the function of prints in the california missions

The Function of Prints in the California Missions

by Norman Neuerburg

IS MADE UP of an infinity of details. Some of

HISTORY these details may not seem of major importance in them- selves and often have been ignored, but they can take on

significance as they fill gaps in our understanding of the life of a given period. Thus it is with prints in Hispanic California. When one thinks of the devotional art of the California missions one thinks exclusively of paintings and statuary, yet an examination of the surviving records shows that engravings and other types of prints belong in the same category.

A fundamental characteristic of the printed picture is that it is not unique, that it can be reproduced as long as the image on the plate or block remains clear enough to be transferred to the page or sheet of paper. This aspect not only had economic consequences but also permitted the wide divulgation of an image. Although many printed pictures, especially those exe- cuted by famous artists, came to be collected for their aesthetic value, the overwhelming majority had a more humble function as illustrations, whether for decorative purposes or for didactic goals. Religious images fall into the latter category, and that is where most of the prints used in California belong.

Prints also have a special value to artists. They form a mar- velous repertory of designs that can save the artist the trouble of preparing his own drawing from a model. Since the common production of prints began in the 15th century, artists, both major and minor, have used prints to suggest compositions, the pose of a figure, or details in a landscape, and the like. Prints were especially important in the New World.1 The prints used for both practical and didactic purposes were illustrations in books and independent impressions as well. In Mexico in the

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Historical Society of Southern California

early decades after the Conquest few paintings had been imported from Spain and even fewer professional artists had arrived so prints became the major source of inspiration for the mural paintings that soon decorated the churches, monasteries, and upper class dwellings of the colony. Not only did illustrations in bibles and other books serve as models for paintings such as those done on the underside of the choir at Tecama- chalco by the Indian Juan Gerson in 1562,2 but decorated title pages suggested the frames for niches in the cloisters of the monasteries. A copy of the Summa of Saint Thomas Aquinas, originally from the Franciscan monastery at Zinacantepec and now at Mission San Gabriel, shows such a typical design.

In the late 16th and following centuries the sources for oil paintings were frequently independent engravings, often of famous paintings by contemporary European artists. In Spain

Engraved altar card, uninscribed but probably Venetian, eighteenth century. Collection of Mission San José. This same set of engravings for altar cards can be found at other missions as well.


we know that such masters as Velazquez and Zurbarán did not hesitate to base their work on prints, even of lesser masters.3 In Mexico some of the most important works of Cristóbal de Villalpando are free copies of paintings by Rubens which he knew from engravings.4 In 1775 Fr. Junípero Serra, on request- ing a painting of Saint John Capistran, said they "should find a good engraving and have Paez paint it, or some other good artist/'5 In time it took the place of a print used at the founding along with other prints.6

Since only a few prints, principally woodcuts, were made in Mexico itself in the 16th Century,7 most of those used at first were from Flanders, with smaller numbers from Spain, Italy, France, and Germany. Although Mexican engravings became more numerous in the following centuries the imported prints never lost their importance.

The artists' use of prints as models was secondary to the importance of these inexpensive pictures as an aid to devotion among the general populace. A late 18th century painting in the cathedral of Puebla shows a young Christ offering an image of the Immaculate Conception to a group of clerics. The image, in this case, is an engraving of the bust of the Virgin, seemingly based on Manuel Tolsá's statue on the main altar of the cathedral. Such printed images were, in fact, extremely significant in the popularization of certain sanctuaries with miraculous images. Pilgrims to the sites usually purchased prints of the images to take home. Those who could not make the pilgrimage would obtain prints of these as well as their own favorite saints and hang them up, too. Sometimes they were just tacked to the wall; some were mounted on boards, while others might be framed, with or without glass. Although by far the largest number of prints used in Mexico were religious in their subject matter we do find genre paintings, especially those in the series of mesti- zaje, of the castes, which show landscape engravings, and there would have been portraits and maps, too, as we know was the case in California. One such painting shows a landscape print simply tacked to the wall while another has a neatly framed print of a landscape hung between two elegant mirrors of the type known as cornucopias.

