the monastery, but not all, state that this atrium cross is not the original, but rather used to belong to one of the corner chapels. The cross is done in sandstone and imitates two knotty tree trunks, with a crown of thorns at the foot. The monastery also has associated with it a system of aqueducts to bring water here from the Xopanac River. Remnants of it can be seen today. The architecture of the large church and monastery area is a mix of medieval and Renaissance styles, with Plateresque and Moorish elements standing out. The Plateresque is evident in the large smooth areas with little ornamental work on the facade and north side of the church. This side has a portal decorated with leaves and thistles. The entrance to the church is flanked by tall classical columns, whose capitals support a narrow cornice to form an alfiz. This is decorated with a Franciscan-style cord and seven anagrams in Greek and Latin. Moorish influence is seen in the door arch of the main portal. The interior has only one nave. There are remnants of frescos on the walls, the best preserved of which show a precession of men in hoods, called "Los encapuchados" (The hooded ones). The main altar is one of the few from the 16th century that remain in Mexico, made by Simon Pereyns. Another unusual feature is the stonework around the door to the sacristy, which forms a crisscross pattern of flowers. The entrance to the monastery area is on the south side of the complex's facade. It consists of two wide arches supported in the center by a large column. The interior of the cloister retains all of its original architectural elements, and includes the courtyard, fountain, monks’ cells, refectory, kitchen, gardens, and a meditation/prayer room called the sala de profundis. This room contains the best preserved mural work in the complex, including a depiction of the first twelve Franciscans to arrive in Mexico, headed by Martin de Valencia. This cloister today houses the Museo de Evangelización del ex convento de San Miguel (Evangelization Museum of the former monastery of San Miguel), under the administration of the INAH with Gabiel Maritano Garci as director. It contains a modest collection of artworks and other artifacts from the colonial period such as baptismal fonts and religious paraphernalia as well as displays explaining the evangelization work done by the