Yucatán Road Trip: Tips for Travelers

Last spring, Josh and I embarked on a two week road trip around Mexico’s Yucatan Peninsula. We had hoped our travels would fall in the window between high tourist season and the hot, rainy days of summer. In reality, the weather turned out to be unseasonably warm, with temperatures in the 90s (or higher) nearly every day. Despite the fact that neither of us are built to withstand that kind of heat—often to our great, sweaty, fainting embarrassment—we both agreed that this was one of the best trips we have ever taken. The people were friendly; the ruins, fascinating; the cenotes, stunning; the iguanas, hilarious. And we were able to avoid many potential frustrations and pitfalls by following a few basic rules of thumb. Therefore, I thought I’d start this series of posts with tips for anyone interested in making a similar pilgrimage.

1. Do your research.
Anticipation is half the fun of travel, and research allows you to dive into your trip long before you leave home. Just as important, knowing where you want to go and how to get there will save you valuable time and stress during your all-too-brief holiday. Not all of the most interesting sites are covered in your guidebook or are easy to find, and not all of the differences in hotels are evident from their exteriors. I put in months researching what we would see, where we should stay, who we should rent our car from, and what routes we should take. The downside of all this planning is that we couldn’t be terribly flexible. These days, most hotels will not let you cancel without penalty unless you do so weeks or even months in advance. The upside is that we could be confident we were staying in safe, comfortable locations for a good price. And because I did a lot of online reading about the various sites we could visit, we only had one instance in which something new came up that we had to miss out on. Also, reading ahead of time about the history of the places we would see made us less inclined to hire guides, saving us money and freeing us to focus on wandering and looking.

Sources I found most helpful:

Books
DK Eyewitness Travel, Mexico

Andrew Coe, Archaeological Mexico 
Even the second edition, published in 2001, is out of date, which means many of the things he recommends to do at the most trafficked locations are no longer accessible. Despite that inevitable disappointment, the book is still worth reading for the detailed insights it provides on many sites.

David Drew, The Lost Chronicles of the Maya Kings 
Focuses on Classic period Maya civilization, which was based in or around Guatemala and Chiapas. Includes some information about Calakmul (which is still scarce elsewhere) and the post-Classic sites of the Yucatan. Mostly useful for historical background and context.

Internet
Google
Image searches are especially helpful in discovering places that do not yet appear in guidebooks or may not have otherwise been on your radar. Of course, if you’re here, you probably already know this.

Google Maps
Invaluable for planning routes.

TripAdvisor
A great, centralized source for reviews and images of sites, hotels, restaurants, and rental agencies.

Wikipedia
Most entries for archaeological sites give geographical coordinates that can be copied and pasted into Google Maps. This is extremely helpful for planning your route to more remote locations.

Expedia and Hotels.com
I generally found the best deals on hotels through these two, but as new budget travel sites seem to pop up all the time, something else may work better for you.

2. Travel with a buddy!
Seriously. This is not so much for safety (the Yucatan is a pretty safe place for visitors), but because it makes the logistics of travel significantly easier. Perhaps most importantly, you will need one person to navigate while the other drives. Even if you are using GPS apps, keep in mind that what they say is often less accurate than what they show and that these navigation lags are especially tricky in locations with lots of unnamed roads. You will need one person to keep eyes on the digital map and correct what the electronic voice tells you to do.

3. ALWAYS have plenty of bottled water. Dried fruit and fruit soda are good too.
We each went through a medium bottle of water or more per site (about the equivalent of four small bottles per person, per day). Most hotels will provide a bottle, either free in your room or for purchase at the front desk, and the larger sites will have them for sale as well. Even so, it’s smart to hit a local convenience store and stock up whenever you can.

I also found that being active in the heat meant that the only consumables I wanted before the sun went down were moisture and sugar. We packed one bag of dried fruit and ate it all on our first full day. Another packet of fruit and nuts lasted a little longer. I wish we had brought more, as dried fruit is not a popular snack in the Yucatan. If you decide to bring food with you, remember that it must be in a commercially sealed, prepackaged container when you arrive at customs.

Once we ran out of dried fruit, cold fruit soda became my new favorite thing.