Both for reasons of space occupied in shipping and for econ- omy prints were especially practical in the frontier missions.

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How common they were and how they were used can be verified, for example, at a specific moment in history in the missions of New Mexico, according to the report of 1776 of Fray Atanasio Domínguez.8 He had been sent to report on conditions in that outlying area and sent back to the Franciscan headquarters in Mexico City a most detailed account of his findings. In his descriptions of the mission churches he mentions prints on the wall above the high altar in a half dozen sites. They were inter- spersed among paintings and other images, apparently always symmetrically arranged, as few as two9 or as many as fourteen.10 Most were middle-sized prints, often on their little boards. Four, however, were large,11 and in one case they are described as colored prints.12 Six at Sandía were in dreadful shape,13 while four old ones at Santa Ana were too dirty to be recognizable.14 Only at Abiquiú15 was the subject matter mentioned: a set of the Stations of the Cross hung along the walls of the nave. Ex- cept for a series of crosses in the cemetery of the parish church at Santa Fe16 these are the only Stations of the Cross mentioned in his report. Other prints would have served a devotional function in private homes as well.

In New Mexico prints were also very important in the devel- opment of the typical santero re- tablos of the first half of the 19th century.17 In fact, the breakdown of the supply lines in the early 19th century meant that there were not enough prints to supply the demand, and the santeros filled the gap. Once Currier and I ves prints and then French lithographs began to come in Lamy's time the art of the santero ceased except in the most remote areas.

Eighteenth century Spanish engraving of the Pietà, given to Sargent Ortega by Padre Junípero Serra. Col- lection of Rosario Curletti, on loan to the Southwest Museum.

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With this preface to set the scene we can now turn to Cali- fornia in the Spanish and Mexican periods. While collecting documentation on the works of art in the old missions I came across numerous references to prints in the documents of the period. The usual word for print is estampa in the general sense; one also finds estampa de papel, imagen de papel, and cuadro en papel The word for engraving is lámina, but one also finds cuadro de buril; cuadro de madera appears to mean woodcut, while the words for lithograph are litografía, cuadro de litografía, or estampa de litografía. I have yet to find the current word for print, grabado. Iluminado means the print is colored, presumably by hand. The references appear in the memorias or requests for supplies, the facturas or cuentas or invoices and bills for goods sent, or inventories made at various times during and at the end of mission days.

The earliest reference to prints sent to California that I have found is in a list of objects sent from Baja California to Fr. Junípero Serra which mentions a ' 'small box with ten engravings and their frames of tortoise shell/48 This document, dated Octo- ber 13, 1769, indicates that the objects were to go on the San Antonio. In 1788 there are invoices for shipments of 30 prints and three maps sent to each of five missions,19 while 229 prints and 10 maps of California were sent to Carmel;20 Santa Clara also got two maps of California at the same time.21 In 1791 three dozen prints were sent to San Luis Obispo22 and 1000 to Mission San Diego.23 The presidios also made use of prints. In 1793 Santa Barbara presidio requested 300 paper prints of various images24 while San Francisco received a dozen prints in 1796 of which three were colored,25 and Monterey requested 100 prints of various subjects in 1805.26

In 1807 Mission San Buenaventura requested 400 prints, about a quarter of a vara in size (about 8 1/4 inches), to be divided as follows: 60 of the Christ of Esquipulas; 60 of the Immaculate Conception, Our Lady of Guadalupe, etc., 40 of Saint Joseph; 40 between Saint Anne and Saint Joachim; 30 of Saint Michael; 40 between Saint Gabriel and Saint Raphael; 30 of Saint Francis; 30 of Saint Bonaventure; 30 of Saint Anthony of Padua; and the remaining 40 to be divided among Saint Roch, Saint Apollonia, Saint Gertrude, Saint Sebastian, etc.27 These refer mostly to

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saints venerated in the mission church and certainly were in- tended for distribution to the Indians, perhaps as rewards for good conduct, such as the Sisters in parochial schools used to give Holy cards to good students. A similar destination was perhaps meant for the 25 prints of Fr. Serra that Mission Dolores received in 178728 and the 30 that San Juan Capistrano got the following year.29 Some also may have ended up in the homes of the colonists.

