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Journal articles on the topic 'Viceregno'

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Author: Grafiati

Published: 10 March 2023

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1

Campagna, Giuseppe. "«Per manuteniri loro Regni et Signorij in santa paci et tranquillitati ..et per la exaltactioni di la Santissima Fidi et Religioni Christiana». Il viceré Ettore Pignatelli in Sicilia e il pericolo turco (1517-1535)." SOCIETÀ E STORIA, no. 177 (September 2022): 451–78. http://dx.doi.org/10.3280/ss2022-177002.

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L'autore esamina alcuni aspetti del viceregno di Ettore Pignatelli di Monteleone in Sicilia. Tramite fonti archivistiche, cronachistiche e disposizioni parlamentari emerge la figura di un viceré abile politicamente, capace di pacificare l'isola dai disordini scoppiati alla morte di Ferdinando il Cattolico. Di particolare importanza è l'analisi delle azioni attuate dal viceré per difendere la Sicilia da un possibile attacco turco-barbaresco.

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2

Cotticelli, Francesco. "Teatro e scena a Napoli tra Viceregno e Regno nel Settecento." Italica 77, no. 2 (2000): 214. http://dx.doi.org/10.2307/480200.

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3

Eliszezynski, Giuseppe Mrozek. "Tensioni e sommosse. La nobiltà napoletana fra i regni di Filippo II e Filippo III (1585-1620)." CHEIRON, no. 1 (January 2022): 14–43. http://dx.doi.org/10.3280/che2020-002.

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L'articolo si propone di dimostrare il ruolo avuto dalle principali famiglie aristocratiche nell'evoluzione politica del viceregno napoletano, in un periodo di grande complessità. In particolare, l'analisi si sviluppa attorno a tre momenti cardine: il linciaggio dell'Eletto del Popolo Starace nel 1585, il passaggio dal regno di Filippo II a quello di Filippo III e la progressiva crisi del potere del duca di Lerma e dei suoi alleati. I fatti del 1620 e la tormentata fine del governo del III duca di Osuna costituiscono l'ideale conclusione di una fase storica molto travagliata.

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4

Allaire, Gloria. "Storia della Biblioteca Universitaria di Napoli: dal Viceregno spagnolo all'Unita d'Italia (review)." Libraries & the Cultural Record 36, no. 2 (2001): 380–82. http://dx.doi.org/10.1353/lac.2001.0026.

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5

Amendola, Adriano. "The warrior collector." Journal of the History of Collections 32, no. 1 (January 18, 2019): 13–24. http://dx.doi.org/10.1093/jhc/fhy064.

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Abstract The essay focuses on the military commander Giovanni Battista Castaldo (1493–1563), aiming to reconstruct this figure as a collector and patron. The author analyses the reasons that led Castaldo to found the monastery of Santa Maria ad Montem in Nocera de’ Pagani, where can still be found his portrait bust, here attributed to Annibale Fontana. In the monastery was exhibited the Madonna d’Alba by Raphael, here identified for the first time as the source of a work by Dirk Hendricsz, the presence of Raphael’s canvas in Nocera clarifies the pivotal role played by the painting for the artists working in the Spanish Viceregno.

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6

Cavagna, Anna Giulia. "Storia della Biblioteca Universitaria de Napoli: dal viceregno spagnolo all'unità d'Italia. Vincenzo Trombetta." Papers of the Bibliographical Society of America 93, no. 4 (December 1999): 529–30. http://dx.doi.org/10.1086/pbsa.93.4.24304190.

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7

Nestola, Paola. "Incorporati tra i confini della monarchia cattolica: vescovi portoghesi, spagnoli e italiani nel viceregno di Napoli durante l'unione dinastica." Revista de História das Ideias 33 (2012): 101–63. http://dx.doi.org/10.14195/2183-8925_33_7.

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8

Gambino, Giuseppe. "Antonio De Bellis." Revista Eviterna, no. 8 (September 22, 2020): 51–70. http://dx.doi.org/10.24310/eviternare.vi8.9781.

