|Our Lady of Guadalupe|
|Location||Tepeyac Hill, Mexico City|
|Date||December 12, 1531 (on the Julian calendar, which would be December 22 on the Gregorian calendar now in use).|
|Witness||Saint Juan Diego|
|Approval||October 12, 1895 (canonical coronation granted by Pope Leo XIII)|
|Shrine||Basilica of Our Lady of Guadalupe, Tepeyac Hill, Mexico City, Mexico|
The Americas (October 12, 1945)
Cebu (2002 by Ricardo Vidal)
|Attributes||A pregnant woman, eyes downcast, hands clasped in prayer, clothed in a pink tunic robe covered by a cerulean mantle with a black sash, emblazoned with eight-point stars; eclipsing a blazing sun while standing atop a darkened crescent moon, a cherubic angel carrying her train|
Our Lady of Guadalupe (Spanish : Nuestra Señora de Guadalupe), also known as the Virgin of Guadalupe (Spanish : Virgen de Guadalupe), is a Catholic title of the Blessed Virgin Mary associated with a series of five Marian apparitions in December 1531, and a venerated image on a cloak enshrined within the Basilica of Our Lady of Guadalupe in Mexico City. The basilica is the most-visited Catholic shrine in the world, and the world's third most-visited sacred site.
Pope Leo XIII granted the image a decree of a canonical coronation on 8 February 1887 and it was ceremoniously crowned on 12 October 1895.
Catholic accounts provide that the Virgin Mary appeared four times to Juan Diego and once more to his uncle, Juan Bernardino. The first apparition occurred on the morning of Saturday, December 9, 1531 (Julian calendar, which is December 19 on the (proleptic) Gregorian calendar in present use), when it is said that an indigenous Mexican peasant named Juan Diego experienced a vision of a young woman at a place called the Hill of Tepeyac, which later became part of Villa de Guadalupe, in a suburb of Mexico City.[ citation needed ] According to the accounts, the woman, speaking to Juan Diego in his native Nahuatl language (the language of the Aztec Empire), identified herself as the Virgin Mary, "mother of the very true deity". She was said to have asked for a church to be erected at that site in her honor.[ citation needed ] Based on her words, Juan Diego then sought the Archbishop of Mexico City, Fray Juan de Zumárraga, to tell him what had happened. Not unexpectedly, the Archbishop did not believe Diego. Later the same day, Juan Diego again saw the young woman (the second apparition), and she asked him to continue insisting.[ citation needed ]
The next day, Sunday, December 10 (Julian calendar), Juan Diego spoke to the Archbishop a second time. The latter instructed him to return to Tepeyac Hill and to ask the woman for a truly acceptable, miraculous sign to prove her identity. Later that day, the third apparition occurred when Juan Diego returned to Tepeyac; encountering the same woman, he reported to her the Archbishop's request for a sign, which she consented to provide on the next day (December 11).
By Monday, December 11 (Julian calendar), however, Juan Diego's uncle, Juan Bernardino, became ill, which obligated Juan Diego to attend to him. In the very early hours of Tuesday, December 12 (Julian calendar), Juan Bernardino's condition having deteriorated overnight, Juan Diego journeyed to Tlatelolco to get a Catholic priest to hear Juan Bernardino's confession and help minister to him on his deathbed.[ citation needed ]
To avoid being delayed by the Virgin and ashamed at having failed to meet her on Monday as agreed, Juan Diego chose another route around Tepeyac Hill, yet the Virgin intercepted him and asked where he was going (fourth apparition); Juan Diego explained what had happened and the Virgin gently chided him for not having made recourse to her. In the words which have become the most famous phrase of the Guadalupe apparitions and are inscribed above the main entrance to the Basilica of Guadalupe, she asked "¿No estoy yo aquí que soy tu madre?" ("Am I not here, I who am your mother?"). She assured him that Juan Bernardino had now recovered and told him to gather flowers from the summit of Tepeyac Hill, which was normally barren, especially in the cold of December. Juan Diego obeyed her instruction and he found Castilian roses, not native to Mexico, blooming there.[ citation needed ]
The Virgin arranged the flowers in Juan Diego's tilma , or cloak, and when Juan Diego opened his cloak later that day before Archbishop Zumárraga, the flowers fell to the floor, revealing on the fabric the image of the Virgin of Guadalupe.