The maps which we have mentioned were, of course, for the quarters of the Fathers, and some of the prints ordered would also have been used there and in the church as the inventories tell us. Some were framed,30 often with glass, while others went unframed.31

In some sources, as we have seen, the subjects were not spec- ified, but in others they are clearly indicated. The use of prints

Asistencia of Pala. Detail of an old photograph of the decoration surrounding the baptismal font in the chapel, showing a small print of the 7th or 9th Station of the Cross tacked to the wall. CHS/TICOR 6207.


in the church was usually a temporary substitute for hoped-for paintings, some of which did eventually arrive. This was especially true with the sets of the Via Crucis, the Way of the Cross, which, unlike in New Mexico, were to be found in all the mission churches in California. This is the subject matter most frequently documented, as a brief survey will show. San Diego mission had received a set as early as 1774.32 It was lost in the Indian revolt of 1775, and a second set was obtained in 1776. 33 This same set was still in the church at the time of the 1834 inventory but has not come down to us.34 In 1771 San Gabriel also requested a set of prints;35 in 1798 a set of paintings arrived36 and the mission fathers apparently gave the prints to the newly founded San Fernando where a set of prints appears in an inventory of 1808.37 Mission Dolores got a fine set in 1782,38 but most of them were lost in a hurricane five years later.39 San Juan Capistrano requested a rather cheap set of prints in 1785 which arrived in 1787.40 There is a bill for a set of paintings sent in 1806, 41 just in time for the dedication of the stone church; they survived the earthquake of 1812 and are now hanging in the Serra Church. The fate of the prints is not known, but perhaps they ended up in the hospital chapel of the mission.

Mission Santa Clara acquired a set of Roman prints in 1801 ;42 they were still there and framed and under glass fifty years later.43 In 1805 Carmel requested three sets,44 unframed, presumably for distribution as well as for the mission's own use, though in 1809 a set of paintings was sent from Mexico.45 In 1818 both La Purísima46 and Santa Inés47 received sets of prints, possibly identical ones. One print alone survives at Santa Inés,48 but the mission soon obtained a set of paintings. The inventory of Mission San José lists a set of framed prints,49 but we learn in a note that these were given to San Francisco So- lano50 as San José had acquired a new set of French colored lithographs.51 The Monterey presidio had received a set of large prints in 1795. 52 The inventory of the chapel of the Presidio in Santa Barbara made soon after statehood includes a set of small prints53 and very probably the other presidio chapels and pueblo chapels had prints for their Stations of the Cross.

The 14 Stations of the Cross would have hung on the side walls of the nave of the church, seven on each side. We have some idea of where other prints were located from the annual

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reports and inventories. At Mission Dolores in 1782 there was a print of Our Lady of the Remedies with a hammered silver frame with glass on the main altar;54 it came through the hurricane of 1787 undamaged.55 Two prints, one of the Virgin of Mont- serrat and a small one of the Immaculate Conception, were hung above one of the side altars at Mission San Antonio.56

Mission Carmel, the headquarters of the chain, had the largest number of prints recorded. In the church there were two small prints of the "Soul" of Mary Most Holy and of the Savior,57 as well as nine medium or small prints of saints with wooden frames and glass along the side walls.58 In the sacristy there were framed prints of Saint Helen, Saint Clare, the Imma- culate Conception (a large one given by the King),59 and a large woodcut representing the family tree of the Franciscan Order.60 In the padres' quarters there were an engraving of Our Lady of Guadalupe (another gift of the King),61 prints of the Virgin and Saint Joseph,62 of Pius VI, and of Saint Felix,63 a large woodcut with portraits of the Popes and Cardinals of the Franciscan Order,64 a similar one three varas high of the saints of the Order,65 another one two and a third varas of the Superiors General of the Order,66 a map of the world67 and a map of Spain.68 Most of these probably decorated the reception room of the padre presidente.