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Il Seicento napoletano fu caratterizzato da un così grande fermento culturale e artistico da meritarsi l’appellativo di Secolo d’Oro. Una miriade di architetti, scultori, pittori e artigiani diedero vita a opere di grande pregio che cambiarono per sempre il volto della capitale del Viceregno. Tra i pittori ai tempi più apprezzati, come dimostrano le tante opere che oramai fanno parte del suo catalogo, ma per tanto tempo caduti nell’oblio, anche per la quasi totale assenza di dati documentari, c’è sicuramente Antonio De Bellis: un artista che dagli anni ’70 del Novecento ha stuzzicato l’interesse degli studiosi entrando anche a far parte della rosa di pittori coinvolti nella vexata quaestio sull’identità del Maestro degli Annunci ai pastori. Spesso confuso con il Cavallino, a riprova della qualità di molte sue opere, dal quale si discosta per un certo arcaismo persistente in tutta la sua opera, il suo percorso artistico affonda le radici nel Naturalismo di matrice caravaggesca, ‘napoletanizzato’ da Battistello, Filippo Vitale e dal deus ex machina della pittura di quel periodo nella città partenopea, Jusepe de Ribera. E seguendo le orme di quest’ultimo, come tanti altri partecipa a quella rivoluzione coloristica che arriva da un lato da Roma, tramite la riscoperta dei Maestri veneti del ‘500 da parte di un gruppo di pittori francesi, primo fra tutti Poussin, e dall’altro dalle tele piene di luce ‘mediterranea’ del Van Dyck. Il tentativo di Antonio di mantenere il legame con i modi della sua formazione, pur aderendo a queste nuove istanze, non regge però a lungo e quelle che al momento sono ritenute le sue ultime due tele, non hanno quel mordente che aveva caratterizzato invece la sua produzione precedente.

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9

Franganillo Álvarez, Alejandra. "Patronage and Power: The Vicereines at the Court of Naples in the Reign of Philip III of Spain." Renaissance and Reformation 43, no. 4 (April 15, 2021): 149–70. http://dx.doi.org/10.33137/rr.v43i4.36386.

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Recently, several studies have focused on the figure of the viceroy in the Spanish Monarchy, especially in the Kingdom of Naples. However, far less attention has been paid to the role of the vicereines of Naples. The goal of my study is to investigate and clarify the significant roles held by these noblewomen at one of the most important viceregal courts of the Spanish Monarchy. I will focus on one vicereine in particular, Catalina de Zúñiga y Sandoval, 6th Countess of Lemos and sister to the Duke of Lerma (1599–1601), who developed an extensive political network through copious correspondences, requesting and distributing mercedes (dignities and favours) among family members and her clientage. A revisionary analysis of the vicereines’ roles at the Neapolitan court demonstrates how knowledge of their political contribution is essential for a deeper understanding of the economic and political strategies deployed by their families.

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10

Ferrero, Sebastian. "Materializing the Invisible: Landscape Painting in Viceregal Peru as Visionary Painting." Arts 10, no. 3 (August 26, 2021): 57. http://dx.doi.org/10.3390/arts10030057.

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Landscape painting in Peru typically does not receive much attention from critical dis-course, even though the adoption of the Flemish landscape by Andean viceregal painters became a distinctive feature of Peruvian painting of the second half of the 17th century. Considered a consequence of a change in the artistic taste of viceregal society, the landscape was perceived as a secondary element of the composition. In this article, we will analyze the inclusion of the Flemish landscape in Andean religious painting from another critical perspective that takes into account different spiritual processes that colonial religiosity goes through. We analyze how the influence of the Franciscan and Jesuit mysticism created a fertile ground where landscape painting could develop in Peru. The Andean viceregal painters found in the landscape an effective way to visualize suprasensible spiritual experiences and an important device for the development in Peru of a painting with visionary characteristics.

