Cet article porte sur les quatre vitraux de Tiffany Glass & Co. installés entre 1897 et 1923 à la cathédrale anglicane Saint-Paul de London, en Ontario. Ces vitraux commémorent les souvenirs des membres de la famille Meredith de London. Cette famille a considérablement façonné les systèmes judiciaire et financier canadiens au tournant du vingtième siècle, tout en agissant à titre de mécène. Toutefois, presque l’entièreté des connaissances culturelles sur les vitraux commémoratifs a été perdue, et ce, seulement cinquante ans après l’installation du dernier vitrail à la cathédrale. Même s’ils ont été produits par une verrerie de renommée mondiale et commandés par une famille d’envergure, les vitraux Tiffany de Saint-Paul ont bien peu suscité l’intérêt de la recherche. Qui plus est, les écrits académiques publiés sur le sujet sont remplis d’inexactitudes. Cet article aborde ces questions tout en attirant l’attention sur les contributions décisives des Meredith à l’histoire de l’art de London et sur l’importance de leurs vitraux commémoratifs Tiffany au Canada.

From the turn to seventeenth through the early eighteenth century, three retablos (altarpieces) were created in Yucatán that relied on a similar Renaissance design. The retablos located in the ex-convents of Mani and Teabo all adopt the Spanish sixteenth-century Renaissance style of the Plateresque. Further, the retablos are connected by the inclusion of caryatid framing devices that establishes a strong affinity among the works. Two of the retablos are located in Mani: the Retablo of San Antonio de Padua and the Retablo of Nuestra Señora de Soledad (or sometimes called the Dolores Retablo). At Teabo is the Retablo de Santa Teresita del Niño Jesús (or Las Ánimas). This paper explores the relationships among the retablos by considering their iconography and their styles to address the retablos’ dates and their current locations. While offering insights about these retablos, this contribution also provides a rich discussion of the thriving artistic industry that was present in Yucatán.

This catalogue developed out of the exhibition, Symphony of Lights: An Exploration of Stained Glass Windows in St. John the Evangelist Anglican Church, London, ON, hosted at the Artlab Gallery on the campus of The University of Western Ontario from February 8-19, 2021. The exhibition focused on the visual and aural effects of the art of St. John’s.

This book investigates the Casa de Montejo and considers the role of the building's Plateresque façade as a form of visual rhetoric that conveyed ideas about the individual and communal cultural identities in sixteenth-century Yucatán. C. Cody Barteet analyzes the façade within the complex colonial world in which it belongs, including in multicultural Yucatán and the transatlantic world. This contextualization allows for an examination of the architectural rhetoric of the façade, the design of which visualizes the contestations of autonomy and authority occurring among the colonial peoples.

Depuis les années 1940, la façade de la Casa de Montejo située à Mérida, dans le Yucatán au Mexique, est considérée comme un des tout premiers exemples d’architecture résidentielle de style plateresque en Amérique hispanique. Commandé par le premier gouverneur de la péninsule, Francisco de Montejo, cet édifice colonial a pourtant été relativement peu étudié et la plupart des recherches antérieures qui en font la mention l’identifient comme un monument à la mémoire de la conquête des Mayas du Yucatan par les Espagnols, en négligeant l’importance du style plateresque. Comme l’art plateresque a souvent été associé à des aspirations nobles et civiques en Espagne, il semble que ce soit précisément la notion d’autorité alors associée à ce style qui expliquerait pourquoi la famille Montejo l’a choisi au moment où l’Amérique hispanique du milieu du 16e siècle vivait une crise, alors que l’institutionnalisation du gouvernement du vice-roi affaiblissait systématiquement l’autorité de gouverneurs tels que Montejo. Dans cette perspective, la façade se présente comme un espace liminal que Montejo utilise afin de faire reconnaître sa juridiction et son autonomie face à une grande menace. Par cette construction, Montejo s’attribuait une autorité qui s’affirmait comme distincte du jeune gouvernement du vice-roi, mais toujours en lien avec la monarchie. Au bout du compte, ses efforts pour conforter son autonomie ont contribué à sa chute politique, qui a pour ainsi dire coïncidé avec l’achèvement de la construction du palais et de ses ornements plateresques en 1550. La Casa de Montejo témoigne par excellence des ambitions politiques d’un gouverneur colonial et doit être considérée à la lumière des troubles sociopolitiques qui caractérisent cette période en Amérique hispanique.

This article examines the sixteenth-century Maya coat of arms, the Memorial Shield to the Massacre at Otzmal. In analyzing the work, I consider it in the context of indigenous peoples’ efforts to gain social standing and honors during the first decades of Spanish colonial dominion in Yucatán. I suggest that the coat of arms, and the documents contextually related to its creation, offer a glimpse into the developing artistic and cultural practices in colonial Yucatán during the sixteenth century while providing insight into how the work’s creator, Gaspar Antonio Chi, understood and responded to the colonial world to which he was apart. As one of the few extant artistic works specifically related to expressing sixteenth-century Yucatec Maya social and political concerns, the Otzmal shield allows for considerations of how a Maya artist responded to the colonial encounter, through the adoption of European visual and cultural strategies in his efforts to secure and solidify his standing in the new political landscape of Yucatán.