Mission Santa Cruz had numerous prints, many of them in the padres' quarters,69 and three maps mounted on linen.70 Santa Barbara had a set of seven engravings of the Seven Sacraments, 18 inches high and 15 wide,71 and a Roman print of the Institu- tion of the Holy Sacrament,72 that is, a picture of the Last Sup- per, and a portrait of Ferdinand VII in a gilded frame with glass.73 Santa Inés also had a print under glass of this same monarch.74

One class of prints that we have not mentioned because they are rarely so specifically defined in the records is that of altar cards. Altar cards are frequently mentioned in the documents, but only once have I found mention made of their being prints,75 because almost all, if not all, of them were just that. A number of these still exist, again largely ignored.

We have mentioned lithographs only once in this survey, the lithographic Stations of the Cross at Mission San José which

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José de Ibarra, "Christ Child Offering a Print of the Im- maculate Conception to a Group of Clerics," Cathedral, Puebla, Mexico. (Photograph by Mardith Schuetz.)

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were acquired some time in the mid or late 1830s.76 Around the same time the mission also acquired and hung in the sacristy six colored French lithographs of various scenes from Holy Scrip- ture.77 In 1834 Santa Barbara had a lithograph a foot high and ten inches wide of Saint Francis Xavier.78 The 1858 inventory of that mission mentions a colored lithograph a foot high and a foot and a half wide of Christ and the Woman Taken in Adul- tery,79 and a lithograph 14 inches high and 10 wide of Saint Emigdius.80

With this survey, incomplete as it is due to the lacunae in the surviving documentation, we can draw some tentative con- clusions. Certainly it would seem that prints were relatively abundant in the missions, abundant enough to distribute them to the neophytes. Prints, especially the Stations of the Cross, were used in the churches and prints were hung in the sacristy as well as in the padres' quarters. The reception room at Carmel must almost have seemed a print gallery. Presumably most of the prints were Spanish or Mexican, though there are references to Roman prints and French lithographs and the Station of the Cross at Santa Inés is Venetian. By this time Flanders had lost its importance as a center of printing, and probably few, if any, Flemish engravings found their way into California. One does not know the origin of the maps, unfortunately, though Spain is perhaps the most probable source. William Beechey mentions seeing maps dated 1772 at Mission San José.81

So far we have looked at the background and the documen- tary evidence. What, then, about the actual surviving examples? Prints by their very nature are fragile, consumable, and bio- degradable, and they have usually been ignored or treated as objects of little value. Some, of course, appear in books, but they are not abundant here. Missals often have a few engravings; frontspieces are found occasionally, and printers ornaments on the top or bottom of pages are not rare, but the majority of the books in the mission libraries have nothing at all. One book that should be mentioned, however, is Palóu's La Vida de Fray Juní- pero Serra, published in Mexico in 1787. It contains as its one illustration an engraving of Fr. Serra preaching to Spaniards as well as Indians. It was possibly the source for another engraving, probably the one requested by two of the California missions. A relic associated with Fr. Serra is a small framed 272


Pellegrino de Colle, engraving of the 10th Station of the Cross, after the painting of Giuseppe Angeli in the church of Santa Maria del Giglio in Venice, published by Wagner in Venice, 1778. Collection of Mission Santa Inés. Kurt Baer photograph, courtesy of SBMAL.

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colored print of the Pietà on loan to the Southwest Museum. Small devotional books, of which Mission Santa Barbara has a small collection perhaps brought by Bishop Garcia Diego, often have engraved or woodcut prints as frontispieces. Beyond these we have mentioned, very little in the way of prints seems to have survived. However, further search is likely to turn up some.

A photograph taken inside the chapel of the Asistencia of Pala in the 1890s shows what appears to be a tiny print above the niche containing the baptismal font. On close examination it is possible to determine the subject; it is one of the Stations of the Cross. It could have come from a little prayer book or it could easily have been cut out of a whole sheet with little pictures of the Via Crucis on it. I have seen in the print collection of the National Library in Madrid just such a sheet with little pictures of the Via Crucis on it meant to be cut up. Unfortu- nately the little print at Pala disappeared long ago.