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11

López-Guzmán, Rafael. "The Legacy of Al-Andalus in Mexico: Mudejar Architecture." Arts 7, no. 3 (July 25, 2018): 30. http://dx.doi.org/10.3390/arts7030030.

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This article aims to approach the Mudejar architecture developed in Mexico during the 16th and 17th centuries. The subject has been little studied, although both general and specific contributions have been made by the author’s research group. At the methodological level, this study is based on the existing bibliography, as well as archive and field research which allow for an accurate scientific approach and results. The article analyzes the social and productive conditions in Mexico during the Viceregal period, along with the systematization carried by the Viceroy Antonio de Mendoza, the guild ordinances and the architectural typologies. The perception of territory and the use of constructive models by the Viceregal authorities would justify the use of the Mudejar style as cultural and unity criteria.

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12

Donahue-Wallace, Kelly, and Robert J. Mullen. "Architecture and Its Sculpture in Viceregal Mexico." Sixteenth Century Journal 30, no. 2 (1999): 623. http://dx.doi.org/10.2307/2544798.

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13

Zerner, Catherine Wilkinson. "Architecture and Its Sculpture in Viceregal Mexico." Hispanic American Historical Review 81, no. 1 (February 1, 2001): 146–47. http://dx.doi.org/10.1215/00182168-81-1-146.

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14

Mazuera-Ayala, Paula. "Letras coloniales en la Cartago virreinal de la Nueva Granada." Jurídicas 16, no. 1 (January 1, 2019): 83–103. http://dx.doi.org/10.17151/jurid.2018.15.2.6.

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15

Donahue-Wallace, Kelly. "Lady of the House: Augustina Meza (ca. 1758–1819), Print Publishing, and the Women of Mexican Late Colonial Art." Arts 10, no. 1 (February 5, 2021): 12. http://dx.doi.org/10.3390/arts10010012.

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Using archival records of the Sagrario Metropolitano and material analysis of extant prints, the paper presents the life and work of the only known woman printmaker in viceregal New Spain, María Augustina Meza. It traces Meza and her work through two marriages to fellow engravers and a 50-year career as owner of an independent print publishing shop in Mexico City. In doing so, the paper places Meza’s print publishing business and its practices within the context of artists’ shops run by women in the mid- to late-eighteenth century. The article simultaneously extends the recognized role of women in printing and broadens our understanding of women within the business of both printmaking and painting in late colonial Mexico City. It furthermore joins the scholarship demonstrating with new empirical research that the lived realities of women in viceregal New Spain were more complex than traditional, stereotypical visions of women’s lives have previously allowed.

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16

Burke, Juan Luis. "From Courtesan to Saint." Latin American and Latinx Visual Culture 3, no. 2 (April 1, 2021): 29–45. http://dx.doi.org/10.1525/lavc.2021.3.2.29.

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This essay analyzes the viceregal Mexican artist Juan Correa’s painting The Conversion of St. Mary Magdalene, from the late seventeenth century. A depiction of a woman explicitly displaying traits of her sensuality and sexuality in a Mexican viceregal artwork, the painting visually conveys symbolic embodiments of the feminine condition. These embodiments refer to religious penitence, self-reflection, mysticism, and the vita contemplativa. Moreover, I examine the episodic nature of the painting, associating it with feminine devotional practices. The painting’s pictorial configuration apparently relates to the Jesuit theological tradition, specifically to the spatial and embodied representations expressed in the engravings contained in the Adnotationes et meditationes in evangelia (1595), by Jerónimo Nadal. The essay underscores how Correa represented, spatially, a series of notions related to feminine affections, sensibilities, religiosity, and spirituality. Finally, this investigation puts forward the thesis that the painting, as an artifact, prompted devotional prayer, fostering notions such as penitence and self-reflection, and aiming to help its worshippers achieve reformatio or spiritual conversion.

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17

Suarez, A. C. "Art and Architecture of Viceregal Latin America, 1521-1821." Ethnohistory 56, no. 2 (April 1, 2009): 339–40. http://dx.doi.org/10.1215/00141801-2008-078.