The next day, December 13 (Julian calendar), Juan Diego found his uncle fully recovered as the Virgin had assured him, and Juan Bernardino recounted that he also had seen her, at his bedside (fifth apparition); that she had instructed him to inform the Archbishop of this apparition and of his miraculous cure; and that she had told him she desired to be known under the title of 'Guadalupe'.[ citation needed ]
The Archbishop kept Juan Diego's mantle, first in his private chapel and then in the church on public display, where it attracted great attention. On December 26, 1531, a procession formed to transfer the miraculous image back to Tepeyac Hill where it was installed in a small, hastily erected chapel.During this procession, the first miracle was allegedly performed when a native was mortally wounded in the neck by an arrow shot by accident during some stylized martial displays performed in honor of the Virgin. In great distress, the natives carried him before the Virgin's image and pleaded for his life. Upon the arrow being withdrawn, the victim fully and immediately recovered.
Juan Diego's tilma has become Mexico's most popular religious and cultural symbol, and has received widespread ecclesiastical and popular veneration. In the 19th century it became the rallying cry of the Spaniards born in America, in what they denominated 'New Spain'. They said they considered the apparitions as legitimizing their own indigenous Mexican origin. They infused it with an almost messianic sense of mission and identity, thereby also justifying their armed rebellion against Spain.
The shrine to Our Lady of Guadalupe in Spain was the most important Marian shrine in the medieval kingdom of Castile. [ citation needed ]It is one of the many dark or black skinned Madonnas in Spain and is revered in the Monastery of Santa María de Guadalupe, in the town of Guadalupe in Extremadura of Spain. Numerous Spanish conquistadors, including Hernán Cortés, came from Extremadura. The name is believed to be derived from the Arabic phrase وادي اللب, "Wad-al-lubb" ("hidden river"), because the river narrows down as it flows near to the town of Guadalupe.
The shrine houses a statue reputed to have been carved by Luke the Evangelist and given to Saint Leander, archbishop of Seville, by Pope Gregory I. According to local legend, when Seville was taken by the Moors in 712, a group of priests fled northward and buried the statue in the hills near the Guadalupe River. At the beginning of the 14th century, the Virgin appeared one day to a humble cowboy named Gil Cordero who was searching for a missing animal in the mountains. [ citation needed ]Cordero claimed that the Virgin Mary had appeared to him and ordered him to ask priests to dig at the site of the apparition. Excavating priests rediscovered the hidden statue and built a small shrine around it which became the great Guadalupe monastery.
Following the Conquest in 1519–1521, the Marian cult was brought to the Americas and Franciscan monks often leveraged syncretism with existing religious beliefs as an instrument for evangelization. What is purported by some to be the earliest mention of the miraculous apparition of the Virgin is a page of parchment, the Codex Escalada , which was discovered in 1995 and, according to investigative analysis, dates from the sixteenth century.This document bears two pictorial representations of Juan Diego and the apparition, several inscriptions in Nahuatl referring to Juan Diego by his Aztec name, and the date of his death: 1548, as well as the year that the then named Virgin Mary appeared: 1531. It also contains the glyph of Antonio Valeriano; and finally, the signature of Fray Bernardino de Sahagun that was authenticated by experts from the Banco de Mexico and Charles E. Dibble.
Scholarly doubts have been cast on the authenticity of the document.
A more complete early description of the apparition occurs in a 16-page manuscript called the Nican mopohua , which was acquired by the New York Public Library in 1880 and has been reliably dated in 1556. This document, written in Nahuatl, but in Latin script, tells the story of the apparitions and the supernatural origin of the image. It was probably composed by a native Aztec man, Antonio Valeriano, who had been educated by Franciscans. The text of this document was later incorporated into a printed pamphlet which was widely circulated in 1649.
In spite of these documents, there are no written accounts of the Guadalupe vision by Catholic clergymen of the 16th century, as there ought to have been if the event had the Christian importance it is said to have had. [ citation needed ]In particular, the canonical account of the vision also features archbishop Juan de Zumárraga as a major player in the story, but, although Zumárraga was a prolific writer, there is nothing in his extant writings that can confirm the indigenous story.
The written record that does exist suggests the Catholic clergy in 16th century Mexico were deeply divided as to the orthodoxy of the native beliefs springing up around the image of Our Lady of Guadalupe, with the Franciscan order (who then had custody of the chapel at Tepeyac) being strongly opposed to the outside groups, while the Dominicans supported it.
The main promoter of the story and those native believers was the Dominican Alonso de Montúfar, who succeeded the Franciscan Juan de Zumárraga as archbishop of Mexico. In a 1556 sermon Montúfar commended popular devotion to "Our Lady of Guadalupe", referring to a painting on cloth (the tilma) in the chapel of the Virgin Mary at Tepeyac, where certain miracles had also occurred. Days later, Fray Francisco de Bustamante, local head of the Franciscan order, delivered a sermon denouncing the native belief and believers. He expressed concern that the Catholic Archbishop was promoting a superstitious regard for an indigenous image:
The devotion at the chapel... to which they have given the name Guadalupe was prejudicial to the Indians because they believed that the image itself worked miracles, contrary to what the missionary friars had been teaching them, and because many were disappointed when it did not.