As was mentioned the tenth Station of the Via Crucis sent to Mission Santa Inés survives.82 It is an Italian engraving, printed in Venice in 1778. Like most Italian representations of the Via Crucis it is vertical in format, while the Spanish prefer a horizontal shape. In fact, the painted set which replaced it in the church is horizontal. More curious, however, is the fact that the painted set is based on another copy of the same engravings for its model, though extensive modifications were clearly necessary because of the change in format. This set, like most sets of the Stations, was mass-produced, and other replicas can be seen at Mission Soledad and San Juan Bautista. The date of acquisition is only known for the latter, and it is 1818, the same year the printed set arrived at Santa Inés. The originals which the engravings copy are in the church of Santa Maria del Giglio in Venice, Italy, and were painted around the middle of the 18th Century.

It was quite typical that many Stations of the Cross were copied from or based on prints. There is a set of Stations of clearly Indian workmanship now at Mission San Gabriel which had originally been at San Fernando.83 There can be no doubt whatsoever that, rather than being original compositions, these paintings are based on other paintings or on engravings, most

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Victor, lithograph of the 11th Station of the Cross, published by the Widow Turgis, Toulouse and Paris, ca. 1830. Collection of Mission San Miguel. Kurt Baer photograph, courtesy of SBMAL.

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probably the latter. It was previously mentioned that in 1808 there was a set of prints of the Via Crucis at San Fernando, and it was suggested that they were those which had been requested by San Gabriel in 1771 and subsequently replaced by paintings. In that same year the fathers there had requested a book entitled Pintar sin Maestro, o algo semejante: How to Paint without a Teacher, or something like that.84 It would seem logical that not only did the Indian artist or artists use the prints as their model, but that they may also have borrowed the book of instruc- tions. That set of prints disappeared long ago, of course, but, as was pointed out at the beginning of this article, one of the advantages of prints is that they are not unique and one can still hope to find a copy of that set, somewhere.

While speaking of Stations of the Cross and Mission San Gabriel we should mention a set of lithographs which hung on the walls of the mission church until a few years ago. They were produced by the firm of the Widow Turgis in Paris and Tou- louse. They are signed " Victor* ' in the stone, and he is known to have been active in the decade of the 1830s. The prints are labeled in French, Spanish, and English. Just when they came to the mission and why they replaced the painted set is not known, but they could have come as early as the years just before secu- larization.

An identical set used to hang in the church at Mission San Miguel, and other products of this lithographic studio have been found as Stations in Spain and Mexico as well as New Mexico. In fact, they must have dominated the market for Stations of the Cross in much of the Roman Catholic world until they were pushed out by the more showy chromolithographs which usually came from Germany. They can be found in different sizes, both vertical and horizontal, as well as oval, either in black or white or hand colored.

Proof that French lithographs had already arrived in Cali- fornia at the end of mission days is supplied by San José's acquisition of a set of French hand-colored lithographs some time between 1833 and 1840. They survived as late as 1905 when George Wharton James photographed them in a corridor of the Dominican convent behind the mission.85 A recent attempt to find them was unsuccessful. However, a second set of French

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lithographs, stored in the attic at Mission San Gabriel, is identical in size to those mentioned in San Jose's inventory and quite possibly are another set of the same, non-unique works.

It has been suggested that the Indian-painted Stations were based on unbound engravings. In a like manner book illustrations could have served as models for a variety of purpose. There must have been pattern books on which wall decoration was based, but handbooks of architecture also came. In 1803 Carmel received a small book of The Three Orders of Architec- ture** and it is well-known that Santa Barbara still owns a copy of the 1787 Spanish edition of Vitruvius.87 A plate showing an Ionic temple front provided the model for the façade of the mission church,88 and another plate of details served to suggest two types of ornaments for the ceiling of the church.89

This essay has been an attempt to suggest how an up-to-now ignored detail of the material culture of the California missions can contribute a few pieces to help complete the historical jig- saw puzzle that comprises the mission period of California. If nothing else, it may result in the discovery of other prints once used in the missions and save them from being discarded as being without importance.