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18

Flinchpaugh, Steven G. "Economic Aspects of the Viceregal Entrance in Mexico City." Americas 52, no. 3 (January 1996): 345–65. http://dx.doi.org/10.2307/1008005.

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On November 4, 1640, a ship two months out of Cádiz entered the harbor of Veracruz and dropped anchor opposite the fortress of San Juan de Ulúa. On board was the new Viceroy of the Kingdom of New Spain, the Duque de Escalona, Diego López Pacheco. The viceroy’s arrival in Veracruz was but the first act in the elaborate drama of colonial government. Escalona and his party tarried in the port, passing the time inspecting the king’s troops and fortifications while they recuperated from the crossing and prepared for the journey to Mexico City. Accompanied by a mounted escort, gentlemen from the towns and cities of New Spain, a retinue of priests, servants and relatives, a herd of sheep, cattle, and other livestock, and by a baggage train carrying the stores of food and wines he brought with him from Spain, the viceroy would climb from sea level to the central meseta of New Spain, an ascent of nearly 8000 feet. The trip to Mexico City was a time for introductions, feasts, toasts, and pageants; but, it was also a time for politics, as the local notables, merchants, and government officials who accompanied the viceroy’s party vied for a favorable processional position and attempted to arrange a place at court for themselves, their relatives, and clients. Each village or town through which the viceroy passed would welcome him according to local custom and means. In larger towns like Puebla, this meant sumptuous entertainment, a procession to the cathedral followed by a reception and banquet. The viceroy could expect a more humble, but no less colorful reception when he passed through one of the dozens of smaller Indian communities along the route.

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19

Deans-Smith, Susan. "Art and Architecture of Viceregal Latin America, 1521–1821." Hispanic American Historical Review 89, no. 4 (November 1, 2009): 699–701. http://dx.doi.org/10.1215/00182168-2009-063.

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20

Murguía Meca, Mercedes. "La valoración de los postizos como un recurso naturalista de la imaginería virreinal." Intervención 1, no. 25 (December 28, 2022): 126–58. http://dx.doi.org/10.30763/intervencion.263.v1n25.42.2022.

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Este artículo de investigación es una reflexión sobre el concepto y la aplicación del término postizo en la imaginería-escultura religiosa, su valoración actual y su significado como elemento que no es propio de la talla, sino agregado, como es el caso de los ojos de vidrio, pestañas de pelo, dientes y uñas de hueso —no así las vestimentas y otros elementos, como asientos o coronas—; esto implica que los restauradores en formación frecuentemente cuestionen el papel que desempeña este elemento en la manufactura de la obra. Por lo anterior, en este texto propongo que los postizos deben de ser concebidos como parte integral del proceso de creación de una escultura, al ser un recurso recurrente, para dotarla de mayor naturalidad, complementando el trabajo de la madera, no importando los materiales que se requieran “añadir”. Para sustentar esta propuesta se utilizarán ejemplos de piezas referenciales que ofrecen un mejor entendimiento de la imaginería virreinal. _______ This research article is a reflection on the concept and application of the term postizo in religious sculpture, both in its current valuation as an element that is not part of the sculpting but added, such as the case of glass eyes, hair eyelashes, teeth and nails made from bone—not so the clothing and other elements, such as bases or crowns—. All this implies that restorers in training frequently question the role that this element play’s in the piece’s creation. For the above, it is why in this text I propose that postizos should be conceived as an integral part of the statue’s creation process, being a recurring resource, which provides greater realism, complementing the woodwork, regardless of the materials that must be “added”. To support this proposal, referential pieces that offer a greater understanding of viceregal imagery will be used as examples.

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21

Hill, Judith. "Architecture in the Aftermath of Union: Building the Viceregal Chapel in Dublin Castle, 1801–15." Architectural History 60 (2017): 183–217. http://dx.doi.org/10.1017/arh.2017.6.