Matthew M. Reeve, ed., Tributes to Pierre du Prey: Architecture and the Classical Tradition from Pliny to Posterity, London: Harvey Miller Publishers/Brepols, 2014, 288 pp. 129 b/w illus., € 100 cloth ISBN 9781909400122. An article from journal RACAR : Revue d'art canadienne / Canadian Art Review (Volume 42, Number 1, 2017, pp. 4-106), on Érudit.

Previous articleNext article No AccessBook ReviewsPaul Niell. Urban Space as Heritage in Late Colonial Cuba: Classicism and Dissonance on the Plaza de Armas of Havana, 1754–1828. Austin: University of Texas Press, 2015. xvi+326 pp.; 72 black-and-white photographs, 4 maps, notes, bibliography, index. $55.00.C. Cody BarteetC. Cody BarteetUniversity of Western Ontario Search for more articles by this author PDFPDF PLUSFull Text Add to favoritesDownload CitationTrack CitationsPermissionsReprints Share onFacebookTwitterLinkedInRedditEmail SectionsMoreDetailsFiguresReferencesCited by Winterthur Portfolio Volume 50, Number 2/3Summer/Autumn 2016 Published for the Henry Francis du Pont Winterthur Museum, Inc. Article DOIhttps://doi.org/10.1086/689000 Views: 25Total views on this site For permission to reuse, please contact [email protected]PDF download Crossref reports no articles citing this article.

ABSTRACT The main focus in this article is on four maps from colonial Yucatan, Mexico (c.1542‒1821). The maps illustrate a two-volume set of Maya notarial documents called the Títulos de Ebtún and concern disputed communal rights to Tontzimin, one of the sparse water sources (cenotes) of this arid limestone region, and its surrounding arable land. Mention is also made of two maps of the province of Mani that were included in treaties agreed with the Spanish authorities as a final record of Maya claims to traditional agricultural rights. Although all these maps were produced by Spanish officials, they relate to broader colonial mapping traditions in Yucatan and embody a clear Maya influence. At the same time, they reveal the effect of Maya mapping practices on Spanish notarial and mapping traditions at the close of the colonial period.

This paper considers how the Spanish colonial capital of Mérida, Yucatán, which was built upon the abandoned Maya ceremonial center of Tihó, was depicted and referenced in colonial era drawings and texts. In these materials I examine how the city was represented as the new cultural and economic center of Yucatán and as a location that processed a vital Maya past. In approaching these themes, my essay engages with current academic and theoretical scholarship that has explored Tihó-Mérida’s multicultural identity. I contribute to this scholarship by bringing together disparate materials not often discussed in accord with one another, specifically Spanish chronicles, the 1581 drawing of the Guardianship of Motul, the drawings from the book of the Chilam Balam of Chumayel, and passages from other books of the Chilam Balams. Spanish and Maya informants created these textual and visual objects that express related but differing ideas about Tihó-Mérida’s importance in Yucatán. Spanish writers often are concerned with affirming the city’s status, while Maya sources either confirm the capital’s authority over Yucatán or attempt to align with or reinstate the capital’s power. In this paper I examine how indigenous agency was enacted in textual and pictorial references to Tihó to reveal some of the ways in which the Maya responded to the social unrest brought about by Spanish colonization.

In the later fifteenth century, the Kingdom of Hungary became the first land outside Italy to embrace the Renaissance, thanks to its king, Matthias Corvinus, and his humanist advisors, Janos Vitez and Janus Pannonius. Matthias created one of the most famous libraries in the Western World, the Bibliotheca Corviniana, rivaled in importance only by the Vatican. The court became home to many Italian humanists, and through his friendship with Lorenzo the Magnificent, Matthias obtained the services of such great Florentine artists as Andrea del Verrocchio, Benedetto da Maiano, and Filippino Lippi. After Matthias's death in 1490, interest in Renaissance art was continued by his widowed Neapolitan queen, Beatrice of Aragon, and by his successors Vladislav I and Louis II Jagiello. The twenty-two essays collected in this volume provide a window onto recent research on the development of humanism and art in the Hungary of Matthias Corvinus and his successors. Richly illustrated with new photography, this book eloquently documents and explores the unique role played by the Hungarian court in the cultural history of Renaissance Europe.

gave birth to this fascinating series of frescoes.

This paper examines the processes through which early modern cartographers created conflicting spaces of Hispanic America in their respective engagements with monarchial inquiries of Philip II and his successors, and through other judicial proceedings. I primarily analyze cartographic objects produced by the Maya peoples of Yucatán and other indigenous Americans. The cartographs reflect their creators’ heterogeneity, many of whom had differing economic, judicial, and political motivations, that did not always correspond directly to royal interest. Diversity in form and content emerges from this heterogeneity resulting in the formation of new knowledge precepts. By engaging with current academic theories and concepts pertaining to Hispanic American cartography and mapmaking practices, I further consider and advance the supposition that cartographs offer an important glimpse into the formation of Hispanic American culture as well as to the evolution of the map as an abstract form.