The next day Archbishop Montúfar opened an inquiry into the matter. At the inquiry, the Franciscans repeated their position that the image encouraged idolatry and superstition, and four witnesses testified to Bustamante's statement that the image was painted by an Indian, with one witness naming him "the Indian painter Marcos". [ citation needed ]This could refer to the Aztec painter Marcos Cipac de Aquino, who was active at that time. But "if he did, he apparently did so without making a preliminary sketches – in itself then seen as a near-miraculous procedure... Cipac may well have had a hand in painting the Image, but only in painting the additions, such as the angel and moon at the Virgin's feet", says Prof. Jody Brant Smith (referring to Philip Serna Callahan's examination of the tilma using infrared photography in 1979).
Ultimately Archbishop Montúfar, himself a Dominican, decided to end Franciscan custody of the shrine. [ citation needed ]From then on the shrine was kept and served by diocesan priests under the authority of the archbishop. Moreover, Archbishop Montúfar authorized the construction of a much larger church at Tepeyac, in which the tilma was later mounted and displayed.
The report of this 1556 inquiry is the most extensive documentation concerning the Virgin of Guadalupe from the 16th century, and it makes no mention of Juan Diego, the miraculous apparition, or any other element from the legend.[ citation needed ]
In the late 1570s, the Franciscan historian Bernardino de Sahagún denounced the cult at Tepeyac and the use of the name "Tonantzin" or to call her Our Lady in a personal digression in his General History of the Things of New Spain, in the version known as the Florentine Codex.[ citation needed ]
At this place [Tepeyac], [the Indians] had a temple dedicated to the mother of the gods, whom they called Tonantzin, which means Our Mother. There they performed many sacrifices in honor of this goddess ... And now that a church of Our Lady of Guadalupe is built there, they also called her Tonantzin, being motivated by those preachers who called Our Lady, the Mother of God, Tonantzin. While it is not known for certain where the beginning of Tonantzin may have originated, but this we know for certain, that, from its first usage, the word refers to the ancient Tonantzin. And it was viewed as something that should be remedied, for their having [native] name of the Mother of God, Holy Mary, instead of Tonantzin, but Dios inantzin. It appears to be a Satanic invention to cloak idolatry under the confusion of this name, Tonantzin.
Sahagún's criticism of the indigenous group seems to have stemmed primarily from his concern about a syncretistic application of the native name Tonantzin to the Catholic Virgin Mary. However, Sahagún often used the same name in his sermons as late as the 1560s.
In the 16th century and probably continuing into the early 17th century, the image was modified by then adding the mandorla-shaped sunburst around the Virgin, the stars on her cloak, the Moon under her feet, and the angel with a folded cloth supporting her—as was determined by an infrared and ocular study of the tilma in 1979.
One of the first printed accounts of the history of the apparitions and image occurs in Imagen de la Virgen Maria, Madre de Dios de Guadalupe , published in 1648 by Miguel Sánchez, a diocesan priest of Mexico City.
Another account is the Codex Escalada, dating from the sixteenth century, a sheet of parchment recording apparitions of the Virgin Mary and the figure of Juan Diego, which reproduces the glyph of Antonio Valeriano alongside the signature of Fray Bernardino de Sahagún. It contains the following glosses: "1548 Also in that year of 1531 appeared to Cuahtlatoatzin our beloved mother the Lady of Guadalupe in Mexico. Cuahtlatoatzin died worthily"
The next printed account was a 36-page tract in the Nahuatl language, Huei tlamahuiçoltica ("The Great Event"), which was published in 1649. This tract contains a section called the Nican mopohua ("Here it is recounted"), which has been already touched on above. The composition and authorship of the Huei tlamahuiçoltica is assigned by a majority of those scholars to Luis Laso de la Vega, vicar of the sanctuary of Tepeyac from 1647 to 1657.Nevertheless, the most important section of the tract, the Nican Mopohua , appears to be much older. It has been attributed since the late 1600s to Antonio Valeriano (c. 1531–1605), a native Aztec man who had been educated by the Franciscans and who collaborated extensively with Bernardino de Sahagún. A manuscript version of the Nican Mopohua, which is now held by the New York Public Library, appears to be datable to the mid-1500s, and may have been the original work by Valeriano, as that was used by Laso in composing the Huei tlamahuiçoltica. Most authorities agree on the dating and on Valeriano's authorship.