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AbstractThe chapel in Dublin Castle, built between 1807 and 1815, was one of the most impressive ecclesiastical Gothic buildings of the pre-Pugin revival in the British Isles. It was commissioned by the viceregal establishment following the Act of Union between Great Britain and Ireland in 1801, and was closely associated with Church of Ireland objectives for post-Union Protestantism in Ireland. This essay investigates the patrons’ ambitions for the chapel, and discusses its design and execution by Francis Johnston, successor to James Gandon as the foremost architect of public buildings in Ireland. Reviewing the chapel within the context of the Union, the essay argues that the viceregal administration and the Church of Ireland were concerned to assert their authority and define their values, and that these were expressed in Gothic revival architecture which grafted progressive appreciation for medieval models onto Georgian taste, and in a comprehensive and unprecedented scheme of ecclesiastical sculpture. Ireland's political position within the Union was ambiguous, but it is argued here that the rebuilt chapel projected both unionist and imperialist gestures, and that, culturally, it was an expression of Britishness.

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22

FISHER, JOHN R. "The Royalist Regime in the Viceroyalty of Peru, 1820–1824." Journal of Latin American Studies 32, no. 1 (February 2000): 55–84. http://dx.doi.org/10.1017/s0022216x99005465.

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This article provides an analysis of royalist strategy in the viceroyalty of Peru during the four years between the arrival of José de San Martín's invasion force in September 1820 and the battle of Ayacucho of December 1824. It pays particular attention to royalist policy from July 1821, when viceroy José de la Serna evacuated Lima, the viceregal capital, leaving the city open to San Martín, who declared independence there on 28 July. Its focus differs, therefore, from that of most previous commentators on Peru's transition to independence, who have tended to neglect royalist policy and activity during these crucial final years in favour of a concentration upon the activities of San Martín, Antonio José de Sucre, Simón Bolívar and their Peruvian allies. The article begins with a brief contextual discussion of the historiography of Peruvian independence and subsequently analyses the main features of historical developments in the viceroyalty in the period 1810–20. Following substantive discussion of the period 1820–4, it concludes with observations on the historical legacy in Peru of the royalists' elevation of the city of Cusco to the status of viceregal capital in 1822–4.

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23

Cooney, Jerry W. "Neutral Vessels and Platine Slavers: Building a Viceregal Merchant Marine." Journal of Latin American Studies 18, no. 1 (May 1986): 25–39. http://dx.doi.org/10.1017/s0022216x00011159.

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Creation of the Viceroyalty of the Río de la Plata in 1776 and the subsequent Edict of Free Commerce in 1778 fostered a flourishing export trade from that region, mainly of hides and silver. Merchants of Buenos Aires and Montevideo, both criollos and recently arrived peninsulares, prospered during the 1780s and early 1790s, an era of international peace. While a few of these merchants owned and operated ships out of the Río de la Plata, most were content to export to the Peninsula in craft of metropolí registry. Indeed, given the traditional and strong ties of commercial obligations to the Peninsula and the enforcement of imperial trade laws, any other course of action, if not unthinkable, would have been difficult.

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24

de los Ángeles Rodríguez, María, Borrel Miranda, Héctor Rivero, Gustavo Curiel, Antonio Rubial García, Juana Gutiérrez Haces, and David B. Barren. "The Grandeur of Viceregal Mexico: Treasures from the Museum Franz Mayer." Sixteenth Century Journal 34, no. 3 (October 1, 2003): 925. http://dx.doi.org/10.2307/20061625.

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25

Beck, Lauren. "Trail of Footprints: A History of Indigenous Maps from Viceregal Mexico." Terrae Incognitae 52, no. 3 (September 1, 2020): 316–17. http://dx.doi.org/10.1080/00822884.2020.1847910.

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26

Germeten, Nicole von. "African-Descent Women and the Manumission Process in Viceregal South America." Rechtsgeschichte - Legal History 2018, no. 26 (2018): 428–29. http://dx.doi.org/10.12946/rg26/428-429.

