Xavier Guerrero’s astrological motifs in the former Jesuit Temple of Saint Peter and Saint Paul represent one of the most elaborate celestial-themed mural cycles of early Mexican muralism. This temple played a foundational role in the development of post-revolutionary muralism, serving as an experimental space for the first state-sponsored commissions. Unlike the overtly nationalist and political themes that would later dominate Mexican muralism, early works in this space—such as those by Roberto Montenegro and Gerardo Murillo (Dr. Atl) included in this exhibit—incorporated more spiritual and esoteric themes, reflecting a broader search for Mexico’s identity.

Painted as part of the temple’s artistic renovations under the direction of José Vasconcelos, Guerrero’s frescoes integrated astrological and Indigenous motifs within the framework of the new national identity. At the center of the vault, Guerrero created an astrological dome featuring a radiant sun encircled by the twelve signs of the Zodiac, rendered in gold against a deep blue celestial background. The Zodiac is upheld by four human figures positioned at the cardinal points, their outstretched arms suggesting a connection between the heavens and the earthly realm. This cosmic arrangement alludes to classical and medieval representations of the celestial sphere, evoking ideas of fate, cyclical time, and cosmic harmony.

These astrological frescoes resonate with Guerrero’s other celestial-themed murals at the National School of Agriculture in Chapingo, demonstrating his persistent interest in modern esoteric traditions. Much like his fellow muralists, Guerrero saw in astrology not merely a decorative element but a symbolic framework for shaping Mexico’s destiny. His integration of astrological imagery aligned with Vasconcelos’s broader vision of cosmic race theory, which sought to fuse spiritual and intellectual traditions from across the world into a new, modern Mexican identity. Within this context, Guerrero’s paintings stand as a testament to the spiritual undercurrents that shaped early muralism, before nationalist themes fully took center stage in the movement.