NOTES

Acknowledgment. This essay was first presented, in a slightly different form, at the February 2, 1983, meeting of the Zamarano Club in Los Angeles.

lCir. Pal Kelemen, Baroque and Rococo in Latin America (New York: The Macmillan Company, 1951), pp. 200-203, 211-212, pls. 20, 138, 139.

2Rosa Camelo Arredondo, Jorge Gurría Lacroix, Constantino Reyes Valerio, Juan Gerson, Tlácuilo de Tecamachalco (México, Instituto Nacional de Antropologia e Historia, 1964). 3For example, the painting of the Death of the Virgin in the Norton Simon Museum

in Pasadena is based on a print by Albrecht Dürer. Francisco de la Maza, El Pintor Cristóbal de Villalpando (México: Instituto Nacional

de Antropología e Historia, 1964), passim. 5Antonine Tibesar, O.F.M., ed., Writings of Junípero Serra (4 vols.; Washington,

D.C.: Academy of Franciscan History, 1956), II: 318-319. 6Fr. Junípero Serra, trans, by Msgr. Vincent Lloyd-Russell, The Founding Document

of Mission San Juan Capistrano (San Juan Capistrano, Calif.: Classic Frame Company, 1976): (entre otras) una estamba del Santo Patron. 7Manuel Romero de Terreros, Grabados y Grabadores en la Nueva España (Mexico:

Ediciones Arte Mexicano, 1948), pp. 5-13, pls. 19-45, 69, 75-81, 89, ИЗ, 119. 8Fray Francisco Atanasio Domínguez, trans, and ed. by Eleanor B. Adams and Fray

Angélico Chavez, The Missions of New Mexico, 1776 (Albuquerque: University of New Mexico Press, 1956).

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4bid., p. 191 (Acoma). 10Ibid., p. 61 (Pojoaque). nIbid., p. 156 (Cochiti). i2Ibid., p. 65 (San Ildefonso). 13Ibid., p. 139. uIbid., p. 167. 4bid., p. 122. l4bid, p. 15. 17E. Boyd, Popular Arts of Spanish New Mexico (Santa Fe: Museum of New Mexico

Press, 1974), pp. 78-95. l8Para la Misión rotulado al Padre Presidente . . . Otro cajoncito con diez láminas y sus

marcos de carey. Archivo General de la Nación, Mexico City, Doc. 50b. Octubre 13, 1769. 19Archivo Histórico de Hacienda, Mexico City, San Fernando, vol. Ill, ff. 21 (Santa

Barbara), 23 (San Buenaventura), 25-26 vso. (San Luis Obispo), 27-28 vso. (San Antonio), 28-29 vso. (San Francisco).

24bid., ff. 24-24 vso. 24bid., ff. 30, 32 vso. 22Ibid., f. 66. «/¿¿¿„ff. 87 vso., 88 vso. 2A300 Estampas de papel de varios Imágenes, de medio pliego. Memoria of 31 marzo 1793. 25 1 Dozena de estampas 3 iluminadas y 3 al humo. Factura of 8 junio 1796. 26 100 Estampas de a medio Pliego surtidas. Memoria oí 30 iulio 1805. 27AHH, Legajo 283, f. 15 vso. 28AHH, San Fernando, vol. Ill, f. 10. 29AHH, Leg. 285, f. 56. 30Í Relicario de plata contiene una estampita. 1851 Inventory of Mission Santa Clara,

Santa Barbara Mission Archive/Library. 3l12 Estampas unas con vidrio y otras sin. 1838 Inventory of Mission San Miguel,

copy in SBMAL. 32Requested in 1771 (1 Calvario de estampas finas, АНН, San Fernando, vol. XII, f. 7),

received in 1774 {un Via Crucis de Estampas finas p.a la Igelsia, Informe, in ibid, ff. 267-268).

