#arequipa
Roxana Molina 2da sesión de Lipotransferencia
#faraonloveshady otra vez más de un #millon #raaa #harleyquinn #rapperuano #trap #musicaperuana #cholo #peruvian #raplatino #traplatino #musicalatina # #Arequipa ahora sus fans bailan a ritmo de mi lord (en Las Conejitas Club)
https://www.instagram.com/p/CHUO4JWD8VB/?igshid=10q4noq0dlqt4
#faraonloveshady otra vez rumbo al #millon #raaa #harleyquinn #rapperuano #trap #musicaperuana #cholo #peruvian #raplatino #traplatino #musicalatina # #Arequipa
https://www.instagram.com/p/CHMuaEVj7Wp/?igshid=jkupkgpawlh1
#JonZ #FaraonLoveShady de #Peru para el #mundo mundial #TrapPeruano #TrapPeru # #MusicaPeruana #peruano #Arequipa #peruvian #cholo #raplatino #raaa
https://www.instagram.com/p/CHBTGK-jbUy/?igshid=1cfu1wfiyub5s
Lord #FaraonLoveShady de #Peru para el #mundo mundial #TrapPeruano #TrapPeru # #MusicaPeruana #peruano #cholo #Arequipa #peruvian #chola #raplatino #raa #lima #peruvianmusic #trap #rapperuano #BatallaDeGallos #arequipeño #raaa
https://www.instagram.com/p/CHBFdaojiuS/?igshid=l526zmc0h3n4
#Lord #FaraonLoveShady de #Peru para el #mundo mundial #TrapPeruano #TrapPeru # #MusicaPeruana #peruano #Arequipa #peruvian #cholo #raplatino #raa #HarleyQuinn #BatallaDeGallos #peruviantrap
https://www.instagram.com/p/CG_x7xqjRB6/?igshid=af1rm284z6r5
Lord #FaraonLoveShady de #Peru para el #mundo mundial #TrapPeruano #TrapPeru # #MusicaPeruana #peruano #Arequipa #peruvian #chola #raplatino #raa #lima #peruvianmusic #trap #rapperuano #BatallaDeGallos #arequipeño
https://www.instagram.com/p/CG80Xd5jblA/?igshid=rcv3ahqqetzn
Fachada de la casa Tristan del Pozo. #AREQUIPA #peru #casona #fachada #facade #sillar #tallado #carved #arquitectura #architecture #canon #canonshot #canonshoot #igersperu #igersarequipa (en Arequipa)
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Iglesia de Yanahuara. Joya del barroco arequipeño #AREQUIPA #peru #iglesia #ctperu #ctarequipa #yanahuara #barroco #bn #bw #canon #60d #canonshoot #igersperu #igersarequipa (en Yanahuara)
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Catedral de Arequipa y la luna #arequipa #peru #ctperú #ctarequipa #catedral # nocturna #noche #luna #moon #canon #g15 #streetshot #street #igers #igersperu #igersarequipa (en Arequipa)
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Claustros de la compañía. Reflejos en la fuente #arequipa #peru #ctarequipa #ctperu #igers #igersperu #bn #bw #turismo #travel #arquitectura #architecture #canon #canonshot @canon.shoot #reflection #reflejos #lacompañia #claustros #cloisters (en Arequipa)
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Santa catalina macetas (pots) #arequipa #perú #ctperu #santacatalina #convento #convent #monastery #monasterio #rojo #reds # macetas #pots #canon #6d #sigma #10-20mm #street #canonshot #canonshoot #canongallery #igers #igersperu (en Convento De Santa Catalina - Arequipa)
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La cocina. Convento de Santa Catalina. Arequipa..Perú. por esos 3 tragaluces al mediodía caen rayos de luz fantásticos. #arequipa #peru #santacatalina #convento #convent #monasterio #monastery #cocina #kitchen @canon_photos @canon.shoot @canonusa @canongallery #canon #60d #ctperu #ctarequipa #tragaluz #igerperu #igersarequipa (en Convento De Santa Catalina - Arequipa)
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Enmarcada. Convento Santa Catalina Arequipa. #arequipa #ctarequipa #ctperu #igers #igerperu #igersarequipa #peru #santacatalina #monasterio #mario #framed #frame #rojo #bouganvillia #canon #g15 #red #creative (en Monasterio De Santa Catalina, Arequipa)
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En el convento de Santa Catalina de Arequipa los colores azules de las paredes compiten con los rojos. En esta foto los azules de las paredes con el azul del cielo. #arequipa #peru #ctarequipa #ctperu #azules #convento #convent #blues #canon #60d #mariovar (en Convento De Santa Catalina - Arequipa)
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I expect the Spanish Inquisition
As a follow up to an earlier post, here is a book that provides another example of expurgations, as well as an interesting imprint and provenance.
Christophe Plantin was an important 16th-century printer. This particular collection was printed ten years after Plantin’s death, during the time when his son-in-law, Jan Moretus, was running the shop. Plantin’s device, seen on the title page in photo one, was the compass with the motto “Labore et Constantia” (By Labor and Constancy). His press was one of the most prolific of the time, with privileges from King Philip II of Spain.
