Virginia Commonwealth University VCU Scholars Compass Theses and Dissertations Graduate School 2014 The Triumphs of Alexander Farnese: A Contextual Analysis of the Series of Paintings in Santiago, Chile Michael J. Panbehchi Virginia Commonwealth University Follow this and additional works at: https://scholarscompass.vcu.edu/etd Part of the Ancient, Medieval, Renaissance and Baroque Art and Architecture Commons, and the Other History of Art, Architecture, and Archaeology Commons © The Author Downloaded from https://scholarscompass.vcu.edu/etd/3628 This Dissertation is brought to you for free and open access by the Graduate School at VCU Scholars Compass. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of VCU Scholars Compass. For more information, please contact [email protected]. © Michael John Panbehchi 2014 All Rights Reserved The Triumphs of Alexander Farnese: A Contextual Analysis of the Series of Paintings in Santiago, Chile A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy at Virginia Commonwealth University. by Michael John Panbehchi B.A., Virginia Commonwealth University, 1988 B.A., Virginia Commonwealth University, 1994 M.A., New Mexico State University, 1996 Director: Michael Schreffler, Associate Professor, Department of Art History Virginia Commonwealth University Richmond, Virginia November, 2014 ii Acknowledgment The author wishes to thank several people. I would like to thank my parents for their continual support. I would also like to thank my son José and my wife Lulú for their love and encouragement. More importantly, I would like to thank my wife for her comments on the drafts of this dissertation as well as her help with a number of the translations. I also wish to thank my teachers Michael Schreffler and Charles Brownell for their patience and guidance. Very special thanks go out to Lauren Miner for her work on my behalf. In Cuzco, Perú, a number of people have played a significant role in the completion of this project. Javier Tapia and Rafael Ferrer were key in giving me opportunities and time to work in Cuzco. I must extend my gratitude to Adrián Valer Delgado of the Biblioteca Central de la Universidad de San Antonio Abad as well as to Ana María Gálvez and Julio César Zavaleta of the Museo Histórico Regional-Casa Garcilaso. In Chile, I am grateful to Juan Manuel Martínez of the Museo Histórico Nacional for giving me access to the Triumphs of Alexander Farnese series of paintings and the existing scholarship. Lastly, I would like to thank Father Gabriel Guarda for providing significant information when it was most needed. Finally, I would like to thank Dr. Joy Bressler and Dr. Joan Plotkin-Han. Their work has made all that I do possible. iii Table of Contents List of Figures.................................................v Abstract.......................................................ix Introduction....................................................1 Previous Scholarship...................................... 2 Methodology.............................................. 11 Summary of Chapters...................................... 14 Chapter One: The Paintings.....................................19 Expugnation of Valenciennes: Margarita de Parma Governess 21 Victory at Lepanto....................................... 27 Expugnation of Maastricht................................ 32 Battle of Estemberg...................................... 36 Expugnation of Nus....................................... 40 Triumphant Festivities given by Paris to Alexander Farnese for having lifted the Siege......................... 45 Celebrated Expugnation of Corbel......................... 49 Expugnation of Caudebec.................................. 54 Court of Charles V....................................... 58 Conclusion............................................... 60 Chapter 2: The Museo Histórico Nacional Series and the Cuzco School....................................................62 Canvas Size and the Painting Industry in Cuzco........... 64 The Treatment of Anatomy as a Consequence of the Birth of the Cuzco School.................................... 84 The Cuzqueño Style as a Choice........................... 90 iv Possible Ownership....................................... 97 Conclusion.............................................. 100 Chapter Three: Magnificenza and De Bello Bélgico..............103 Written Accounts and De Bello Bélgico................... 103 Magnificenza............................................ 107 De Bello Bélgico in the Americas........................ 115 Conclusion.............................................. 122 Chapter Four: The Flanders of the Indies......................124 Philip V: A Spanish Bourbon King in an Italian World.... 