This.

4. Use a GPS map (and have a back-up).
If you are renting a car, it’s probably because you want to hit some of the less traveled destinations. And if you are driving to less traveled destinations, then FOR THE LOVE OF HUMANITY HAVE A GPS! And make sure it doesn’t require you to be on a network. Most rental car agencies have the option of getting a car with GPS, but this extra feature can be expensive. Instead, we used a combination of Google Maps and the “GPS Navigation and Maps Scout” app on our phones. Having a second device was helpful not only to compare accuracy, but as a back-up in case the primary phone died during the day. Keeping a spare battery charger on hand is also never a bad idea.

5. Learn some of the language.
If you don’t already speak Spanish, you should make the effort to learn a little before you go. Most of the time you can survive without it, especially when in the larger cities or major sites, but it’s still useful for road signs, menus, and talking to cops at check-points (and yes, you will get pulled over at at least one checkpoint if you drive around the peninsula). Besides, it’s just polite to at least try to speak to people in their own language in their own country. Even if you’re bad at it (as I am), people usually appreciate the effort.

6. Get to sites when they open and don’t over-schedule yourself.
Roads here are better than they used to be even a decade ago. Still, if you are used to driving on highways, most Yucatan streets will be a shock. On the other hand, if you have done a lot of driving in the rural midwest, you might feel right at home. Either way, keep in mind that going short distances can take a long time, especially when you are off the main thoroughfares. Additionally, the heat is no joke, even for locals. Try to get to places when they open to beat both the crowds and the afternoon sun. Stick to the shade as much as possible. Take a leisurely lunch. Don’t plan to do a lot of sightseeing after mid-day.

Taken shortly after opening. An hour later, this area was covered in fellow tourists.

7. Wear a lightweight, wide-brimmed hat; sunscreen; and bug repellant.
If you are going to Mérida, you will find many wide-brim options available. I brought a cheap hat with me, but eventually replaced it with a far superior, locally made jipihapa. I also recommend Avon’s Skin-So-Soft sunscreen/bug repellent combo. You will need both aspects of this product pretty much everyday, and it works well without making you smell like bug spray. Two adults using it conservatively everyday for two weeks requires a little more than one bottle. Bring two to be safe.

View along the tollway connecting Cancún and Mérida.

8. Take the toll roads.
They are much nicer and will save you a ton of time and aggravation. Make sure you have cash, especially small bills, when you leave Cancún.

9. Tip everyone who does something for you.
Another reason to always have cash on-hand. Many jobs in Mexico are largely or entirely tip-based, including gas station attendants (who you must use), hotel staff, and tour guides. Often, if people don’t get tipped, they don’t get paid. Rules on the appropriate amounts vary, but if you can be generous, be generous. If you can only give half the change in your pocket, give that. One of the most challenging aspects of our trip was making sure we always had change or small bills on us, and we did not always succeed.

10. Do as the locals do (most of the time).
Obviously. But this particularly applies to driving. Here are a few specific things to keep in mind:
Shoulders on highways are meant to be used. Pay attention to the cars behind you; if they want to pass, move onto the shoulder so they can get by.
•Obey the traffic signs. This is an area where your behavior should probably depart from most of the locals with whom you’ll share the road.
•Reduce speed around towns and look out for road humps. Even if speed limit signs are not present, vehicular speeds are controlled by road humps of variable sizes. The higher the hump, the lower the required speed. If you aren’t paying attention or choose to ignore the signs alerting you to upcoming humps, you will damage your car. And possibly your head.
•Top-up the car with fuel before leaving a city or large town. It may be a while before you come upon another gas station.
•Don’t drive at night, especially in unfamiliar places. We broke this rule three times, and while I don’t regret any of those instances, I also still believe this is an important guideline for safe travel (to avoid collisions with cars parked in the road, stray dogs, significant potholes, etc.).

11. Be respectful. And relax.
As is true almost everywhere, if you are respectful of the places you visit and kind to the people you meet, they will return the favor. And, again, the Yucatan is a fairly safe place for travelers. Be open, enjoy yourself. You’ll be fine.

Our first night dinner companion.

