Extensively illustrated with new color photographs, this pioneering study of a masterpiece of colonial Latin American art reveals how a cathedral dean and native American painters drew on their respective visual traditions to promote Christian faith in th
Extensively illustrated with new color photographs, this pioneering study of a masterpiece of colonial Latin American art reveals how a cathedral dean and native American painters drew on their respective visual traditions to promote Christian faith in th
1. Illustrations 2. Acknowledgments 3. Introduction 4. Chapter 1. Don Tomás de la Plaza * Introduction * Parish Priest * Cathedral Dean * Don Tomás and His Family * Don Tomás's Library and His Collections * Conclusion 5. Chapter 2. An Urban Palace * Introduction * Purism and the Casa del Deán * The Façade * The Residence’s Plan * The Designer and Builder of the Casa del Deán * Conclusion 6. Chapter 3. The Artist as Tlapalli: Art as Rhetoric * Introduction * Tlapalli: The Deified Heart * Form as Metaphor in Early Colonial Painting * Rhetoric and Image * Education of the Amerindian Artists * A Franciscan School in the Tlaxcala-Puebla Region * Master of the Sibyls * Conclusion 7. Chapter 4. Dic Tu Sibila: The Salon of the Sibyls * Introduction * The Sibyls * Tracing the Sibylline Oracles * The Sibyls in Procession: Liturgical Drama * The Sibyls in the Casa del Deán Murals * Visual Sources for the Sibyls * Conclusion 8. Chapter 5. The Salon of the Triumphs * Introduction * Petrarch’s Triumphs and Spectacle Literacy * The Impact on the Arts * The Triumphal Scenes * Conclusion 9. Chapter 6. The Wild Man in the Salon of the Triumphs * Introduction * Antecedents of the Satyr and Wild Man * The Wild Man in New Spain * Conclusion 10. Chapter 7. Amerindian Iconography: The Dream of a Word * Introduction * The Artist’s Antecedents * The Animals in the Salon of the Triumphs * Conclusion 11. Conclusion 12. Appendix I. Don Tomás de la Plaza’s Last Will and Testament: El Testamento de Don Tomás de la Plaza 13. Appendix II. Sibylline Oracles and Attributes 14. Appendix III. Documenting Don Tomás de la Plaza’s Capellanía 15. Notes 16. Bibliography 17. Index
1. Illustrations 2. Acknowledgments 3. Introduction 4. Chapter 1. Don Tomás de la Plaza * Introduction * Parish Priest * Cathedral Dean * Don Tomás and His Family * Don Tomás's Library and His Collections * Conclusion 5. Chapter 2. An Urban Palace * Introduction * Purism and the Casa del Deán * The Façade * The Residence’s Plan * The Designer and Builder of the Casa del Deán * Conclusion 6. Chapter 3. The Artist as Tlapalli: Art as Rhetoric * Introduction * Tlapalli: The Deified Heart * Form as Metaphor in Early Colonial Painting * Rhetoric and Image * Education of the Amerindian Artists * A Franciscan School in the Tlaxcala-Puebla Region * Master of the Sibyls * Conclusion 7. Chapter 4. Dic Tu Sibila: The Salon of the Sibyls * Introduction * The Sibyls * Tracing the Sibylline Oracles * The Sibyls in Procession: Liturgical Drama * The Sibyls in the Casa del Deán Murals * Visual Sources for the Sibyls * Conclusion 8. Chapter 5. The Salon of the Triumphs * Introduction * Petrarch’s Triumphs and Spectacle Literacy * The Impact on the Arts * The Triumphal Scenes * Conclusion 9. Chapter 6. The Wild Man in the Salon of the Triumphs * Introduction * Antecedents of the Satyr and Wild Man * The Wild Man in New Spain * Conclusion 10. Chapter 7. Amerindian Iconography: The Dream of a Word * Introduction * The Artist’s Antecedents * The Animals in the Salon of the Triumphs * Conclusion 11. Conclusion 12. Appendix I. Don Tomás de la Plaza’s Last Will and Testament: El Testamento de Don Tomás de la Plaza 13. Appendix II. Sibylline Oracles and Attributes 14. Appendix III. Documenting Don Tomás de la Plaza’s Capellanía 15. Notes 16. Bibliography 17. Index
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