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27

Saracino, Jennifer. "Trail of Footprints: A History of Indigenous Maps from Viceregal Mexico." Hispanic American Historical Review 100, no. 4 (November 1, 2020): 710–11. http://dx.doi.org/10.1215/00182168-8647087.

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28

Thomas, Nicola J. "Embodying imperial spectacle: dressing Lady Curzon, Vicereine of India 1899—1905." cultural geographies 14, no. 3 (July 2007): 369–400. http://dx.doi.org/10.1177/1474474007078205.

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29

Kasl, Ronda. "Witnessing Ingenuity: Lacquerware from Michoacán for the Vicereine of New Spain." Metropolitan Museum Journal 57 (December 1, 2022): 40–55. http://dx.doi.org/10.1086/723654.

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30

Stair, Jessica. "Trail of Footprints: A History of Indigenous Maps from Viceregal Mexico." Ethnohistory 70, no. 1 (January 1, 2023): 127–28. http://dx.doi.org/10.1215/00141801-10117390.

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31

Katzew, Ilona. "La Virgen de la Macana. Emblema de una coyuntura franciscana." Anales del Instituto de Investigaciones Estéticas 20, no. 72 (August 6, 1998): 39. http://dx.doi.org/10.22201/iie.18703062e.1998.72.1802.

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The cult to the Vírgín of the Macana was not limited to New Mexico. It was consolidated and survived in the center of New Spain because the ímage and the story that explains it became parts of the symbolic and polítical repertory of the Franciscans during their conflict with the secular clergy which dominated the institutional life of the viceregal church during the eighteenth century. The study of the images of the Virgin provide understanding of some of the arguments used by the Franciscans during this struggle.

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32

Traslosheros, Jorge E. "Introduction: Canon Law and its Practice in Colonial Latin America." Americas 73, no. 1 (January 2016): 3–11. http://dx.doi.org/10.1017/tam.2016.1.

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The three papers included here, written by Ana de Zaballa, Pilar Latasa, and Gabriela Ramos, constitute a highly professional effort within the study of canon law in colonial Spanish America. These papers allow us to perceive how closely linked pastoral concerns, legal imagination, and judicial practices were during that period. To fully appreciate the importance of these four investigations, we must first briefly lay out the current state of academic studies in canon law in “las Indias Occidentales,” what today is generally called viceregal or colonial Spanish America.

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33

Williams, Jerry M. "Peralta Barnuevo and the Influence of Calderón's Operatic Legacy to Viceregal Peru." Bulletin of the Comediantes 58, no. 1 (2006): 245–62. http://dx.doi.org/10.1353/boc.2006.0027.

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34

Clara Bargellini. "Art and Architecture of Viceregal Latin America, 1521-1821 (review)." Catholic Historical Review 94, no. 4 (2008): 865–66. http://dx.doi.org/10.1353/cat.0.0166.

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35

Tello, Martha Barriga. "Las contingencias del patrimonio artístico peruano." Revista VIS: Revista do Programa de Pós-Graduação em Arte 16, no. 1 (June 26, 2017): 44–65. http://dx.doi.org/10.26512/vis.v16i1.20458.

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The artistic cultural heritage from countries which were invaded or faced war in any time of their history has been subject to destruction or pillage. The modes in which that has occurred are varied and, frequently, involved their inhabitants and their testamentary donations. Among those cases are the Peru, in which the predation has started since the arrival of the European, in the sixteenth century and has followed a steady pace until the present. Here is a brief recount of the destination some ancient and viceregal Peruvian artworks and how their absence damages the national identity.

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36

Kennedy, William J. "Citing Petrarch in Naples: The Politics of Commentary in Cariteo's Endimione." Renaissance Quarterly 55, no. 4 (2002): 1196–221. http://dx.doi.org/10.2307/1262101.

