spaces, this gourmet food hall offers a dynamic environment where you can enjoy it all: from traditional tacos &cakes to vegan cuisine, & cocktails. It is a chic, upscale multi-level food hall with international eats & a rooftop beer garden.
Neighborhood residents protested Mercado Roma before it was built, claiming gentrification would ruin the area. The market is, indeed, more upscale than its surroundings, but the 3-story mixed-use market is perfect for sipping Spanish wines & eating tapas, shopping for expensive cheeses, & nibbling snacks from the various puestos (stalls). There is also a rooftop beer garden, complete with a foosball table, & a ground-floor patio filled with herb boxes. You can find specialty items here, like Artisanal Mexican cheeses & even Mexican-made macarons from Theurel & Thomas. European tourists & bougie locals like to shop here. There is a 2nd location of Mercadoroma in Coyoacán.
La Roma Sur's Mercado Medellín on Calle Campeche: Mercado Melchor Ocampo
Mercado Medellin is a public market, located on Calle Campeche in Roma Sur, which is well known for offering products from other Latin American countries, particularly Cuba, Colombia, & Venezuela. There are over 500 stalls in total. Officially known as Mercado Melchor Ocampo, it is named after the street where it is located. It has also been nicknamed "La Pequeña Habana".
Mercado Medellin may be just 1 square block in size, but this neighborhood market is overflowing with exotic fruits, veggies, & some of the city's best ice cream. It supplies the neighborhood with quality fruits & vegetables. It is especially popular, since it is one of the only places in the city where you can find produce & goods from other Latin American countries. With immigrants from all over Latin America, it is a focal point for those seeking food & ingredients from other countries.
Colombian & Honduran flags fly from various stalls selling rare imported vegetables. You can also pick up dry goods, flowers, craft beers, dried chiles, moles, & handcrafted furniture at Mercado Medellin. Definitely try the incredible ice cream from the Cuban heladería: flavors to try: coconut, cinnamon, chocolate, &Nata, made from the cream that rises to the top of clabbered milk. Also do not miss the candied fruits (like dried mango, pineapple, or strawberries rubbed with chile) from the many seed & spice vendors.
The Medellín Market is also famous for selling yuca, arepas, barley, sodas, beers like Bucanero & Cristal, & tamales with tomato puree. Juan Valdez & Selle Rojo coffees are also popular. Although Venezuelan vendors are increasingly present in &around the market, they are best known for their Santa Teresa rum. Among the best-known of the restaurants in the mercado, “La Morenita de Medellín” specializes in fish & seafood, including scallops, cocktails, Veracruz-style red snapper, & Spanish paella.
Museo Objeto del Objeto (MODO): (Object of the Object Museum)
The Museo Objeto del Objeto (MODO) is very unusual & unique museum. It is based on the collection of ordinary objects, & focuses on the analysis of its collection. The idea behind this is that these objects have something to say about Mexican society. Through its collection of more than over 140,000 artifacts from 1810 to the present day, the museum offers a historical overview of Mexico since the beginning of the 19th century: cultural, aesthetic, & social movements; & technological developments; as well as trends & changes in ways of thinking & connecting with the outside world.
There is part of a long-standing tradition of collectors in Mexico City, who donate their collections & establish museums (like the Museo Soumaya & the Museo Franz Mayer). MODO is considered the first of its kind; many of its objects are not on display in any other museums. This museum was founded by Collector Bruno Newman, who was the founder & director of Zimat Consultores, a public relations firm in Mexico City.
The museum's permanent collection is based on Bruno Newman's private collection of over 30,000 objects, accumulated over 40 years. Newman began collecting at the age of 13, purchasing 5 toiletry bags he liked at La Lagunilla Market. Newman realized that visitors to his house were drawn to his collection, so he continued to collect things like shaving utensils & advertisements that were characterized by not being popular. Newman began looking for a museum where his collection could be preserved & studied, especially as it related to packaging, advertising, & the graphic arts.
Located in a 1906 Art Nouveau house on Calle Colima in Colonia La Roma that served for a time as founder Bruno Newman's personal residence, the building was remodeled & adapted for the museum. Efforts to establish the museum began in 2004, with the inventory, cataloging, and photography of each piece, allowing for electronic access. The initial cataloging and classification process was led by artist María Alós. Museo Objeto del Objeto opened in 2010. Its opening attracted international diplomats, as the museums collection contains objects from several countries such as Russia , Guatemala , Haiti , & Slovenia.
MODO is dedicated to telling stories through artifacts that have accompanied daily life in Mexico for more than 200 years. Most of the artifacts are related to packaging, especially bottles, advertising, & graphic arts. Other objects include printing presses, soda bottles, utensils, cosmetics, food containers, clothing accessories, & household appliances. Some notable products include old shopping bags by the supermarket chain Sumesa, an advertisement for a beer from the 1890's, & commercial packaging from Japan during its occupation by the United States.
The collection is a starting point for the museum, which aims to be a cultural center, an exchange of ideas & research for communication & design. The museum also aims to support collecting as a hobby, & promotes a formal structure for the study of collected objects. One reason the museum encourages collecting is that items related to design & communication are often discarded as trash, such as 1980's sneakers &1970's skateboards. The museum consists of e permanent exhibits, as well as temporary exhibits of items related to its collection and purpose. The museum also offers workshops, seminars, lectures and other activities designed to promote design and communication.