33 14 Estampas de Calvario en sus marcos con molduras y sus crucecitas colgadas en la Iglesia. 1 783 Inventory of Mission San Diego, SBMAL. Se guarda en un cajon . . . las Estampas del Calvario para quando haiga Iglesia e que se pongan. San Diego Mission Account Book 1 774-1 784, Bancroft Library.

3A14 láminas de la Pasion. 1834 Inventory of Mission San Diego, SBMAL. 35 Un Calvario bueno con sus buenas estampas de medio pliego, АНН, Leg. 283, f. 61. 36 Un via cruzis pintado en lienzo, Informe 1798, Los Angeles Chancerv Archives. 37 1 Via Sacra de estampas en papel. Libro de Patentes, Mission San Fernando, LACA. 38 14 estaciones del Via Crucis de lámina fina y 14 crucesitas, Informe 1 782, SBMAL. 39Se perdieron la mayor parte de las estampas de papel del Via Crucis, Informe 1787,

SBMAL. *°1 Calvario en estampas. АНН, San Fernando, vol. XVIII, pp. 2-6. 41i Via Crucis en 14 Quadros, АНН, San Fernando, vol. XV, p. 65. A215 Estampas Romanas del Via Crucis. АНН, San Fernando, vol. VIII, p. 15 vso. 432 Via Sacra con marcos negros, con chapetonsitos en las esquinas de latón amarillo,

y sus cristales cada una de ellos. 1851 Inventory of Mission Santa Clara, SBMAL. "3 Juegos de Via Cruets, sin marcos. АНН, San Fernando, vol. XIII, f. 67 vso. **Por 14 lins del via crue3 . . . АНН, San Fernando, vol. XIII, f. 82. **Un Via Sacra de estampas con sus marcos. Informe 1818, SBMAL.

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47 'Las Estampas del Via Cruets. Informe 1818, SBMAL. "Kurt Baer, The Treasures of Mission Santa Inés (Fresno, Calif.: Academy of California

Church History, 1956), pp. 293-294. The artist of the tenth Station was Giuseppe Angeli, and the print was published in Venice in 1778.

49i Via Crucis de estampas de papel come de tercia con marcos de madera ordinaria, y excepto dos marquitos, todos con vidrios ordinarios. 1833 Inventory of Mission San José, SBMAL.

50El via crucis se dio de limosna a S. Solano, pa haber aqui otro mejor. Loe. cit., note. 5lUn viacrucis de estampas francesas como de 3/4 largo 1/2 vara alto con vidriera y marcos

de madera fina, menos las cruzes qe son de madera ordinaria. Loe. cit., additions 1833-40. The 1842 inventory adds that they are de litografías.

52 1 Juego de Estampas grandes de Estac. del Calvario. Factura of 21 enero 1795. 53 Un Viacrucis de buril, cuyas estampas serán como de cuatro pulgadas . . . 1856 (?) Inven-

tory of the Parochial Church of Santa Barbara, SBMAL. 54 Una lamina de Nuestra Señora de los Remedios con su marco de plata de martillo de

mas de 3/4 de alto y su vidriera de cristal. Informe 1 782, SBMAL.

^Informe 1787, SBMAL. 56Nuestra Señora de Monserrate de papel marquilla, marco de madera fina y vidriera . . .

otra pequenita de la Purísima. 1842 Inventory of Mission San Antonio, SBMAL (copy). 57Dos láminas chiquitas la alma de María Santissima y la del Salvador. 1842 Inventory

of Mission San Carlos, SBMAL. 569 cuadros medianos con vidrieras con distintas imágenes. 1835 Inventory of Mission San

Carlos, SBMAL. In the 1842 inventory they are called cuadros chiquitos de papel. 59 Una estampa de papel marco de madera, Santa Elena; Una estampa de papel marco

de madera S. Clara; Una estampa de papel con marco de madera grande La Purísima. 1842 Inventory of Mission San Carlos, SBMAL.

