Virreinatos - History Lab

Correspondence of Miguel José de Azanza with José de Mazarredo Salazar

ad_hlab_min — Sat, 19 Feb 2022 16:32:37 +0000

It contains four letters addressed by Mazarredo to Azanza: 1. On the transfer of Azanza from Cádiz to El Puerto [de Santa María], and considerations regarding the defence of Cádiz against the English (on board. 8 July 1797). It ends with two expressions written in Basque. 2. On the transport and itineraries of the ship “El Monarca”, whose departure for America was scheduled for the following 20 January, criticising the unclear instructions of the superior (Island, 27 December 1797). Attached is a copy of a letter from José Mazarredo to José Justo Salcedo [y Arauco], in command of the ship “El Monarca”, which in turn inserts another of “19 of the current” from D. Juan Lángara [Minister of the Navy] to Mazarredo (Cádiz. 25 December 1797). 3. On the evolution of the meteorological weather (Island. 17th in the afternoon [probably January 1798]). 4. Sends letter from Mr. Lángara [Minister of the Navy] to Azanza, enclosed, who is not to be found, and announces that his preparations have been approved by the superiority (Island. 18 in the evening [probably January 1798]).

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Screen of the Palace of the Viceroys of Mexico

ad_hlab_min — Sat, 19 Feb 2022 16:30:33 +0000

The Viceroy was the administrative figure during the Spanish Empire responsible for administering and governing, on behalf of the Spanish Monarchy, a territory. The Viceroy was therefore the personal representative of the King of Spain in other places. In the case of the Americas, due to the great extent of its possessions, the Spanish Crown created two Viceroyalties, the Viceroyalty of New Spain (1535-1821) and the Viceroyalty of Peru (1542-1824). In the case of the former, the life of the Viceroyalty of New Spain was governed internally from the buildings that formed the surroundings of the main square of Mexico City, such as the Viceroyal Palace, the City Hall, the Mint, the University and the Cathedral. The palace, in addition to being the seat of the viceroy, included numerous official offices, making it the nerve centre of viceregal power. The five panels on the right of the screen in the image depict the characteristics of this building before it burned down as a result of the riot of 1692. Opposite the façade of the Palace was the city’s most important market, El Parián, where many goods arrived from Manila. Its stalls sold all kinds of products and utensils, as well as the numerous foodstuffs that supplied the city from the surrounding area. The remaining three pages contain an incomplete view of the Paseo de la Alameda in the Spanish capital. This work offers a view of viceregal society and the role played by its different members. Thus, the ruling class is represented by Spaniards and Creoles, who were involved in the official and leisure world, going to the palace or strolling along the Alameda, while mestizos, mulattos and indigenous people were mainly engaged in service and merchant work.

The post Screen of the Palace of the Viceroys of Mexico first appeared on History Lab.

Miscegenation in American society (I)

ad_hlab_min — Sat, 19 Feb 2022 16:30:33 +0000

This work, entitled “De chino cambujo e india, loba” (“Of Chinese Cambujo and Indian, Wolf”), depicts a family group consisting of a father, a mother and a son, identified by inscriptions that refer to their degree of miscegenation from indigenous, European and African ethnic origins. These representations are characteristic of a pictorial genre that developed in the Viceroyalty of New Spain throughout the 18th century. It is known as “caste painting” and is organised on the basis of series generally consisting of sixteen paintings in which the most common unions are arranged. As shown in this canvas, which belongs to a set dispersed among various collections, the clothing and adornment of the figures, the activity they perform and the setting in which the action takes place, act as fundamental elements in identifying the social status of those depicted. Miguel Cabrera, the author of this group, who signed and dated the last of the canvases in 1763, is the painter most widely recognised by his contemporaries and had a large number of disciples and followers who were often inspired by the master’s own models.

The post Miscegenation in American society (I) first appeared on History Lab.

Miscegenation in American society (II)

ad_hlab_min — Sat, 19 Feb 2022 16:30:33 +0000

This work, entitled “De español y mestiza, castiza” (“Of Spaniard and Mestiza, Caste”), is a representation of mixed-race or caste painting, and is one of the main sources of information on everyday life in the Viceroyalty of New Spain in the 18th century. These representations are characteristic of a pictorial genre that developed during this century, known as “caste painting”. This genre was usually organised in series of 16 scenes depicting family groups made up of different ethnic groups, in response to the Enlightenment’s desire to order and classify the social structure and to show a self-image of the socio-cultural diversity of New Spain. It is likely that these works were intended for a foreign audience. This particular canvas was painted by Miguel Cabrera in 1763, the painter most recognised by his contemporaries. It depicts a family of high social rank, as can be deduced from the clothing and ornaments worn by the figures, who are standing in front of a shoe shop.

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Fleets of New Spain

ad_hlab_min — Sat, 19 Feb 2022 16:30:33 +0000

The New Spain Fleets linked Spain and the Viceroyalty of Mexico during the Modern Age. The route of this fleet was established, usually departing along the Guadalquivir River from Seville-Sanlúcar de Barrameda and, from 1680, from the Bay of Cádiz. Once at sea, they would head for the Canary Islands, and from there they would set course for America until they reached the port of Veracruz. The image shows precisely the departure of the fleet from the port of Veracruz to Cadiz, on a return voyage to Spain. These fleets transported mainly agricultural and manufactured goods from Europe to America, and brought silver and colonial products such as grana cochineal, leather, tortoiseshell, ginger and cocoa, among others, to the old continent. Asian products such as silk, which had arrived in New Spain via the Manila Galleon, were also shipped. The New Spain Fleet would remain in force until the end of the 18th century, thus enjoying a long history.

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Mainland Galleons

ad_hlab_min — Sat, 19 Feb 2022 16:30:33 +0000

The Mainland Galleons were the ships of the Carrera de Indias that linked Spain with the Viceroyalty of Peru. This fleet differed in part from the Fleet of New Spain, as it brought together the fleet of Tierra Firme, a convoy of merchant ships, and the Armada de la Guardia de la Carrera de Indias, a squadron that was destined for the military protection of the fleet in the Atlantic. These fleets transported silver from the main mining centres in Peru, such as Potosí, La Paz and Oruro, which is why the Armada accompanied them, especially on their return to Spain. On their return journey, they were also joined by the fleet from New Spain. This combination of navy and fleet is known as the Tierra Firme galleons. On their journey to America, they left from Andalusia, stopped in the Canary Islands and from there they travelled mainly to the ports of Cartagena de Indias and Nombre de Dios, which in the 17th century was replaced by Portobelo. Over time, Peruvian trade caused the crisis and early disappearance of the Tierra Firme galleons and Portobelo fairs, as the Atlantic trade was progressively abandoned and the Pacific trade became more important, seeking the Pacific Race to the Philippines and China and the supply of European goods through Mexico and the fleets of New Spain. This new design led to the slow languishing of the galleons in the late 17th and early 18th century until they were finally scrapped in 1739. The image shows the plan of the galleon “Nuestra Señora del Mar”, one of those of the Armada of General Marqués del Vado, which was wrecked in the Gulf of Bermuda, its captain and owner being Admiral Francisco de Pineda. It shows how the galleon, which has four masts and sails hoisted, is surrounded by five boats where most of the crew have been assembled, while some of its members are lowered into them by ropes. There is a large amount of water coming out of the scuppers.

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