http://www.loc.gov/mods/v3 http://www.loc.gov/standards/mods/v3/mods-3-2.xsd
"In November 1680, the arch designed by Carlos de Sigüenza y Góngora and constructed in the Plaza of Santo Domingo in Mexico City audaciously displayed on a central panel the painting of the incoming viceroy, Tomás de la Cerda, enthroned on a Mexican eagle, surrounded by ancient Mexica emperors. Sigüenza's mirror for princes, Teatro de virtudes, curiously and cleverly endows the viceroy with two bodies, one natural and the other immortal and collective. The present book explores the centrality of this royal paradigm for understanding Sigüenza's innovative vision of viceregal governance as a socially unifying force"-- Provided by publisher.
Introduction : a multilayered configuration -- Setting the stage : auctorial criollismo -- Dehumanized symbolism or historical authenticity? -- Viceregal incorporation into the Mexica dynasty -- Poetic portrait of viceregal immortality -- The next hero of political virtue -- Sigüenza, an insurrectionist, adulator, or a visionary of peace?