A large painted panorama of the city of Cuzco, Peru, presents the disastrous earthquake that struck the city in 1650 as a unifying vision of civic response. However, differences between its inscription and pictorial narrative divide two religious images that are responsible for miraculous intervention: a painting of the Virgin that boasts a Spanish pedigree and documented miracles, and a life-size sculpted crucifix whose origins are enshrouded in legend. By memorializing the material presence of these two images, the earthquake painting allows Cuzqueños to subvert the Spanish narrative of the Virgin and highlight the crucifix as protector.
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Thesis
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