On the other hand, in 1666, the scholar Luis Becerra Tanco published in Mexico a book about the history of the apparitions under the name "Origen milagroso del santuario de Nuestra Señora de Guadalupe," which was republished in Spain in 1675 as "Felicidad de Mexico en la admirable aparición de la virgen María de Guadalupe y origen de su milagrosa Imagen, que se venera extramuros de aquella ciudad."In the same way, in 1688, Jesuit Father Francisco de Florencia published La Estrella del Norte de México, giving the history of the same apparitions.
Two separate accounts, one in Nahuatl from Juan Bautista del Barrio de San Juan from the 16th century, [ citation needed ]and the other in Spanish by Servando Teresa de Mier date the original apparition and native celebration on September 8 of the Julian calendar, but it is also said that the Spaniards celebrate it on December 12 instead.
With the help of the Informaciones Jurídicas de 1666 , a Catholic feast day in name of Our Lady of Guadalupe was requested and approved, as well as the transfer of the date of the feast of the Virgin of Guadalupe from September 8 to December 12, the latest date on which the Virgin supposedly appeared to Juan Diego. The initiative to perform them was made by Francisco de Siles who proposed to ask the Church of Rome, a Mass itself with allusive text to the apparitions and stamping of the image, along with the divine office itself, and the precept of hearing a Catholic Mass on December 12, the last date of the apparitions of the Virgin to Juan Diego as the new date to commemorate the apparitions (which until then was on September 8, the birth of the Virgin). [ clarification needed ]
In 1666, the Church in México began gathering information from people who reported having known Juan Diego, and in 1723 a formal investigation into his life was ordered, where more data was gathered to support his veneration. Because of the Informaciones Jurídicas de 1666 in the year 1754, the Sacred Congregation of Rites confirmed the true and valid value of the apparitions, and granted celebrating Mass and Office for the then Catholic version of the feast of Guadalupe on December 12.
These published documental accounts of the origin of the image already venerated in Tepeyac, then increased interest in the identity of Juan Diego, who was the original recipient of the prime vision. A new Catholic Basilica church was built to house the image. Completed in 1709, it is now known as the Old Basilica.[ citation needed ]
The image had originally featured a 12-point crown on the Virgin's head, but this disappeared in 1887–88. The change was first noticed on February 23, 1888, when the image was removed to a nearby church.Eventually a painter confessed on his deathbed that he had been instructed by a clergyman to remove the crown. This may have been motivated by the fact that the gold paint was flaking off of the crown, leaving it looking dilapidated. But according to the historian David Brading, "the decision to remove rather than replace the crown was no doubt inspired by a desire to 'modernize' the image and reinforce its similarity to the nineteenth-century images of the Immaculate Conception which were exhibited at Lourdes and elsewhere... What is rarely mentioned is that the frame which surrounded the canvas was adjusted to leave almost no space above the Virgin's head, thereby obscuring the effects of the erasure."
A different crown was installed to the image. On February 8, 1887, a Papal bull from Pope Leo XIII granted permission a Canonical Coronation of the image, which occurred on October 12, 1895.Since then the Virgin of Guadalupe has been proclaimed "Queen of Mexico", "Patroness of the Americas", "Empress of Latin America", and "Protectress of Unborn Children" (the latter two titles given by Pope John Paul II in 1999). Under this title, she was also proclaimed "Heavenly Patroness of the Philippines" on July 16, 1935, by Pope Pius XI both witnessed and signed by Cardinal Eugenio Pacelli, a designation he later rescinded on September 12, 1942, upon becoming Pope Pius XII.
On March 25, 1966, Pope Paul VI presented a Golden Rose to the sacred image. Finally, under Pope John Paul II the move to beatify Juan Diego intensified. John Paul II took a special interest in non-European Catholics and saints. During his leadership, the Congregation for the Causes of Saints declared Juan Diego "venerable" (in 1987), and the pope himself announced his beatification on May 6, 1990, during a Mass at the Basilica of Our Lady of Guadalupe in Mexico City, declaring him "protector and advocate of the indigenous peoples," with December 9 established as his feast day.[ citation needed ]
At that time historians revived doubts as to the quality of the evidence regarding Juan Diego. The writings of bishop Zumárraga, into whose hands Juan purportedly delivered the miraculous image, did not refer to him or the event. The record of the 1556 ecclesiastical inquiry omitted him, and he was not mentioned in documentation before the mid-17th century. In 1996 the 83-year-old abbot of the Basilica of Guadalupe, Guillermo Schulenburg, was forced to resign following an interview published in the Catholic magazine Ixthus, in which he was quoted as saying that Juan Diego was "a symbol, not a reality", and that his canonization would be the "recognition of a cult. It is not recognition of the physical, real existence of a person."In 1883 Joaquín García Icazbalceta, historian and biographer of Zumárraga, in a confidential report on the Lady of Guadalupe for Bishop Labastida, had been hesitant to support the story of the vision. He concluded that Juan Diego had not existed.