International Museum of Surgical Science, Chicago, IL

Discreetly located north of downtown in an elegant lakeside townhouse, the International Museum of Surgical Science is one of Chicago’s more hidden attractions. Although the Gold Coast mansion itself may be enough to draw the casual attention of commuters and tourists making their way along Lake Shore Drive, no large signs or neighborhood flags will alert passersby to the structure’s varied (and variably disturbing) contents. Yet, for those with an interest in medical history, Chicago architecture, museology, or the drily macabre, the museum is worth seeking out.

As befitting its subject matter, the exhibits tend to be object-based, low-tech, and straightforwardly displayed in ways that make clever use of the pre-existing historic space, often utilizing art for both illustrative and dramatic purposes. It’s a fun—or at least fun-ish—destination for a half-day visit, even if the entrance fee ($15 at the time of writing, no AAM membership accepted) felt a little steep.

Current admissions information can be found here.

All photos by Renée DeVoe Mertz, June 25, 2015.

Beautiful mess: a visit to Brandon Anschultz’s studio in Lafayette Square, St. Louis

Brandon Anschultz in his studio, April 22, 2015. The paint objects above him each take about a year to make.

All photos by Renée DeVoe Mertz, April 22, 2015.

Gabriel Dawe’s “Plexus No. 27”

Gabriel Dawe, Plexus No. 27 (details), 2014; thread, wood, and hooks. On loan from the artist and Conduit Gallery for State of the Art: Discovering American Art Now. Photos by Renée DeVoe Mertz, November 28, 2014.

Return to Crystal Bridges

Hiram Powers, Proserpine, c. 1840, marble.
Tim Liddy, The Horror, 2014, enamel and oil on copper. On loan for State of the Art: Discovering American Art Now.
Leo Villareal, Buckyball, 2012, aluminum tubing clad with LED lights atop aluminum plinth. Loaned courtesy of the Madison Square Park Conservancy, Gering and Lopez Gallery, and Leo Villareal.
Jeila Gueramian, IT’S YOU (detail), 2014; crocheted quilting, batting, and LED lights. On loan for State of the Art: Discovering American Art Now.
Henry Kirke Brown, The Choosing of the Arrow, 1849, bronze.
Jamie Adams, niagaradown from the series, Niagara, 2013, oil on linen. On loan for State of the Art: Discovering American Art Now.
Randolf Rogers, Atala and Chactas, 1864, marble.
Adam Belt, Through the Looking Glass (James Webb Telescope Mirror), 2011; two-way mirror, mirror, wood, and LED lights. On loan for State of the Art: Discovering American Art Now.
Hiromi Mizugai Moneyhun; Moths 1, 5, and 7; 2013; hand-cut paper. On loan for State of the Art: Discovering American Art Now.
Gabriel Dawe, Plexus No. 27, 2014; thread, wood, and hooks. On loan for State of the Art: Discovering American Art Now.
Miki Baird, swatch…the weft and warp of red walker, 2010–12, 1/2″ x 1/4″ archival pigment prints. On loan for State of the Art: Discovering American Art Now.
Crystal Bridges Museum cafeteria with Jeff Koons, Hanging Heart (Gold/Magenta), 1994–2006, high chromium stainless steel with transparent color coating and yellow brass.
Jenny Holzer, Venice Installation: Gallery D (Second Antechamber) (detail), 1990, Italian marble tiles.
Elie Nadelman, Woman’s Head, before 1915, bronze. Alfred Stieglitz Collection.
Arthur Garfield Dove, Red Tree and Sun, 1929, oil on canvas. Alfred Stieglitz Collection.
Hamilton Poe, Stack, 2013; box fans, sombreros, and weighted plastic eggs. On loan for State of the Art: Discovering American Art Now.
Peter Glenn Oakley, Stack (2011) and Cassette Stack (2014), marble. Collections of North Carolina Museum of Art and Allen Thomas, Jr., on loan for State of the Art: Discovering American Art Now.
Museum exterior
Richard Estes, Reflections of the Woolworth Building, 2006, oil on board.
John James Audubon, Osprey and Weakfish, 1829, oil on canvas on hardboard. Collection of the National Gallery of Art, Washington, D.C., on loan for John James Audubon and the Artist as Naturalist.
Laurel Roth Hope, Biodiversity Suits for Urban Pigeons: Dodo II (foreground) and Biodiversity Suits for Urban Pigeons: Passenger Pigeon II (background); yarn, polyurethane, pewter, glass, epoxy, and walnut. On loan for State of the Art: Discovering American Art Now.
Museum exterior.
Norman Rockwell, Rosie the Riveter, 1943, oil on canvas.
Emma Marie Cadwalader-Guild, Free, c. 1876, basswood.
Dan Webb, Destroyer, 2012, carved fir. Private collection, on loan for State of the Art: Discovering American Art Now.
Jonathan Schipper, Slow Room, 2014; household objects and furniture, cables, pulley, and electric motor. On loan for State of the Art: Discovering American Art Now.
Charles Bird King, Wai-Kee-Chai, Crouching Eagle, c. 1824, oil on panel.
Jeila Gueramian, IT’S YOU (detail), 2014; crocheted quilting, batting, and LED lights. On loan for State of the Art: Discovering American Art Now.
Michael Menchaca, Index of Figural Archetypes and Recurring Pattern Ornamentation, 2013, digital prints. On loan for State of the Art: Discovering American Art Now.
Zoë Charlton, Dreamers and Builders from the series Festoon, 2012, collage and gouache on paper. On loan for State of the Art: Discovering American Art Now.
Museum exterior, with view of café.
All photos by Renée DeVoe Mertz. November 27–28, 2014.