The Lima inquisitor, Fray Juan de Lorenzana, was a Dominican friar who figures into various stories from the turn into the 17th Century. Give him a google, and take particular note of his role in the story of St. Rose of Lima. In addition to Fray Juan’s scribbled-out lines of text, one leaf has been razored out between the page spread in photo three. In both expurgated books, it seems the razored leaves were those covered entirely with objectionable text, while any acceptable text was preserved.
The work in question is a collection of writings from Justus Lipsius. It includes an essay, “De Cruce,” which details the development of the cross as a torture device, complete with gruesome illustrations. The imprint is notable for its seamless inclusion of letterpress printing with intaglio images, two very different printing methods.
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I am Helen Ryan, librarian (bibliotecaria) at the Convento de la Recoleta, Arequipa, Peru. John Fifield is passing this blog on to me and I am delighted to begin to show the world some of my daily encounters.
No one expects the Spanish Inquisition!
This 1604 Salamanca imprint met the wrong end of an inquisitor’s pen and razor in 1616 in Potosi, a major mining town in modern Bolivia.
My Spanish paleography skills are rough at best, so if anyone would like to take a stab at translating, feel free. From what I can tell, the inquisitor helpfully instructs the reader to “turn the page” on the title page and lays out a rationale for his work on the verso. The third and fourth photos show an expurgation with evidence of both the pen and the razor, and a view of the sewing follows.
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Peruvian parchment!
A series of musical instrument and leather good shops comprise a small commercial district a few blocks west of Arequipa’s Plaza de Armas. Of the latter, some offer finished goods and repairs, while others sell leather from local tanneries. At least one also sells parchment (pergamino) from goat skins for a mere 4.00 s/. per square foot (about $1.00). The proprietor kindly let me riffle through the pile of skins and take pictures.
The final photo is a view from the bridge just west of the shops on the same street. The low, white wall just beyond the gas station and the parking garage-looking structure to the right of it are an old tannery site. The business, Pedro P Diaz, has since moved to an industrial park outside of town but still has a shop in the commercial district.
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Here’s an interesting binding. There’s an 1823 Arequipa imprint on a pamphlet bound with the primary text, which I’ll try to identify later. Although printing began in Peru in 1584, it all occurred in Lima until national independence in 1821. The first Arequipa imprint is in the same year.
The heavy grime suggests repeated study–the darker the area, the greater the use. For such a thick book, the spine is in great shape and is remarkably resilient.
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One of the finest examples of publishing during The Golden Age of Printing is the three-volume set, Ezechielem Explanationes, published in Rome during the years 1596 through 1604. The work is an imagined reconstruction of the Temple of Solomon.
The author was an architect, mathematician and Jesuit scholar who, under commission from Philip II of Spain, created an imagined reconstruction of the entire Temple.
It contains 27 large fold-out illustrations which show detail down to the individual brick. The work stands as a basic source for determining ancient Hebrew weights and measures and is acknowledged as having deeply influenced European baroque architecture.
-Helen
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Happy anniversary, books!
Maybe they don’t want to remember this day. 400 years ago today, on 17 February 1616, these three books were all expurgated by Diego Mexía de Fernangil, a Spanish poet-turned-inquisitor, in Potosí. I have no idea when they made their way from Potosí to Arequipa or why they remained together after that fateful day.
Here is the inquisitor note from the bottom book. Previously, we featured the top book in the stack, including some precisely razored-out passages inside–no doubt Diego’s doing!
-John
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The Recoleta has at least sixteen volumes from various editions of the Suma de la theologia moral, by Corella and Cintruenigo (see more volumes here). This particular copy of part six of the 1734 edition has some interesting interventions.
First, the title page shows evidence of poor masking and registration when printing the red and black. Notice the doubled tilde of “Señora” under “Virgen Maria.”
Second, there are some math problems on the pastedown inside the back cover. I recognize the 1734 from the date of publication. Was this a user from 1862 trying to work out how many years it had been since the book was published?
Third, we have an undated note in Spanish that was used as a bookmark. We haven not yet tried to translate it, so any attempts would be welcome.
Fourth, the marca de fuego.
-John
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What do drawings in books tell us about users?
In the case of this 1726 Lyon imprint from the Recoleta’s collection, it may shed some light on when the book was used. The style of dress and hair suggest to me that this is a portrait of a man from around the turn into the 19th Century. Any ideas? We know it’s after 1726 (plus shipping and handling).
-John
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Two examples of marcas de fuego, or book brands, from the Recoleta’s collection. This marking practice is more typically seen in Mexican monastic libraries, but was also common at the Recoleta. To remove the mark, one would have to guillotine the entire edge off the text block, potentially risking the text inside, making this an effective marking system. Most of our brands appear at the head of the text block, some on the tail, and a few on both edges. We don’t often find them on the fore edge.
-John
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Prior to the printing press in Cusco, Peru
The printing press did not come to Cusco until the 1820s. It hardly looks like they needed it.
Helen 25 Sept. 2015
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Marginalia
As a followup to the earlier Manicule post, here are two more interesting examples of marginalia. The first is an eye, which I have never come across before in any other book. It reminds me of when I was a music student and players would pencil eyeglasses into the margins of band or orchestra sheet music, meaning “look at the conductor.” This one presumably means the opposite, “look closer at the page.”
The second is another manicule; although, this one is better rendered than those in the previous post. There is a nice shirt ruffle around the wrist, and perhaps knuckles or rings depicted at the base of the fingers.
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