In 1995, Father Xavier Escalada, a Jesuit whose four volume Guadalupe encyclopedia had just been published, announced the existence of a sheet of parchment (known as Codex Escalada ), which bore an illustrated account of the vision and some notations in Nahuatl concerning the life and death of Juan Diego. Previously unknown, the document was dated 1548. It bore the signatures of Antonio Valeriano and Bernardino de Sahagún, which are considered to verify its contents. The codex was the subject of an appendix to the Guadalupe encyclopedia, published in 1997.Some scholars remained unconvinced, one describing the discovery of the Codex as "rather like finding a picture of St. Paul's vision of Christ on the road to Damascus, drawn by St. Luke and signed by St. Peter."
In the earliest account of the apparition, the Nican Mopohua , the Virgin de Guadalupe, later called as if the Virgin Mary tells Juan Bernardino, the uncle of Juan Diego, that the image left on the tilma is to be known by the name "the Perfect Virgin, Holy Mary of Guadalupe."
The Virgin of Guadalupe is a core element of Mexican identity and with the rise of Mexican nationalism and indigenist ideologies, there have been numerous efforts to find a pre-Hispanic origin in the cult, to the extreme of attempting to find a Nahuatl etymology to the name. This explains why the original Our Lady of Guadalupe, Extremadura, whose cult had been important in Spain in the 16th century and had been brought to the New World with the Spanish conquest, is rarely mentioned or discussed in Mexico.[ citation needed ]
The first theory to promote a Nahuatl origin was that of Luis Becerra Tanco. [ citation needed ]In his 1675 work Felicidad de Mexico, Becerra Tanco said that Juan Bernardino and Juan Diego would not have been able to understand the name Guadalupe because the "d" and "g" sounds do not exist in Nahuatl.
He proposed two Nahuatl alternative names that sound similar to "Guadalupe", Tecuatlanopeuh [tekʷat͡ɬaˈnopeʍ] , which he translates as "she whose origins were in the rocky summit", and Tecuantlaxopeuh [tekʷant͡ɬaˈʃopeʍ] , "she who banishes those who devoured us."
Ondina and Justo González suggest that the name is a Spanish version of the Nahuatl term, Coātlaxopeuh [koaːt͡ɬaˈʃopeʍ] , which they interpret as meaning "the one who crushes the serpent," and that it may seem to be referring to the feathered serpent Quetzalcoatl. In addition, the Virgin Mary was portrayed in European art as crushing the serpent of the Garden of Eden.
According to another theory the juxtaposition of Guadalupe and a snake may indicate a nexus with the Aztec goddess of love and fertility, Tonantzin (in Nahuatl, "Our Revered Mother"), who was also known by the name Coatlícue ("The Serpent Skirt"). This appears to be borne out by the fact that this goddess already had a temple dedicated to her on the very Tepeyac Hill where Juan Diego had his vision, the same temple which had recently been destroyed at the behest of the new Spanish Catholic authorities. In the 16th century the Franciscans were suspicious that the followers of Guadalupe showed, or was susceptible to, elements of syncretism, i.e. the importation of an object of reverence in one belief system into another (see above).[ citation needed ]
The theory promoting the Spanish origin of the name says that:
The portrait was executed on a fabric support of natural material constituted by two pieces (originally three) joined. The join is clearly visible as a seam passing from top to bottom, with the Virgin's face and hands and the head of the angel on the left piece. It passes through the left wrist of the Virgin. The fabric is mounted on a large metal sheet to which it has been glued for some time.The image, currently set in a massive frame protected behind bullet-proof glass, hangs inclined at a slight angle on the wall of the basilica behind the altar. At this point, there is a wide gap between the wall and the sanctuary facilitating closer viewing from moving walkways set on the floor beneath the main level of the basilica, carrying people a short distance in either direction. Viewed from the main body of the basilica, the image is located above and to the right of the altar and is retracted at night into a small vault (accessible by steps) set into the wall. An intricate metal crown designed by the painter Salomé Pina according to plans devised by Rómulo Escudero and Pérez Gallardo, and executed by the Parisian goldsmith, Edgar Morgan, is fixed above the image by a rod, and a massive Mexican flag is draped around and below the frame.