Leo Villareal’s “Buckyball”

Leo Villareal, Buckyball, 2012. Aluminum tubing clad with LED lights atop aluminum plinth. 30 ft. x 144 in. x 144 in. (914.4 x 365.8 x 365.8 cm). Installed at Crystal Bridges Museum, Bentonville, AR. Loaned courtesy of the Madison Square Park Conservancy, Gering & Lopez Gallery, and Leo Villareal.

All photos by Renée DeVoe Mertz, November 28, 2014.

St. Michan’s Church, Dublin, Dublin County, Republic of Ireland

Our guide at a crypt entrance, St. Michan’s Church.

Surrounded by apartments and industrial buildings north of the Liffey, the modest exterior of St. Michan’s Parish Church belies the historical interest and ghoulish appeal of its more hidden features.

Standing on the site of a late 11th-century Hiberno-Viking church, the current structure mostly dates to 1685. Without the ornate stonework found in cathedrals like St. Patrick’s and Christ Church, the interior decoration is almost exclusively determined by the floral patterns in the plaster ceiling and stained glass windows. This relative austerity serves to highlight, through contrast, the baroque 18th-century organ that dominates one end of the nave. According to the church’s oral history, this is the instrument on which Handel first played his Messiah.

Charming as the nave may be, most travelers visit St. Michan’s for the contents of its vaults. Sealed behind heavy iron doors, past precarious, narrow stone steps, lie the mummified remains of some of Dublin’s most privileged and notorious citizens. Spilling out of their wooden coffins, St. Michan’s long-term residents have been drawing in visitors since the Victorian era, including Dracula author Bram Stoker. Consistent with Church policy, most of the subterranean occupants are off-limits to public view, and three of the five vaults are closed completely. However, limited public access is permissible—under the supervision of the caretaker—in cases where the caskets have decayed and broken naturally, and where the bodies are either unidentified or no longer have family to care for them.

The most exposed and accessible mummies all lie in the same room and have been dubbed the Unknown Woman, the Nun, the Thief, and the Crusader. Of these, probably only the “Unknown Woman” is accurately named. The “Crusader”—whose remains post-date the Crusades by several hundred years—was over six-and-a-half feet tall and therefore exceptionally large for his time. Too big for his coffin, his legs have been broken and folded over to get him to fit. Visitors were once encouraged to shake his hand for luck, and are still invited to gently touch his extended finger, now smoothly polished from over a hundred years of strangers’ light caresses.

