A series of twenty eight engravings on the Life of Saint Augustine appeared in Antwerp in 1624. The engravings were bound in a volume entitled Iconographia magni patris Aurelii Augustini. The work was commissioned by Georges Maigret, prior of the hermitage of Malines (Mechlen), in Flanders, who wrote the texts accompanying the images. Of the twenty eight engravings in the volume, twenty six were done by Schelte à Bolswert, one of the most distinguished members of the Antwerp school of engravers. The author of the other two was Cornelis Galle. A distinguished engraver in his own right, Galle was a regular collaborator of Bolswert. The Augustinian series of Bolswert and Galle exerted tremendous influence around the world. In the Americas it served as a model to several series on the life of Saint Augustine. One of the most important ones is found in the Convent of Saint Augustine in Quito...

Podemos ver que las impresiones se incrustaron a las paredes de interiores domésticos o monásticos, sirviendo como ayudas a la piedad privada y como testigos de ella. https://artecolonial.pucp.edu.pe/essays/the-print-in-the-painting-1/the-print-in-the-painting

Schelte à Bolswert and Cornelis Galle produced a series of engravings on the Life of Saint Augustine which served as models for a set of paintings by Miguel de Santiago (see Gallery 2). But they also served as the basis for another group of paintings on the life of the saint. This was the series produced by Basilio Pacheco and his workshop between 1742 and 1746 (Vargas 1956, 142; Courcelle and Courcelle 1972, Volume III, Chapter VII; Mesa and Gisbert 1982, I, 202f). It should be borne in mind, though, that neither the series of Miguel de Santiago nor the one by Basilio Pacheco could have relied exclusively on the series by Bolswert and Galle, as the latter did not consist of enough engravings. It is generally believed that the series produced under the direction of Pacheco was originally intended for the Augustinian convent in Cuzco, but had to be moved to its counterpart in Lima after ...

Unaided by optical instrumentation and guided solely by common sense, early watchers of the heavens concluded that the Earth stood at the center of a spherical universe, and that the Sun, the Moon, and the planets rotated about the Earth in perfectly circular orbits. The celestial bodies completing their revolutions about the Earth faster would be closer to it, while those taking longer would be farther away. Thus, the Moon would be the closest of the celestial bodies, followed, in turn, by Mercury, Venus, the Sun, Mars, Jupiter, and Saturn. The orbits of these luminaries defined seven nested spheres which were enclosed within an eighth—the sphere of the fixed stars, known also as The Firmament. It was furthermore believed that celestial bodies affected the course of events in all of the spheres nested within their orbits. Thus the Earth, being within the sublunar world , was affected,...

In 1585, one of the members of the Sadeler family of printers and engravers published a set of twelve engravings by Adriaen Collaert after designs by Hans Bol. These engravings were introduced by a title page which described them as "gospel emblems of the twelve celestial signs, set according to the months of the year." The title page went on to explain that "Christ gave man the celestial bodies so that he could discern through them the evolution of time begun in God (acc. to Gen. I), revoke idolatry, and arrive, through these creations, at the worship of a single Creator, setting his sights on the mystical kingdom of the heavens." The twelve emblemata engraved by Collaert were painted by Diego Quispe Tito in Cuzco in 1681 (Mesa and Gisbert 1982, I, 157). Unfortunately, the current whereabouts of three of these paintings—Taurus, Gemini, Virgo—are unknown. The engraved sources of the ...

Huamanga stone is an opaque, ivory-colored stone that abounds in the area of Huamanga, Peru. Known also as Peruvian alabaster, it was carved since pre-Columbian times, as it is said to be so soft that it can be cut, when wet, with an ordinary knife. In Colonial times, it was used both for sculptures and for reliefs, often grouped in series like the one exhibited in this gallery (Banco de Crédito del Perú 1999, 313-324). In 1671, Pope Clement X canonized Isabel Flores de Oliva as Saint Rose of Lima. A few years later, Flemish engraver Cornelis Galle II (1615-1678) produced fifteen engravings on the life of the saint. These engravings were subsequently used to illustrate a book on the life of Saint Rose. The volume, authored by the Jesuit cleric Juan del Valle, must have crossed the Atlantic, reaching an anonymous Huamanga stone carver, who produced a remarkable series of colored carving...

An anchorite or eremite is an individual who chooses to withdraw from society in order to lead a life focused on prayer, penance, and religious study. In the West, anchoritic life was common during the Early and High Middle Ages, and was the forerunner of Christian monastic life (although only in 1983 did Pope John Paul II lay down the norms for anchoritic or eremitic life to count as a form of consecrated Catholic life on a par with the lives led by monks and nuns of religious orders). Images of anchorites abound in Christian art, including the variant that took root in the farflung territories of the Spanish Empire. A little known depiction of anchorites (and anchoresses, their female counterparts) is provided by the eighteen paintings that were once displayed at the Claustro del Noviciado, Convento de la Recoleta, Cuzco, Peru. Unfortunately, seismic damage to the walls of this cloiste...

Diremos que dos obras de arte forman una correspondencia si una de ellas es la base, el modelo o el prototipo de la otra. La mayoría de las correspondencias en este proyecto consistirán en un grabado europeo y una pieza colonial española. http://colonialart.pucp.edu.pe/essays/what-is-a-correspondence/index.html

Proyecto sobre las Fuentes Grabadas del Arte Colonial Español (PESSCA), que busca documentar cómo las impresiones y grabados europeos influyeron en el arte colonial español.

