Historical Context

In November 1680, an arch designed by Carlos de Siguenza y Gongora and constructed in the Plaza of Santo Domingo in Mexico City audaciously displayed a central panel depicting the incoming viceroy, Tomas de la Cerda, enthroned on a Mexican eagle and surrounded by ancient Mexica emperors.

Artistic and Cultural Significance

Siguenza's mirror for princes, Teatro de virtudes, curiously and cleverly endows the viceroy with two bodies, one natural and the other immortal and collective.

Thematic Exploration

This book explores the centrality of this royal paradigm in understanding Siguenza's innovative vision of viceregal governance as a socially unifying force.