The nature of the fabric is discussed below. Its measurements were taken by José Ignacio Bartolache on December 29, 1786, in the presence of José Bernardo de Nava, a public notary: height 170 cm (67 in), width 105 cm (41 in). The original height (before it was first shielded behind glass in the late 18th century, at which time the unpainted portion beyond the Virgin's head must have been cut down) was 229 cm (90 in).
Neither the fabric ("the support") nor the image (together, "the tilma") has been analyzed using the full range of resources now available to museum conservators. Four technical studies have been conducted so far. Of these, the findings of at least three have been published. Each study required the permission of the custodians of the tilma in the Basilica. However, Callahan's study was taken at the initiative of a third party: the custodians did not know in advance what his research would reveal.
Summary conclusions ("contra" indicates a contrary finding)
Religious imagery of Our Lady of Guadalupe appears in Roman Catholic parishes, especially those with Latin American heritage.In addition, due to the growth of Hispanic communities in the United States, religious imagery of Our Lady of Guadalupe has started appearing in some Anglican, Lutheran, and Methodist churches. Additionally, Our Lady of Guadalupe is venerated by some Mayan Orthodox Christians in Guatemala.
The iconography of the Virgin is fully Catholic:Miguel Sánchez, the author of the 1648 tract Imagen de la Virgen María, described her as the Woman of the Apocalypse from the New Testament's Revelation 12:1, "clothed with the sun, and the moon under her feet, and upon her head a crown of twelve stars." She is described as a representation of the Immaculate Conception.
Virgil Elizondo says the image also had layers of meaning for the indigenous people of Mexico who associated her image with their polytheistic deities, which further contributed to her popularity.Her blue-green mantle was the color reserved for the divine couple Ometecuhtli and Omecihuatl; her belt is interpreted as a sign of pregnancy; and a cross-shaped image, symbolizing the cosmos and called nahui-ollin, is inscribed beneath the image's sash. She was called "mother of maguey," the source of the sacred beverage pulque. Pulque was also known as "the milk of the Virgin." The rays of light surrounding her are seen to also represent maguey spines.
Nuestra Señora de Guadalupe became a recognized symbol of Catholic Mexicans. Miguel Sánchez, the author in 1648 of the first published account of the vision, identified Guadalupe as Revelation's Woman of the Apocalypse, and said:
... this New World has been won and conquered by the hand of the Virgin Mary ... [who had] prepared, disposed, and contrived her exquisite likeness in this, her Mexican land, which was conquered for such a glorious purpose, won that there should appear so Mexican an image.
Throughout the Mexican national history of the 19th and 20th centuries, the Guadalupan name and image have been unifying national symbols; the first President of Mexico (1824–1829) changed his name from José Miguel Ramón Adaucto Fernández y Félix to Guadalupe Victoria in honor of the Virgin of Guadalupe.Father Miguel Hidalgo, in the Mexican War of Independence (1810), and Emiliano Zapata, in the Mexican Revolution (1910), led their respective armed forces with Guadalupan flags emblazoned with an image of Our Lady of Guadalupe. In 1999, the Church officially proclaimed her the Patroness of the Americas, the Empress of Latin America, and the Protectress of Unborn Children.
In 1810, Miguel Hidalgo y Costilla initiated the bid for Mexican independence with his Grito de Dolores , with the cry "Death to the Spaniards and long live the Virgin of Guadalupe!" When Hidalgo's mestizo-indigenous army attacked Guanajuato and Valladolid, they placed "the image of the Virgin of Guadalupe, which was the insignia of their enterprise, on sticks or on reeds painted different colors" and "they all wore a print of the Virgin on their hats."After Hidalgo's death, leadership of the revolution fell to a mestizo priest named José María Morelos, who led insurgent troops in the Mexican south. Morelos adopted the Virgin as the seal of his Congress of Chilpancingo, inscribing her feast day into the Chilpancingo constitution and declaring that Guadalupe was the power behind his victories:
New Spain puts less faith in its own efforts than in the power of God and the intercession of its Blessed Mother, who appeared within the precincts of Tepeyac as the miraculous image of Guadalupe that had come to comfort us, defend us, visibly be our protection.
Simón Bolívar noticed the Guadalupan theme in these uprisings, and shortly before Morelos's execution in 1815 wrote: "the leaders of the independence struggle have put fanaticism to use by proclaiming the famous Virgin of Guadalupe as the queen of the patriots, praying to her in times of hardship and displaying her on their flags... the veneration for this image in Mexico far exceeds the greatest reverence that the shrewdest prophet might inspire."
