In the center, there is a group of sculptures representing the Greek gods Apollo, Minerva and Dionysus done by Ignacio Asunsolo, which were placed here to emphasize the building’s now-secular function.Most of it is simply covered in tezontle, but there are two reliefs in white stone, “The Visit of the Archangel Gabriel” and The Martyrdom of Lawrence of Rome, which were the first of their kind done in Mexico.Ground floor has the murals that give the courtyard its name “The Deer Dance” “The Corn Fiesta” “May 1 Meetings” With geometric planes and concentration of figures, “The Day of the Dead” is representative Rivera composition.The upper rectangle is occupied by a trio of a peasant, a revolutionary soldier and a worker with the opposite side containing images representing the clergy, militarism and capitalism.Other panels here are “Good Friday on the Santa Anita Canal” and “The Ribbon Dance.”[1] On the first floor of the Fiesta Courtyard is the coats-of-arms of the different Mexican states painted by Jean Charlot and Amado de la Cueva.On the opposite side of this floor are works by two other painters: “Washerwomen” and “Loadbearers” by Jean Charlot and “The Little Bull” and “The Dance of the Santiagos” by Amado de la Cueva.Venezuelan painter Cirilio Almeida Crespo is represented by only two remaining works, a portrait of Simón Bolivar and frieze containing the coats-of-arms of Latin American republics.From 1911 and 1922, the new Secretariat of Public Education (SEP), took over the building at the corner of San Ildefonso and Rep. de Argentina and extensively remodeled it, hiring engineer Federico Méndez Rivas.
Luis Gonzalez Obregon facade looking from what was the old La Encarnacion Church