™Una Estampa con el Árbol de Ntro pe Sn Franco. АНН, San Fernando, vol XIII, f. 4. Un árbol del anima de mas de dos varas de la Religion Serafica, Informe 1 774. 1 Cuadro grande de madera con el epilogo de toda la orden serafica en papel. 1835 Inventory of Mission San Carlos, SBMAL.

*lUna lamina de№ Sra de Guadalupe. АНН, Leg. 283, f. 67. 622 laminas de Ma Srna, y S. José. АНН, San Fernando, vol. XIII, f. 78. In the 1835

inventory we learn that these were printed on tin. 632 Cuadros de media caña en papel de Pio Sixto y S. Felix. 1835 Inventory of Mission San

Carlos, SBMAL. 64 Un juego de Estampas de los Papas y Señores Cardinales de nuestra Orden. Informe 1 774.

In the 1835 inventory it is referred to as cuadro de mad. a 65 Un juego de Estampas en papel de marca de todos los Santos de la Orden. Informe 1 774.

In the 1835 inventory it is referred to as cuadro de mad. a 66 Un juego de Estampas de los Rmos. P. Generales de Na Religion. Informe 1774. In the

1835 inventory it is described as 1 cuadro de mad. a de los y una tercia v. de los Generales de la Odn.

67 1 Mapa-mundi. 1835 Inventory of Mission San Carlos, SBMAL. 68i Mapa de España. АНН, San Fernando, vol. Xllln f. 88. 69Dos láminas con sus marcos de madera, tres estampas con marcos de madera, una

estampa grande dos estampas chicas. 1835 Inventory of Mission Santa Cruz, Bancroft Li- brary. 4 láminas. Informe 1840, SBMAL.

70Tres mapas en lienzo. 1835 Inventory of Mission Santa Cruz, Bancroft Library. 71Siete Estampas con los siete Sacramentos. 1834 Inventory of Mission Santa Barbara,

SBMAL. In the 1858 inventory they are described as 7 cuadros de buril de 18 pulg8 alto y 15 de ancho.

72 Una Estampa Romana de Papel con la institución del Sto Sacramento. 1834 Inventory of Mission Santa Barbara, SBMAL.

279


73 Un retrato deFerndo 7° con marco dorado; un vidrio pa. dho. Loc. cit. 74AHH, Leg. 281, f. 40, cuenta 25 agosto 1810. 7ЪРог un juego de estampas de palabrero. АНН, Leg. 281, f. 51, Cuenta, 7 nov. 1810. 76v. supra note 51. 11 6 estampas (poco mas de 1/3) francesas y iluminadas con sus vidrios y marcos dorados.

1833 Inventory of Mission San José, add. 1833-40, SBMAL. 7BLitografia, poco mas de pié de alto y lOpulg5 de ancho qe representa a San Franco Xavier.

1834 Inventory of Mission Santa Barbara, SBMAL. 79 Un cuadro de litografia iluminado a colores, come de un pié de alto, y pié y medio de

ancho que representa a J. G Ntro Sor perdonando a la adultera. 1858 Inventory of Mission Santa Barbara, SBMAL.

^Litografia poco mas de un pié de alto y 10 pulg de ancho qe representa a San Emigdio. 1858 Inventory of Mission Santa Barbara, SBMAL.

"Frederick William Beechey, Narrative of a Voyage to the Pacific and Bering's Strait . ..in the years 1825-1828(2 vols.; London, 1831), 2: 34.

82See note 48, ante. "George Harward Phillips, "Indian Paintings from Mission San Fernando: An His-

torical Interpretation," Journal of California Anthropology, (Summer 1976), 96-114, for bibliography and illustrations, but the text is unreliable.

84AHH,Leg.283.f.61. 85C. С Pierce Photo 4013, TICOR/California Historical Society. 86Ì Libro las 3 reglas de arauitectura. АНН. San Fernando, vol. XIIT f . fi3 vso 87Joseph Ortiz у Sanz, ed., Los Diez Libros de Architectura de M. Vitruvio Polion Tradu-

cido del Latin (Madrid: La Imorenta Real. 1787V *4bid., pl. X. **Ibid, pl. XXXIII.

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the function of prints in the california missions

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