In 1912, Emiliano Zapata's peasant army rose out of the south against the government of Francisco Madero. Though Zapata's rebel forces were primarily interested in land reform—"tierra y libertad" ('land and liberty') was the slogan of the uprising—when his peasant troops penetrated Mexico City, they carried Guadalupan banners.More recently, the contemporary Zapatista National Liberation Army (EZLN) named their "mobile city" in honor of the Virgin: it is called Guadalupe Tepeyac. EZLN spokesperson Subcomandante Marcos wrote a humorous letter in 1995 describing the EZLN bickering over what to do with a Guadalupe statue they had received as a gift.
Harringon argues that: The Aztecs... had an elaborate, coherent symbolic system for making sense of their lives. When this was destroyed by the Spaniards, something new was needed to fill the void and make sense of New Spain ... the image of Guadalupe served that purpose.
Hernán Cortés, the Conquistador who overthrew the Aztec Empire in 1521, was a native of Extremadura, home to Our Lady of Guadalupe. By the 16th century, the Extremadura Guadalupe, a statue of the Virgin said to be carved by Saint Luke the Evangelist, was already a national icon. It was found at the beginning of the 14th century, when the Virgin appeared to a humble shepherd and ordered him to dig at the site of the apparition. The recovered Virgin then miraculously helped to expel the Moors from Spain, and her small shrine evolved into the great Guadalupe monastery.
According to the traditional account, the name of Guadalupe, as the name was heard or understood by Spaniards, was chosen by the Virgin herself when she appeared on the hill outside Mexico City in 1531, ten years after the Conquest.
Guadalupe continues to be a mixture of the cultures which blended to form Mexico, both racially and religiously,"the first mestiza", or "the first Mexican", "bringing together people of distinct cultural heritages, while at the same time affirming their distinctness." As Jacques Lafaye wrote in Quetzalcoatl and Guadalupe, "as the Christians built their first churches with the rubble and the columns of the ancient pagan temples, so they often borrowed pagan customs for their own cult purposes." The author Judy King asserts that Guadalupe is a "common denominator" uniting Mexicans. Writing that Mexico is composed of a vast patchwork of differences—linguistic, ethnic, and class-based—King says "The Virgin of Guadalupe is the rubber band that binds this disparate nation into a whole." The Mexican novelist, Carlos Fuentes, once said that "you cannot truly be considered a Mexican unless you believe in the Virgin of Guadalupe." Nobel Literature laureate Octavio Paz wrote in 1974 that "The Mexican people, after more than two centuries of experiments and defeats, have faith only in the Virgin of Guadalupe and the National Lottery."
One notable reference in literature to La Virgen of Guadalupe and her predecessor, the Aztec Earth goddess Tonantzin, is in Sandra Cisneros' short story "Little Miracles, Kept Promises", from her collection Woman Hollering Creek and Other Stories (1991). Cisneros' story is constructed out of brief notes that people give Our Lady of Guadalupe in thanks for favors received, which in Cisneros' hands becomes a portrait of an extended Chicano community living throughout Texas. "Little Miracles" ends with an extended narrative (pp. 124–129) of a feminist artist, Rosario "Chayo" de León, who at first didn't allow images of La Virgen de Guadalupe in her home because she associated her with subservience and suffering, particularly by Mexican women. But when she learns that Guadalupe's shrine is built on the same hill in Mexico City that had a shrine to Tonantzin, the Aztec Earth goddess and serpent destroyer, Chayo comes to understand that there's a deep, syncretic connection between the Aztec goddess and the Mexican saint; together they inspire Chayo's new artistic creativity, inner strength, and independence. In Chayo's words, "I finally understood who you are. No longer Mary the mild, but our mother Tonantzin. Your church at Tepeyac built on the site of her temple" (128).
Our Lady of Guadalupe, Juan Diego, and the tilma have been investigated through film several times, including in the 2013 documentary The Blood & The Rose, directed by Tim Watkins.Documentarians have been portraying the message of Our Lady of Guadalupe since the 1990s, in an attempt to bring the message of the apparition to the North American audience.
Several Pontiffs have honored the image, specifically:
Catholic sources attest that the original image has many miraculous and supernatural properties, including that the tilma has maintained its structural integrity for approximately 500 years despite exposure to soot, candle wax, incense, constant manual veneration by devotees, the historical fact that the image was displayed without any protective glass for its first 115 years, while replicas normally endure for only circa 15 years before degrading,and that it repaired itself with no external assistance after a 1791 accident in which nitric acid was spilled on its top right, causing considerable damage but leaving the aureola of the Virgin intact.
