Christ of the Earthquakes, 1750-70. | ||||||
This is one of many known paintings of a crucifix that hangs in Cuzco's cathedral. The statue was widely believed to have brought the great earthquake of 1650 of Cuzco to an end, a divine intercession into human lives. In Spanish America, as elsewhere, people believed that natural disasters—like earthquakes and floods—could be ameliorated by the powers resident in certain Christian images. After the devastating quake of 1650, painted copies of the miracle-working Crucifix were made, each one a “portrait” of the venerated crucifix that invoked its protective powers. In this painting, as in many of this theme from the 18th century, the statue appears amidst candles and floral bouquets, set against a dark background. The Jesus wears a demure skirt, which the statue itself also wears. The skirt, rather than a loincloth, is somewhat unusual on the crucified Christ, and it distinguishes Christ of the Earthquakes from others. Since the likeness was believed to carry the efficacy of the sculpture, its painter, whose name is unknown today, was called upon to make an image that remained faithful to its model—a sculpture crafted in Cuzco, yet with ties to European and Andean Christian traditions. BIBLIOGRAPHY Majluf, Natalia, Cristóbal Makowski and Francisco Stastny. 2001. Art in Peru: Works from the Collection of the Museo de Arte de Lima. Lima, Perú: Museo de Arte de Lima, Promperú. Palmer, Gabrielle and Donna Pierce. 1992. Cambios: The Spirit of Transformation in Spanish Colonial Art. Santa Barbara, California: Santa Barbara Museum of Art. Wuffarden, Luis Eduardo. 1999. ‘El Cristo de los Temblores.” In Los siglos de oro en los virreinatos de América: 1550-1700. Pp. 354-356. Madrid: Sociedad Estatal para la Conmemoracion de los Centenarios de Felipe II y Carlos V. | ||||||
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Copyright 2005, Dana Leibsohn and Barbara Mundy Please credit as: Leibsohn, Dana, and Barbara Mundy, Vistas: Visual Culture in Spanish America, 1520-1820. https://www.smith.edu/vistas, 2005. |