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The stylistic traits of Miera y Pacheco’s work include the following: 35 1. Most panels and carvings are painted in oil paints. 2. The gesso base is smooth. 3. Bultos are well carved, in a more baroque style than later santeros; the fingers and hands are well articulated. The necks of the figures are short and somewhat truncated. 4. The use of gilding, or estofado, is prominent on bultos. 5. Both carvings and retablos are generally on a large scale. 6. Images are usually carved from one piece of wood, and the torsos are of stocky proportions.

Adams, “The Chapel and Cofradia of Our Lady of Light in Santa Fe,” New Mexico Historical Review 22 (1947): 327–41. 30. Thomas J. : Ancient City Press, 1994), 30. 25. Pal Kelemen, Vanishing Art of the Americas (New York: Walker, 1977). 32. 8. 28. Kelemen, Vanishing Art. 29. Adams and Chavez, Missions. 31. William Wroth, in Hispanic Arts and Ethnohistory in the Southwest, eds. : Ancient City Press, 1983), 286. Chapter Three The Early Santero and His Role in the Churches FRAY ANDRES GARCIA (1760–1799) Fray Andres Garcia, a Franciscan friar who served at a number of New Mexican churches in the late eighteenth century, was born in 1720 at Puebla de los Angeles in Mexico.

1954), 54. 12. The late Dr. Myra Ellen Jenkins was also struck by the lack of documentary information about any specific role played by women. Her essay documented the lives of four women who were involved in real estate transactions in the eighteenth century and the social economic condition of New Mexico. “Some 18th Century Women of Property,” in Hispanic Arts and Ethnohistory in the Southwest, eds. : Ancient City Press, 1982), 335–45. 13. : Taylor Museum, 1979), 55. 18. : Academy of American Franciscan History, 1957), 7.

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