The Palace of Medrano: Drama in Three Acts and in Verse (Spanish: El Palacio de Medrano: Drama en Tres Actos y en Verso) usually shortened to The Palace of Medrano (/pəˈlɑːsioʊdeɪmeɪˈdrænoʊ/) is a theatrical play in three acts written by Pablo J. Villaseñor and published in Mexico city by Ignacio Cumplido in 1851.[1][2][3][4]
The play "El Palacio de Medrano" was first performed at the Teatro Principal de Guadalajara on June 10, 1851. The story is set in the year 1618, in the richly furnished palace of Medrano known as "Alcázar de Medrano" and "Alcaicería de Medrano," located between Medrano Street and Calzada Independencia Sur in Guadalajara, Mexico. The book of the play comprises 97 pages and measures 18cm in height.[3]
The author, Pablo Jesús Villaseñor, from the aristocratic lineage of the founder of Morelia (also known as Valladolid), dedicated himself passionately to literature. He founded and directed literary magazines and wrote a variety of works: criticism, lyrical and dramatic poetry, essays, and biographies. He died at the age of 27 at the Hacienda de Cedros, a property of his family. His most renowned dramatic work, El Palacio de Medrano, is a tragedy set in the colonial era, ending with the death of all its protagonists—whether by suicide, murder, or grief—without exception.[4][5]
In Act One, Doña María de Medrano, the central character, is introduced as a young woman tormented by her fate. She confides in her companion, Doña Ana de Rivas, expressing her deep sorrow over being forced into a convent by her father, Don Álvaro de Medrano, the president of Nueva Galicia. Despite her love for Don Ramiro, María feels trapped by her father's decision. The tension escalates when Don Sebastián de Oviedo, a seemingly pious man who secretly harbors feelings for María, interrupts their conversation. Oviedo's hypocritical advice about María's future in the convent adds to her distress. Later, Don Juan de Medrano, María's brother, the priest, enters the scene. He shares his own suffering and vows to protect his sister from the fate their father has decided for her.[2]
As the act progresses, Ramiro secretly meets María, and they confess their love for each other. Ramiro proposes an escape plan, but their conversation is interrupted by Oviedo and Don Álvaro de Medrano, her father. Ramiro hides, and María narrowly avoids being discovered with him. The act ends with a tense confrontation where her father insists on María's entrance to the convent, while Don Juan de Medrano tries to console his sister.[2]
A white moon crowned with stars, with what silence and sublime solitude it slips through the sapphire sky! Everything rests in peace; the beautiful flowers fall asleep to the kisses of the breezes, everything is silent, only in my chest the storm of misfortune roars. Oh! How many times in the tranquil light that moon poured onto the earth, the pleasant accents of my Ramiro found a tender echo in my soul!
Pablo J. Villaseñor, El Palacio de Medrano, Act II, Scene I.
Act Two delves deeper into María's internal conflict as she grapples with her love for Ramiro and the impending doom of being forced into the convent. Haunted by memories of her deceased mother and the lost hopes of her youth, María is torn between her love and her duty. Don Juan de Medrano encourages her to flee with Ramiro, but María hesitates, fearing the consequences of such a drastic action. The tension rises when Oviedo, consumed by jealousy and unrequited love, sneaks into María's room to profess his feelings. His advances are met with rejection, and he becomes increasingly desperate and threatening. The situation reaches a climax when Ramiro arrives to defend María, leading to a violent confrontation between him and Oviedo. In the ensuing struggle, Ramiro kills Oviedo in self-defense but is unable to escape due to the timely arrival of President Don Álvaro de Medrano and his men. Ramiro is arrested and taken to prison, leaving María devastated and hopeless.[2]
The final Act in the play takes place in a richly decorated Gothic hall of the Medrano Palace. Don Juan de Medrano, desperate to save both his sister and Ramiro, devises a plan to forge a release order for Ramiro. However, Don Álvaro de Medrano, her father, remains resolute in his decision to send María to the convent, despite her heartfelt pleas and the revelation of her love for Ramiro. Oviedo, now wounded but still alive, supports Don Álvaro's harsh decisions, further sealing María's tragic fate. Resigned to her destiny, María prays for mercy and, unable to bear the thought of a life in the convent without Ramiro, decides to take drastic measures. She consumes poison, choosing death over a life of sorrow and confinement.[2]
The play reaches its tragic conclusion with María's death. Ramiro, upon learning of her fate, is devastated and attempts to take his own life beside her lifeless body. Don Álvaro, realizing too late the depth of his daughter's suffering, faints in grief. The final scene is one of profound tragedy, followed by the devastating consequences of misplaced honor, unyielding societal expectations, and the destructive power of unfulfilled love.[2]