Some exam[les of unusual collections that have been exhibited at the Museo Objeto del Objeto include:
The Postcard Collection of Carlos Villasana & Raúl Torres
The1980's tennis shoe & the skateboard collections, curated by the editor of Street Active Lifestyle magazine .
Toy robots belonging to Barbara Berger,
Antique lamps belonging to Alexandre Lamaire,
Hats from the 1920's to the 1950's.
Located in Roma Sur's Plaza del Lanzador at the intersection of Calle Orizaba & Calle Antonio M. Anza, El Mercado El 100 is a collective all-organic farmers' made up of more than 50 organic farmers & artisans. Technically, the market is right on the border between Roma Norte & Roma Sur. The market, which started in 2010, has been held every Sunday for over a decade. It is a modern-day tianguis, which is the traditional Mexican open-air market held on certain days of the week, dating back to ancient times.
All products sold must be grown & produced within a 100-kilometer radius of Mexico City; hence, the name of the mercado. The producers are also certified through a participatory system called "Sano, Rico, Justo, Local, Limpio," developed by the market itself. The organizers, producers, & consumers all take part in checks on the farms businesses, guaranteeing all aspects of the quality of the products. All the farmers & producers are coordinated by Alan Favero, president of the civic organization that runs the market. He & his team are experts in organic products, their cultivation, & their sale.
Vendors offer everything from fresh fruits & vegetables to Vendors offer everything from farm-fresh produce to just-caught trout, cacao husks (for making a tea-like drink or crusting meat & seafood), handicrafts, vegan & gluten-free food, Mexican grown coffee, artisanal Mezcal, natural soap & shampoos, free-range organic eggs, & bacon, as well as lead-free clay cookware. A handful of prepared-food vendors offer tacos, tamales, & other snacks. It is also a great place for things, like herbs, spices, salts, & teas. It even has a rabbit taco stand.
In general, it is best to arrive early to get the best produce. While visiting the market, you can also take a Sunday stroll through Jardín Ramón López Velarde. The markets hours are Sundays from 9:30 am - 2:30 pm.
Jardín Ramón López Velarde (Ramón López Velarde Garden)
The Jardín Ramón López Velarde is just a few blocks from the Museo Casa del Poeta Ramón López Velarde López Velarde. It is on Avenida Cuauhtémoc in the southeast corner of Colonia Roma Sur in front of the Centro Médico Nacional Siglo XXI . It is built where the Estadio Nacional stadium stood until 1949. Then public housing was built on the site; however, it was irreparably damaged during the 1985 Mexico City earthquake.
Jardín Ramón López Velarde was established in 1985; it is often overlooked, but it is enormous in size & significance. The park is named for Mexico's “National Poet, Ramón Modesto López Velarde y Berumen. He achieved great fame in his native land, to the point of being considered Mexico's national poet. Despite his importance to Mexico, Velarde remains virtually unknown outside his own country. Velarde used to walk in the park when it was still a cemetery. It was close by to where he lived the last 3 years of his life (in Museo Casa del Poeta Ramón López Velarde). In fact, Jardín Ramón López Velarde has served as a few different cemeteries. Yet, it is not a solemn place. There is a small football field, a reflection pool, & basketball courts. The jogging track, exercise and play areas date from renovations that have taken over much of the past decade.
"El Bazar del Oro", Otherwise Known as the "El Tianguis de la Cibeles"
This area is also the site of a major weekend flea market, commonly known as "El Bazar del Oro" or "El Tianguis de la Cibeles". It is open Saturdays & Sundays from 10:00 am - 6:00 pm. Since 1986, the Bazar del Oro has completely taken over El Callejón Oro (El Oro Alley) between Calle Medellín & Calle Monterrey in La Roma Norte. It is a semi-permanent, open-air market that has become a fixture, to the point where no one remembers the street was ever open. (The street is only open to traffic late at night and on Wednesdays.)
The Bazaar is famous, most of all, for its clothing. Much of it is hand-selected from larger markets around the city. Calle Oro has also seen its fair share of independent and emerging designers offering clothes, often at discounted prices.
The Bazaar is also known for its food, much of it pre-prepared, and for its gifts, handcrafted goods, and many unique items. The bazaar's food market area offers a great range of things from barbecue, quesadillas, carnitas, huaraches, cakes, tacos, sweet & salty crepes, falafel, & kebabs. If you something to quench your thirst, look for the snow-cones stand. The food market portion is open on Wednesdays, & as well as on the weekend ). During the week, the alley is just that: an alley.
Despite being semi-permanent, the Bazaar has a constant flow of vendors. You can never be sure who will be there when you return. Some are constant; others set up shop for a few weeks. Within the confines of its narrow street, the bazaar has grown to span 7 distinct aisles, or corridors.
There are "entrances" to the bazar at the Plaza de Cibeles & at Insurgentes Sur (at the intersection with Calle Monterrey). Named for its location, on El Callejón Oro, this street market is an old tradition but, like most things in the Roma neighborhood, it has been appropriated by its trendy inhabitants.
I didn't get to go to the "El Bazar del Oro" this trip, but it is on my list for next trip.