Object and Apparition: Envisioning the Christian Divine in the Colonial Andes

Acknowledgments

xiii It is a pleasure to thank the many people and institutions that have assisted me in the process of bringing this book, and the dissertation from which it emerged, to fruition. Research for the dissertation was generously funded by the University of California, Los Angeles (UCLA) Summer Research Mentorship, the Edward A. Dickson History of Art Fellowship (UCLA), the Fulbright-Hays Dissertation Research Abroad Fellowship, and the UCLA Dissertation Year Fellowship. Further research and publication costs were supported by the University of Florida’s College of Fine Arts Scholarship Enhancement Fund. My dissertation committee chair, Cecelia Klein, deserves special thanks for her discernment and generosity. I also thank the other members of my committee, Charlene Villaseñor Black, Donald McCallum, and Kevin Terraciano, and the two anonymous reviewers of the book manuscript. Many resourceful, patient, and kind people have assisted me with my research in the Andes and in Spain. I first want to thank the employees of the Archivo Regional de Puno, especially Victor Begazo, and those of the Municipality of Pomata, especially the church guardian Wilber Ramos Lope. Sergio Medina of the Instituto Nacional de Cultura (now Ministerio de Cultura) in Puno was instrumental in my being allowed to photograph the Virgin of Pomata and acquire photos of the lost miracle paintings. Director Gary Mariscal Herrera has helped further with the Pomata images. Monseñor Pérez Tapia kindly retrieved documents from the Archivo de la Prelatura de Juli, while Father Roberto Hoffman and the Vincentian sisters, especially Sor Graciela Solís Díaz, welcomed me with Acknowledgments xiv · Acknowledgments kindness and assistance. The laywomen of the church committee in Pomata , especially Angélica Pisano and Susana Romero, provided me with important oral history. In Puno the sisters Ana María, Rosa, and Adela Pino offered me friendship, intellectual guidance, and a warm library. For their assistance in Cusco, I thank the employees of the Archivo del Arzobispado del Cusco, the Archivo Regional del Cusco, and the Biblioteca del Centro de Estudios Regionales “Bartolomé de las Casas.” Fellow scholars at the regional archive, especially Ronald Camala, found me several key documentary references. At the Ministerio de Cultura, Teresa Polo Rodríguez became a trusted friend and the photographer Ruperto Márquez Huaillasi provided me with needed images. Alexis Castro Pinto, the man in charge of dressing Christ of the Earthquakes, and his grandfather Ricardo Castro Pinto, the Cathedral organist, linked me to the Christ and popular devotion to him. Fathers Amano and Alvarez at the Monastery of Santo Domingo searched for resources on the Virgin of Pomata and allowed me to consult their copy of Juan Meléndez’s Tesoros verdaderos de las Yndias. The Díaz Quintanilla family, especially María Eugenia and María Antonieta, generously took me in. In Lima, the staffs of the Archivo del Arzobispado de Lima and the Archivo General de la Nación were helpful. Father Felipe Huaipar allowed me to look for traces of the Virgin of Pomata at the monastery of Santo Domingo and photograph Balduque’s Virgin of the Rosary. In Arequipa Helard Fuentes Rueda took time to explain colonial scribal practices. At the Archivo Eclesiástico del Arzobispado in La Paz, Norman Reyes Dávila ’s assistance was invaluable, as was Brother Ignacio Harding’s at the monastery of San Francisco. In Seville I thank the staff of the Archivo General de Indias and the Museo de Bellas Artes. Other scholars I want to thank are Marie Timberlake and Charles Stanish , who gave me initial guidance and practical advice for this project. I have also benefited from working at one time or another with Donato Amado, Yeni Olazabal, Catherine Burns, Ricardo Estabridis Cárdenas, Lorenzo Segalini, Gabriela Siracusano, Justino Llanque Chana, and Abraham Valencia Espinoza. Elizabeth Kuon Arce continues to be a valued friend and mentor, as does Ida Altman. Alison Krögel gave me helpful feedback on the book proposal. I am thankful to Leslie Todd and Scott Horsley for assistance in the final preparation of images and the garnering of image permissions, and to Daniel Giannoni and José Carlos Huamán Cruz for sharing their beautiful photographs. Shantanu Suman created the maps and diagrams in record time, and Victoria Masters patiently helped with the financial side of image permissions. I also thank Scott Acknowledgments · xv Herrera, Kristen Buckles, Lisa Stallings, and Trish Watson for their interest in this project and for helping...