The Inquisition Brotherhood: Cofradía de San Pedro Martir of Colonial Mexico

1983 ◽  
Vol 40 (2) ◽  
pp. 171-207 ◽  
Author(s):  
Richard E. Greenleaf
Keyword(s):  
Iberian Peninsula ◽  
Fifteenth Century ◽  
New Spain ◽  
Colonial Mexico ◽  
Patron Saint ◽  
San Pedro ◽  
Late Fifteenth ◽  
Pope Innocent Iv

As part of its religious, social and political mission, personnel of Mexico's Holy Office of the Inquisition were organized into a brotherhood, the Cofradía de San Pedro Martir, patron saint of the Inquisition. Although the Inquisition had functioned in New Spain from 1522, the brotherhood was not formally established until 1656. San Pedro Martir differed in many respects from other urban and rural confraternities in the viceroyalty. An outgrowth of Cruce-signati in the medieval inquisition, the Cofradía founded by Pope Innocent IV in 1252 after the murder of Inquisitor Peter Martir of Verona, came to Spain in the late fifteenth century. In the Iberian peninsula “Colegios de Familiares” formed and later developed into Cofradías whose membership was drawn from the Familiatura, a body of non-salaried Inquisition police known as Familiares.

scholarly journals Las torres conservadas en el territorio de Vélez-Málaga (Málaga)

X ◽  
2020 ◽  
Author(s):  
Luis José García-Pulido ◽  
Jonathan Ruiz-Jaramillo
Keyword(s):  
Cultural Heritage ◽  
Iberian Peninsula ◽  
Fifteenth Century ◽  
Western Mediterranean ◽  
Archaeological Heritage ◽  
Municipal District ◽  
Western Border ◽  
Late Fifteenth ◽  
Different Origins ◽  
Historical Periods

The towers preserved in the territory of Vélez-Málaga (Málaga, Spain)The Spanish coast preserves many watchtowers as an important cultural heritage. They testify the insecurity of this maritime border in different historical periods, especially during the sixteenth and eighteenth centuries, when it was attacked regularly by what has come to be known as Berber piracy. The territory of Vélez-Málaga was not alien to this process and, after the Castilian conquest of the Axarquía region in the late fifteenth century, the western border between the Christian and the Islamic kingdoms of the western Mediterranean moved to the southeaster coast of the Iberian Peninsula. The municipal district of Vélez-Málaga has an important architectural and archaeological heritage from different origins, including its defensive structures. They belong to a broader military system in the territory that consisted of coastal and inland watchtowers, farmstead towers, fortified enclosures in addition to the castle and the urban walls of Vélez-Málaga. This paper presents the first data obtained from the diagnosis of this heritage in the frame of the programme of conservation of the defensive architecture from the municipality of Vélez-Málaga.

Contextualizing Josquin’s Ave Maria…virgo serena

2017 ◽  
Vol 34 (2) ◽  
pp. 182-240
Author(s):  
Clare Bokulich
Keyword(s):  
Fifteenth Century ◽  
Musical Style ◽  
Growing Body ◽  
Late Fifteenth ◽  
The Moment

Notwithstanding the reputation of Josquin’s Ave Maria…virgo serena as a touchstone of late–fifteenth-century musical style, little is known about the context in which the piece emerged. Just over a decade ago, Joshua Rifkin placed the motet in Milan ca. 1484; more recently, Theodor Dumitrescu has uncovered stylistic affinities with Johannes Regis’s Ave Maria that reopen the debate about the provenance of Josquin's setting. Stipulating that the issues of provenance and dating are for the moment unsolvable, I argue that the most promising way forward is to contextualize this work to the fullest extent possible. Using the twin lenses of genre and musical style, I investigate the motet’s apparently innovative procedures (e.g., paired duos, periodic entries, and block chords) in order to refine our understanding of how Josquin’s setting relates to that of Regis and to the Milanese motet cycles (motetti missales). I also uncover connections between Josquin’s motet and the music of earlier generations, above all the cantilena and the forme fixe chanson, that offer new insights into the development of musical style in the fifteenth century. The essay concludes by positioning the types of analyses explored here within a growing body of research that enables a revitalized approach to longstanding questions about compositional development and musical style.

Islamic Monuments as Christian Trophies

2017 ◽  
Author(s):  
Antonio Urquízar-Herrera
Keyword(s):  
Sixteenth Century ◽  
Fifteenth Century ◽  
Thirteenth Century ◽  
Medieval Chronicles ◽  
Late Fifteenth ◽  
Historical Accounts ◽  
Rodrigo Jimenez De Rada ◽  
The Way

Chapter 3 approaches the notion of trophy through historical accounts of the Christianization of the Córdoba and Seville Islamic temples in the thirteenth-century and the late-fifteenth-century conquest of Granada. The first two examples on Córdoba and Seville are relevant to explore the way in which medieval chronicles (mainly Rodrigo Jiménez de Rada and his entourage) turned the narrative of the Christianization of mosques into one of the central topics of the restoration myth. The sixteenth-century narratives about the taking of the Alhambra in Granada explain the continuity of this triumphal reading within the humanist model of chorography and urban eulogy (Lucius Marineus Siculus, Luis de Mármol Carvajal, and Francisco Bermúdez de Pedraza).

Mamluk Painting in the Late Fifteenth Century

1984 ◽  
Vol 2 ◽  
pp. 159
Author(s):  
Esin Atil
Keyword(s):  
Fifteenth Century ◽  
Late Fifteenth
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