It was late in the 18th century that Bernardo Rodríguez painted a remarkable series of Apostles in Quito, Ecuador. In all certainty, this series was based on a set of engravings done in the workshop led by Johann Baptist and Joseph Sebastian Klauber in Augsburg, Germany. And these engravings were in turn based on a series of drawings conceived by Gottfried Bernhard Göz, who was probably working specifically for the Klauber workshop in Augsburg [1]. This creative sequence can be fully traced in the case of the apostle Mathias (see above). The series of Rodríguez consists of fourteen paintings—those of Christ, Andrew, James the Greater, Thomas, Bartholomew, Jude Thaddaeus, Mark, Simon, Mathias, Paul, John, Philip, James the Lesser, and Luke. Conspicuously absent from this list are the portraits of Peter and Matthew. Could it be that Rodríguez failed to paint them? This is all but inc...

Adriaen Collaert (c.1560-1618) and Cornelis I Galle (1576-1650) designed a series of twenty four engravings on the life of Saint Teresa de Avila (see Gallery 5). This series served as the basis for two series of paintings on the life of the Saint currently in the Convento del Carmen San José (Carmen Alto) in Santiago, Chile. They are known as the Large Series and the Short Series on the Life of Saint Teresa (see Mebold 1987, 54-108). The Large Series on the Life of Saint Teresa consists of thirteen paintings, each measuring two meters in height by two and a half in width. The Small Series on the life of the Saint consists of twenty paintings, each measuring 1.22 meters of height by 1.63 meters of width. Both series were produced by an unknown member of the Cuzco School of painting. Apparently, he was a follower of José Espinoza de los Monteros, the author of the Cuzco series on the lif...

Maarten de Vos (1532-1603) was a prodigious Flemish draftsman whose alluring Mannerist designs were engraved by the hundreds in Northern Europe. Once engraved, these drawings traveled throughout the Spanish empire, serving as models for very many works of art. So many, in fact, that his impact on Spanish Colonial art is considered to be second only to that of Rubens. At the end of the 16th century Maarten de Vos produced more than a hundred drawings of anchorites--men and women who chose to withdraw from society in order to lead a life focused on prayer, penance, and religious study (see Gallery 8: The Blessed Anchorites of Cuzco). These drawings must have been immensely popular in their day, as they were quickly engraved in Antwerp and in Venice by three of the leading engravers of the time—Johan Sadeler I, Raphael Sadeler I, and Adriaen Collaert. These engravings were then engraved a...

El imperio español a través del tiempo http://upload.wikimedia.org/wikipedia/commons/d/d8/Spanish_Empire_Anachronous_en.svg

Mexico City's elegant Palacio de Minería houses a remarkable series of portraits of the Twelve Sibyls of Antiquity. These portraits were painted by don Pedro Sandoval in the second half of the 18th century. Prophets of pagan antiquity, the sibyls were appropriated by early Christianity, which claimed they were in fact prophesizing the mysteries of the Christian faith to the pagans. Consequently, they were the female counterparts to the Biblical prophets, who were charged with prophesizing to Jews rather than to Gentiles. As to the source of their prophetic gifts, Saint Jerome attributed it simply to the sibyls' virginity. To the ten sibyls known during the Middle Ages, two were added in the 15th century, thus arriving at the twelve that have been recognized ever since. According to Sebastián (1982), the Sibyls of the Palacio de Minería derive from the woodcuts illustrating the Oraculo...

Proyecto sobre las Fuentes Grabadas del Arte Colonial Español (PESSCA), que busca documentar cómo las impresiones y grabados europeos influyeron en el arte colonial español.

El Archivo PESSCA es una colección de imágenes digitales de obras de arte coloniales españolas y el arte gráfico que las inspiró. http://colonialart.pucp.edu.pe/essays/the-organization-of-the-pessca-archive/index.html

Adriaen Collaert (c.1560-1618) and Cornelis Galle I (1576-1650) designed a series of twenty four engravings on the life of Saint Teresa de Avila. This series, plus the title plate above, was published in Antwerp in 1613, undergoing multiple editions in 1622 and, supposedly in 1677 as well (Diels, Leesberg and Balis 2006, Part IV, 246). The series of Collaert and Galle served as the basis of a series of sixteen paintings executed by José Espinoza de los Monteros en 1682 (Mebold 1987, 55). These paintings hang now in the Church of the Carmelite Convent in Cuzco, Peru. They are displayed on the nave of the church, eight per side. The last painting of the series bears the signature shown below (Mesa and Gisbert 1982, 92f). HAEC Spinosa breui pensilo signa Colorat anno 1682 (Spinosa colors the images in this small pendant in the year 1682). We have collected in this gallery the correspondenc...

It was Saint Ignatius of Loyola, the founder of the Jesuit order, that approached Father Jerome Nadal (1507-1580) and asked him to design a book that presented episodes of the Gospels with pictures, explanatory texts, and pious meditiations (Kelemen 1951, 201). Father Nadal obliged, designing the Evangelicae Historiae Imagines (or Images of Gospel History). Published posthumously in Antwerp in 1593 at the Plantin-Moretus publishing house, the Evangelicae Historiae Imagines became a monument of Flemish printing in the 16th century. It contains one hundred fifty-three engravings preceded by a frontispiece, which was also engraved. The "inventors" of these images were Gian Battista Fiammeri, Bernardo de Passeri, and Maarten de Vos; its engravers proper were Anton, Hieronymus, and Jan Wierix, as well as Charles Mallery, and Jan Collaert (Mesa and Gisbert 1982, I, 103). The Evangelicae Histor...