Mummies in St. Michan’s crypt. The Crusader lies in the coffin against the wall behind the Nun, Thief, and Unknown Woman. Image courtesy St. Michan’s Church:  http://www.stmichans.com/index.php/the-crypts/about

Photos by Renée DeVoe Mertz, May 30, 2013, unless otherwise indicated.

Saint Patrick’s Cathedral, Dublin, Dublin County, Republic of Ireland

One of Saint Patrick Cathedral’s many stony inhabitants.

Now the largest church in Ireland, Saint Patrick’s Cathedral began as a small wooden chapel beside the well where, according to tradition, its namesake baptized early converts to Christianity in the 5th century. The first stone structure on the site was erected in the late 12th century, and much of the current church dates to work done between 1220 and 1270. The building has undergone several waves of reconstruction and restoration since then, but the most extensive modern-era renovations occurred in the 1860s with funding provided by Sir Benjamin Guinness (1798–1868) of the Guinness brewing dynasty. Neo-Gothic flying buttresses on the exterior date from this time. Today, the church is the National Cathedral of the Church of Ireland.

Several impressive tomb monuments commemorate notable Dubliners, including Jonathan Swift, buried within the cathedral. Of particular note is the 17th century Boyle family tomb, which possesses an enormous, elaborate, and colorful facade that dominates the west end of the church.

In addition to the funereal monuments, the church’s interior is punctuated throughout by more purely decorative stonework. Compared to the carvings of the nearby Christ Church, Saint Patrick’s sculptural details feel heavier and less fully integrated into an overall decorative design. But what the cathedral’s scheme lacks in unity it makes up for in personality. The animal and (mostly male) human heads adorning the interior tend to be roughly life-size, deeply carved, and highly individualized, often with surprisingly expressive facial hair. Comic realism is juxtaposed with archaic abstraction, and the overall effect is one of a community of individuals in which each member demands its own scrutiny and appreciation.

All photos by Renée DeVoe Mertz, May 30, 2013.

Christ Church Cathedral, Dublin, County Dublin, Republic of Ireland

Stained glass window (detail), Christ Church Cathedral. Photo by Renée DeVoe Mertz, May 30, 2013.

In addition to being one of Ireland’s largest and most embellished houses of worship, Christ Church also has the distinction of being the country’s oldest cathedral. It was originally established by Dunan, the city’s first bishop, and Sitric, the Hiberno-Norse king of Dublin (r. ca. 995–1036). In 1186, the Anglo-Norman archbishop, John Cumin, rebuilt the church. This building stood for several centuries, and was eventually co-opted for more secular uses. The nave, for instance, once held a market, while taverns resided in the 12th century crypt.

By the Victorian era, the building had fallen into disrepair. Its current appearance, therefore, owes much to the architect George Street, who was in charge of its remodeling in the 1870s. One of the structure’s most unusual features, a bridge that stretches across the road to Synod Hall, was added at that time. The crypt was restored later, in 2000. Today, Christ Church is the cathedral for the Church of Ireland diocese of Dublin and Glendalough, but it retains features from its varied history. A market is held (outside) on the grounds in summer, and visitors can still find refreshments in the crypt.

The church’s striking buttressed exterior has become a symbol for the city, but the interior’s sculptural decoration is arguably even more impressive. Encompassing both organic and geometric designs, the cathedral’s details are unusually complex, with delicate, layered tendrils of rock curling around empty space and finely wrought heads poking out between stony flora. The milky white marble and fluid, smoothly textured carvings lend the walls around the nave a particularly lickable quality, as if the whole structure were fabricated of firm vanilla ice cream. Downstairs in the crypt, the stonework tends to be rougher, the lighting darker. This subterranean area includes tomb monuments, a cafe, and a mummified cat and rat, as well as temporary exhibitions.

Floral capitals in Great Nave, Christ Church Cathedral. Photo by Renée DeVoe Mertz, May 30, 2013.
Capitals in the Great Nave. Photo by Renée DeVoe Mertz, May 30, 2013.
Great Nave during choral performance. Composite photo by Joshua Albers, May 30, 2013.

Crypt

Crypt tomb monument. Photo by Renée DeVoe Mertz, May 30, 2013.
Crypt tomb monument. Photo by Joshua Albers, May 30, 2013.