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Cariteo's Endimione (1509), a lyric sequence published in Naples shortly after the Spanish takeover of the Aragonese kingdom, advertises a prominent debt to Petrarch's Rime sparse. Commentaries in the earliest printed editions of the latter suggest politically charged models for this sequence. They represent Petrarch, like Cariteo, as a skilled rhetorician, a foreigner in the service of lords and aristocracy outside his ancestral domain, and an ardent proponent of monarchism with a pan-Italian sensibility. These qualities befitted Cariteo at a time when he was articulating his loyalty to the newly installed Spanish viceregal government as a defense against French invasion.

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37

Jiménez Cataño, Rafael. "El lugar de México en el mundo según Octavio Paz. La comprensión de la etapa virreinal." Estudios Hispánicos 27 (January 29, 2020): 167–77. http://dx.doi.org/10.19195/2084-2546.27.15.

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The place of Mexico in the world according to Octavio Paz. An understanding of the viceregal stageOctavio Paz’s position in the history of Mexico and the formation of its identity has shaped, to a large extent, public opinion, yet there are aspects that are rather unknown. His reflection on the Christian contribution of the Spanish presence is often overlooked, as well as the very nature of the viceroyalty and the integration of the various components of that society. The paper consists basically of bringing together the thoughts of Paz, scattered in writings of very different times, that show these neglected positions.

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38

Conover, Cornelius. "Saintly Biography and the Cult of San Felipe de Jesús in Mexico City, 1597-1697." Americas 67, no. 04 (April 2011): 441–66. http://dx.doi.org/10.1017/s0003161500000328.

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By the late seventeenth century, the cult of San Felipe de Jesús (ca. 1572-97), native of Mexico City and martyr in Japan, had taken a stable form in Mexico City, where he was born. Each year on February 5, the dignitaries of the viceregal capital gathered for a procession through the city center and a liturgical ceremony in the cathedral to praise the saint and his city, but for the rest of the year, residents largely ignored him. A multitude of social interests had led to this less-than-wholehearted embrace, among them rivalry between religious orders, civic self-promotion, and religious beliefs.

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39

Conover, Cornelius. "Saintly Biography and the Cult of San Felipe de Jesús in Mexico City, 1597-1697." Americas 67, no. 4 (April 2011): 441–66. http://dx.doi.org/10.1353/tam.2011.0070.

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By the late seventeenth century, the cult of San Felipe de Jesús (ca. 1572-97), native of Mexico City and martyr in Japan, had taken a stable form in Mexico City, where he was born. Each year on February 5, the dignitaries of the viceregal capital gathered for a procession through the city center and a liturgical ceremony in the cathedral to praise the saint and his city, but for the rest of the year, residents largely ignored him. A multitude of social interests had led to this less-than-wholehearted embrace, among them rivalry between religious orders, civic self-promotion, and religious beliefs.

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Schweitzer, David R. "Viceregal Vignettes: Lords Lieutenant of Ireland Under William Pitt, the Younger, 1784-1801." Canadian Journal of History 21, no. 1 (April 1986): 37–60. http://dx.doi.org/10.3138/cjh.21.1.37.

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Ocko, Jonathan, and S. A. M. Adshead. "Province and Politics in Late Imperial China: Viceregal Government in Szechwan, 1898-1911." American Historical Review 90, no. 5 (December 1985): 1254. http://dx.doi.org/10.2307/1859799.

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Deal, David, and S. A. M. Adshead. "Province and Politics in Late Imperial China. Viceregal Government in Szechwan, 1898-1911." Pacific Affairs 59, no. 3 (1986): 490. http://dx.doi.org/10.2307/2758335.

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43

Barbón, María Soledad. "The Politics of Praise: Academic Culture and Viceregal Power in Late Colonial Peru." Studies in Eighteenth-Century Culture 45, no. 1 (2016): 1–17. http://dx.doi.org/10.1353/sec.2016.0003.

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44

Akerman, James R. ":Trail of Footprints: A History of Indigenous Maps from Viceregal Mexico." Isis 113, no. 4 (December 2, 2022): 872–73. http://dx.doi.org/10.1086/722369.

