The Casa del Deán in Puebla, Mexico, is one of few surviving sixteenth-century residences in the Americas. Built in 1580 by Tomás de la Plaza, the Dean of the Cathedral, the house was decorated with at least three magnificent murals, two of which survive. Their rediscovery in the 1950s and restoration in 2010 revealed works of art that rival European masterpieces of the early Renaissance, while incorporating indigenous elements that identify them with Amerindian visual traditions. Extensively illustrated with new color photographs of the murals, The Casa del Deán presents a thorough iconographic analysis of the paintings and an enlightening discussion of the relationship between Tomás de la Plaza and the indigenous artists whom he commissioned. Penny Morrill skillfully traces how native painters, trained by the Franciscans, used images from Classical mythology found in Flemish and Italian prints and illustrated books from France—as well as animal images and glyphic traditions with pre-Columbian origins—to create murals that are reflective of Don Tomás’s erudition and his role in evangelizing among the Amerindians. She demonstrates how the importance given to rhetoric by both the Spaniards and the Nahuas became a bridge of communication between these two distinct and highly evolved cultures. This pioneering study of the Casa del Deán mural cycle adds an important new chapter to the study of colonial Latin American art, as it increases our understanding of the process by which imagery in the New World took on Christian meaning.

Winner, Charles Rufus Morey Award, 1993 The valley of Malinalco, Mexico, long renowned for its monolithic Aztec temples, is a microcosm of the historical changes that occurred in the centuries preceding and following the Spanish conquest in the sixteenth century. In particular, the garden frescoes uncovered in 1974 at the Augustinian monastery of Malinalco document the collision of the European search for Utopia with the reality of colonial life. In this study, Jeanette F. Peterson examines the murals within the dual heritage of pre-Hispanic and European muralism to reveal how the wall paintings promoted the political and religious agendas of the Spanish conquerors while preserving a record of pre-Columbian rituals and imagery. She finds that the utopian themes portrayed at Malinalco and other Augustinian monasteries were integrated into a religious and political ideology that, in part, camouflaged the harsh realities of colonial policies toward the native population. That the murals were ultimately whitewashed at the end of the sixteenth century suggests that the "spiritual conquest" failed. Peterson argues that the incorporation of native features ultimately worked to undermine the orthodoxy of the Christian message. She places the murals' imagery within the pre-Columbian tlacuilo (scribe-painter) tradition, traces a "Sahagún connection" between the Malinalco muralists and the native artists working at the Franciscan school of Tlatelolco, and explores mural painting as an artistic response to acculturation. The book is beautifully illustrated with 137 black-and-white figures, including photographs and line drawings. For everyone interested in the encounter between European and Native American cultures, it will be essential reading.

This illustrated anthology brings together for the first time a collection of essays that explore the position of women and the contributions made by them to the arts and architecture of early modern Latin America.

Unraveling the Voynich Codex reviews the historical, botanical, zoological, and iconographic evidence related to the Voynich Codex, one of the most enigmatic historic texts of all time. The bizarre Voynich Codex has often been referred to as the most mysterious book in the world. Discovered in an Italian Catholic college in 1912 by a Polish book dealer Wilfrid Voynich, it was eventually bequeathed to the Beinecke Rare Book and Manuscript Library of Yale University. It contains symbolic language that has defied translation by eminent cryptologists. The codex is encyclopedic in scope and contains sections known as herbal, pharmaceutical, balenological (nude nymphs bathing in pools), astrological, cosmological and a final section of text that may be prescriptions but could be poetry or incantations. Because the vellum has been carbon dated to the early 15th century and the manuscript was known to be in the collection of Emperor Rudolf II of the Holy Roman Empire sometime between 1607 and 1622, current dogma had assumed it a European manuscript of the 15th century. However, based on identification of New World plants, animals, a mineral, as well as cities and volcanos of Central Mexico, the authors of this book reveal that the codex is clearly a document of colonial New Spain. Furthermore, the illustrator and author are identified as native to Mesoamerica based on a name and ligated initials in the first botanical illustration. This breakthrough in Voynich studies indicates that the failure to decipher the manuscript has been the result of a basic misinterpretation of its origin in time and place. Tentative assignment of the Voynichese symbols also provides a key to decipherment based on Mesoamerican languages. A document from this time, free from filter or censor from either Spanish or Inquisitorial authorities has major importance in our understanding of life in 16th century Mexico. Publisher's Note: For the eBook editions, Voynichese symbols are only rendered properly in the PDF format.

Footprint's Mexico is packed with practical information. Highlights of Mexico are illustrated with colour photography and colour maps to help plan your trip.

Between the sixteenth and nineteenth centuries, competing European empires, notably Spain, Portugal, Great Britain, the Netherlands, Germany, France, Belgium, and others vied for commercial and political control of transoceanic networks, particularly the transpacific routes between Asia and the Americas. The essays in Transpacific Engagements: Trade, Translation, and Visual Culture of Entangled Empires (1565–1898) address the resulting cultural and artistic exchanges with an emphasis on both the Spanish and American enterprises in the Asia-Pacific region. The essays are grouped into three parts entitled “Entangled Empires,” “Empires and Translations,” and “Empires and Trade.” A common thread in the diverse perspectives presented here is the importance of transpacific engagements to the global connections of the sixteenth century and beyond. While the focus is on the specific connection between the Asia-Pacific region and the Americas through the Philippines, we see how other parts of the world, notably South and Southeast Asia and Europe, were also participants impacted by these transpacific linkages. The goal is to convey the complexity of entangled networks of commercial, political, and religious interests that complicate the Spanish enterprise in the Pacific. Commercial ventures into Canton and Manila by the early American republic, for example, overlapped with and later replaced the Spanish galleons. East, South, and Southeast Asian polities and dynasties remained powerful players in what were often multilateral, rather than bilateral, exchanges. Contributors to this volume are based in Asia, the Americas, and Europe.