The palace of Medrano was the oldest civil building in the city of Guadalajara, Mexico. The palace, originally built by the cities' founder Don Cristóbal de Oñate in 1542, was reconstructed between 1640 and 1642 by the Oidor Don Francisco de Medrano y Pacheco, after which it became known as the "Palace of Medrano."[6]
"A tragedy worthy of Shakespeare's pen." - Father José T. Laris[6]
According to the author José T. Laris, the palace of Medrano in Guadalajara, Mexico, was home to a noble family who had arranged a marriage of convenience for one of the daughters. She was in love with another man and, despite her expressed refusal and indignation, she agreed to avoid confronting her father. On the wedding day, her true love appeared on the balcony of her room. Upon discovering the visit, the new husband confronted him in a duel. The woman stepped in to save her lover from the confrontation. The frightened groom disappeared into the shadows of the night, and the heartbroken woman ran to the courtyard, tightly gripping a rope around her neck, ending her life by hanging herself.[6]
This story was documented by the priest José T. Laris in the 1945 book “Guadalajara de las Indias.” Father José T. Laris writes:
"In 1585, the Government Palace was moved to the 'Oñate' Palace, so named because it was built by Don Cristóbal de Oñate in 1542. This palace, which was in ruins by the mid-17th century, was rebuilt by Oidor Don Francisco de Medrano y Pacheco between 1640 and 1642, and since then, the people began to call it the 'Palace of Medrano'. Of that historic site, not a stone remains, because after the tragedy, the palace was abandoned. Following Independence, it remained closed for many years; later, it was gradually repurposed as a barracks, inn, and alcaicería until it was auctioned and converted into the properties seen in that place today."[6]
The Palace of Medrano in Guadalajara stood between what are now Medrano Street and Calzada Independencia Sur. This massive mansion, constructed on the eastern bank of the San Juan de Dios River, was once on the city's outskirts, marking the end of the town of Analco. Cristóbal de Oñate commissioned the construction of this sturdy house, designed with both upper and lower floors, intending to reside there. However, following Oñate's death in Zacatecas in 1567, the palace was left uninhabited and shortly after fell into the hands of the Oidor Don Francisco de Medrano y Pacheco, who rebuilt it between 1640 and 1642. The Palace of Medrano in Guadalajara was demolished in the 20th century.[7]
Don Diego de Medrano was a prominent Oidor in Guadalajara, Mexico, in the early 17th century. Born in Santo Domingo to Diego de Medrano, the royal treasurer of Santo Domingo, and Doña Catalina de Velázquez.[8] Diego earned a degree in Canon Law from the University of Salamanca. Appointed as an Oidor in 1611, Medrano became the highest administrator of justice in Guadalajara until his death in 1630. His paternal grandparents were Diego Alfonso de Medrano, from Soria, and Francisca Rodríguez Barrionueva. In the province of Chametla, Sinaloa, his brother Juan de Medrano was the governor.[8]
Don Juan Bravo de Medrano y Oñate, 1st Count of Santa Rosa, from Pánuco, Zacatecas, was a descendant of the founder of Guadalajara, Cristóbal de Oñate. Juan was the son of Don Felipe Bartolome Bravo de Acuña and Catalina de Medrano y Oñate. Juan Bravo de Medrano's maternal grandfather was Captain Don Juan de Medrano y Ulloa y Velazquez.[9] His maternal grandfather Captain Don Juan de Medrano y Ulloa y Velazquez was born in Santo Domingo, from the noble house of Medrano. Captain Juan de Medrano was the son of Don Diego de Medrano y Ulloa and Doña Catalina de Velázquez. Captain Juan de Medrano is the husband of Catalina Temiño-Bañuelos y Oñate Rivadeneira, daughter of Diego Ruiz Temiño de Bañuelos and Catalina de Oñate y Rivadeneira. His wife was also the granddaughter of Don Alonso de Oñate Salazar, son of Cristóbal de Oñate, a descendant of the noble house of Haro.[9]
Despite its eventual destruction in the 1930s to make way for the Arena Coliseo, the memory of the Palace of Medrano has been preserved through paintings and photographs. The Regional Museum houses two paintings of the palace's courtyard by José Vizcarra, and some photographs remain.[6][7] The demolition of such a historic building, along with other significant losses like the College of Santo Tomás and the College of San Juan, was part of a period in Guadalajara's history where both the government and individuals accepted the destruction of heritage sites.[6]
The Palace of Medrano, with its solid adobe and stone construction and large arches, was an architectural gem that adapted to the climate and human activities of its time. The dignified and beautiful structure provided valuable lessons in architectural integrity and historical preservation, raising questions about the lasting value and quality of modern constructions.[6]