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45

Williams-Beck, Lorraine A. "THE PENINSULAR MAYA’S UNFINISHED SPIRITUAL CONQUEST." Contributions in New World Archaeology 14 (June 30, 2020): 201–34. http://dx.doi.org/10.33547/cnwa.14.06.

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Do Maya sacred artistic manifestations in sixteenth to eighteenth-century Franciscan convents, churches, and chapels reflect native ideological persistence, a Maya and Christian amalgamation, or a European Catholic subsumed spiritual meld? This study explores the sculptural and painted expressions that adorn Colonial religious architecture found in the Yucatan Peninsula. Ethnohistoric sources, historic documents, physical geographical location, and spatial layout for these buildings, their sculptural programs and mural painting iconographic motifs, and spiritual spaces surrounding those edifices erected by natives subsequent to European contact, conquest, and colonization provide a more complete basis from which to address such philosophical and anthropological concepts of religious permanence, syncretism, and/or fusion. These particular evidentiary aspects assess Maya sacred built space environments found in the Cehpech, Cochuah, Cupul, and Tases provinces prior to European contact and conquest. This paper will focus on twospecific areas: the municipal seat church and convent complex in one autonomous political jurisdiction near the Spanish viceregal administrative seat in Mérida, and will then compare/contrast those area-specific religious representations with built spaces and interior/exterior embellishments near the Spanish viceregal enclave at Valladolid, Yucatan, as well as in other indigenous community visita churches under this and Tizimin’s Missions ecclesiastical jurisdiction in the northeastern rural peninsular Maya hinterlands. Combined data sets from both regions suggest a more autonomously derived divine substrate to characterize viceroyalty period Maya religious practice, rather than a Roman Catholic and Maya syncretism or Catholic synthesis of autonomous ideological philosophy, and point to an unfinished evangelical conquest that flew under the ecclesiastical and Spanish administrative radar at that time. In some select cases these same hallowed essence and practices continue to present. Those spiritual expressions that embellish built environments with autonomous religious undercurrents also help to explain the repeated yet unsuccessful Franciscan endeavors to ultimately quash idolatry in the peninsular region.

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Lavrin, Asunción. "El Capital Eclesiástico y Las Elites Sociales en Nueva España a Fines del Siglo XVIII." Mexican Studies/Estudios Mexicanos 1, no. 1 (January 1, 1985): 1–28. http://dx.doi.org/10.2307/1051978.

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This work underlines the close association of interests between the ecclesiastical sources of credit and the social elite of the Archbishopric of Mexico. Although the availability of credit was not restricted to the top members of the socio-economic hierarchy, the wealthiest money-lending religious institutions showed a marked preference for that group. Large merchants, choice members of the local and viceregal bureaucracy, and considerable range of rural property owners received preferential treatment from credit institutions in the allocation of their loans. The author provides data on the operations of the Juzgado de Capellanías, and several confraternities and nunneries of the capital of the Vice-royalty in the last two decades of the eighteenth century.

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Driggers, Kristopher. "Trail of Footprints: A History of Indigenous Maps from Viceregal Mexico by Alex Hidalgo." Journal of Latin American Geography 20, no. 1 (2021): 286–88. http://dx.doi.org/10.1353/lag.2021.0020.

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Dobbs, G. Rebecca. "Trail of Footprints: A History of Indigenous Maps from Viceregal Mexico by Alex Hidalgo." Historical Geography 48, no. 1 (2020): 153–55. http://dx.doi.org/10.1353/hgo.2020.0012.

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Gonzalez, Sara. "Writing Pre-Hispanic History in Viceregal Peru: The Dynastic Iconography of the Inca Kings." History of Humanities 1, no. 2 (September 2016): 231–49. http://dx.doi.org/10.1086/687918.

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Jessell, Bettina, and Barbara von Barghahn. "The conservation and iconography of Viceregal paintings and sculpture: old problems and new approaches." Studies in Conservation 37, no. 1 (January 1992): 76–80. http://dx.doi.org/10.1179/sic.1992.37.1.76.

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