126 1700-1750: The Notion of a Universal Monarchy Grows Weak 132 Eighteenth-Century Latin America: Reforms and Widely Different Realities................................ 135 A Military Mindset...................................... 146 La Araucana, Verse Cartography and Epic Space........... 154 Conclusion.............................................. 163 Conclusion....................................................166 Bibliography..................................................173 Appendix......................................................181 Vita .........................................................186 v List of Figures Fig. 1. Title page of the first volume of the Spanish translation of De Bello Bélgico, entitled ‘‘ First Decade of the Wars of Flanders, from the Death of Charles V to the beginning of the Government of Alexander Farnese, Third Duke of Parma and Placencia, written in Latin by P. Famiano Estrada, the Company of Jesus,’’ 1682. ................................181 Fig. 2. Romeyn de Hooghe and José de Ledesma. Expugnation of Valenciennes Margarita de Parma Governess, 1682. Engraving................................................181 Fig. 3. Anon. Expugnation of Valenciennes, c. 1700. Oil on canvas, 97 x 155 cm. Santiago, Chile, Museo Histórico Nacional.................................................181 Fig. 4. Anon. Detail, Expugnation of Valenciennes, c. 1700....181 Fig. 5. Anon. Detail, Expugnation of Valenciennes, c. 1700....181 Fig. 6. De Hooghe and Ledesma. Victory at Lepanto, 1682. Engraving................................................181 Fig. 7. Anon. Victory at Lepanto, c. 1700. Oil on canvas, 97 x 155 cm. Santiago, Chile, Museo Histórico Nacional........181 Fig. 8. Anon. Detail, Victory at Lepanto, c. 1700.............181 Fig. 9. Anon. Detail, Victory at Lepanto, c. 1700.............181 Fig. 10. De Hooghe and Ledesma. Expugnation of Maastricht, 1682. Engraving................................................182 Fig. 11. Anon. Expugnation of Maastricht, c. 1700. Oil on canvas, 97 x 155 cm. Santiago, Chile, Museo Histórico Nacional...182 Fig. 12. Anon. Detail, Expugnation of Maastricht, c.1700......182 Fig. 13. De Hooghe and Ledesma. Battle of Estemberg, 1682. Engraving................................................182 Fig. 14. Anon. Battle of Estemberg, c. 1700. Oil on canvas, 97 x 155 cm. Santiago, Chile, Museo Histórico Nacional........182 Fig. 15. Anon. Detail, Battle of Estemberg, c. 1700...........182 vi Fig. 16. De Hooghe and Ledesma. Expugnation of Nus, 1682. Engraving................................................182 Fig. 17. Anon. Expugnation of Nus, c. 1700. Oil on canvas, 97 x 155 cm. Santiago, Chile, Museo Histórico Nacional........182 Fig. 18. Anon. Detail, Expugnation of Nus, c. 1700............182 Fig. 19. De Hooghe and Ledesma. Triumphant Festivities given by Paris to Alexander Farnese for having Lifted the Siege, 1682. Engraving..........................................182 Fig. 20. Anon. Triumphant Festivities given by Paris to Alexander Farnese for having Lifted the Siege, c. 1700. Oil on canvas, 97 x 155cm. Santiago, Chile, Museo Histórico Nacional....182 Fig. 21. Anon. Detail, Triumphant Festivities given by Paris to Alexander Farnese for having Lifted the Siege, c. 1700...183 Fig. 22. De Hooghe and Ledesma. The Celebrated Expugnation of Corbel, 1682. Engraving..................................183 Fig. 23. Anon. The Celebrated Expugnation of Corbel, c. 1700. Oil on canvas, 97 x 155 cm. Santiago, Chile, Museo Histórico Nacional.................................................183 Fig. 24. Anon. Detail, The Celebrated Expugnation of Corbel, c. 1700.....................................................183 Fig. 25. De Hooghe and Ledesma. Expugnation of Caudebec, 1682. Engraving................................................183 Fig. 26. Anon. Expugnation of Caudebec, c. 1700. Oil on canvas, 97 x 155 cm. Santiago, Chile, Museo Histórico Nacional...183 Fig. 27. Anon. Detail, Expugnation of Caudebec, c. 1700.......183 Fig. 28. Anon. La Corte de Carlos V, c. 1700. Oil on canvas, 97 x 155 cm. Santiago, Chile, Museo Histórico Nacional........183 Fig. 29. Anon. Saint Michael Archangel, late 17th to early 18th century. Oil on canvas. Santa Fe, New Mexico, Peyton Wright Gallery..................................................183 Fig. 30. Anon. Santa Teresa guiada por los Angeles, c. 1694. Oil on canvas. Santiago, Chile, Convento del Carmen San José.183 Fig. 31. Anon. La Veronica, 1732. Oil on canvas. Santiago, Chile, Monasterio de la Santísima Trinidad......................183 Fig. 32. Marcos Zapata. La Profecía, 1748. Oil on canvas. Santiago, Chile, Monasterio de la Santísima Trinidad.....184 vii Fig. 33. Diego