Furthermore, on November 14, 1921, a bomb hidden within a basket of flowers and left under the tilma by an anti-Catholic secularist exploded and damaged the altar of the Basilica that houses the original image, but the tilma was unharmed. A brass standing crucifix, bent by the explosion, is now preserved at the shrine's museum and is believed to be miraculous by devotees.
In 1929 and 1951 photographers said they found a figure reflected in the Virgin's eyes; upon inspection they said that the reflection was tripled in what is called the Purkinje effect, commonly found in human eyes.An ophthalmologist, Dr. Jose Aste Tonsmann, later enlarged an image of the Virgin's eyes by 2500x and said he found not only the aforementioned single figure, but images of all the witnesses present when the tilma was first revealed before Zumárraga in 1531, plus a small family group of mother, father, and a group of children, in the center of the Virgin's eyes, fourteen people in all.
In 1936 biochemist Richard Kuhn reportedly analyzed a sample of the fabric and announced that the pigments used were from no known source, whether animal, mineral, or vegetable.According to The Wonder of Guadalupe by Francis Johnston, this was requested by Professor Hahn and Professor Marcelino Junco, retired professor of organic chemistry at the National University of Mexico. This has been taken as further evidence of the tilma's miraculous nature. In late 2019, investigators from The Higher Institute of Guadalupano Studies concluded that there was no evidence Kuhn ever investigated the Lady of Guadalupe or made the statement attributed to him.
Dr. Philip Serna Callahan, who photographed the icon under infrared light, declared from his photographs that portions of the face, hands, robe, and mantle had been painted in one step, with no sketches or corrections and no visible brush strokes.
The shrine of the Virgin of Guadalupe is the most visited Catholic pilgrimage destination in the world. Over the Friday and Saturday of December 11 to 12, 2009, a record number of 6.1 million pilgrims visited the Basilica of Guadalupe in Mexico City to commemorate the anniversary of the apparition.
The Virgin of Guadalupe is considered the Patroness of Mexico and the Continental Americas; she is also venerated by Native Americans, on the account of the devotion calling for the conversion of the Americas. Replicas of the tilma can be found in thousands of churches throughout the world, and numerous parishes bear her name.[ citation needed ]
Due to a belief that her black girdle indicates pregnancy on the image, the Blessed Virgin Mary, under this title is popularly invoked as Patroness of the Unborn and a common image for the Pro-Life movement.[ citation needed ]
In Nahuatl, Tonantzin is a title composed of to- "our" + nān "mother" + -tzin "(honorific suffix)". When addressing Tonantzin directly, males use the suffixed vocative form Tonāntziné  while females use the unsuffixed vocative form Tonāntzín 
Our Lady of the Pillar is the name given to the Blessed Virgin Mary in the context of the traditional belief that Mary, while living in Jerusalem, supernaturally appeared to the Apostle James the Greater in AD 40 while he was preaching in what is now Spain. Those who adhere to this belief consider this appearance to be the only recorded instance of Mary exhibiting the mystical phenomenon of bilocation. Among Catholics, it is also considered the first Marian apparition, and unique because it happened while Mary was still living on Earth.
The Basilica of Our Lady of Guadalupe is a Roman Catholic church, basilica, and National shrine of Mexico which houses the cloak containing the image of Our Lady of Guadalupe. The 1709 shrine was built in the North of Mexico City near the hill of Tepeyac, where the Virgin Mary is believed to have appeared to Saint Juan Diego Cuauhtlatoatzin. The basilica structure which now contains Juan Diego's cloak was completed in 1974.
Luis Laso de la Vega was a 17th-century Mexican priest and lawyer. He is known chiefly as the author of the Huei tlamahuiçoltica, an account published in 1649 and written in the Nahuatl language, which contains a narrative describing the reported apparition of the Virgin Mary before Saint Juan Diego in 1531, some 117 years earlier. The account describes the appearance of the apparition now known as Our Lady of Guadalupe to Juan Diego at the hill of Tepeyac.
Juan Diego Bernardino was one of two Aztec peasants alleged to have had visions of the Virgin Mary as Our Lady of Guadalupe in 1531.
Huei Tlamahuiçoltica is a tract in Nahuatl comprising 36 pages and was published in Mexico City, Mexico in 1649 by Luis Laso de la Vega, the vicar of the chapel of Our Lady of Guadalupe at Tepeyac outside the same city. In the preface Luis Laso de la Vega claimed authorship of the whole work, but this claim is the subject of an ongoing difference of scholarly opinion.
The Stradanus engraving is a 1615 or 1621 engraving that was used to print certificates of indulgences of forty days' remission of sins from Juan Pérez de la Serna, then Archbishop of Mexico. The certificates were given to people who donated money to finance the construction of the new sanctuary of Tepeyac, consecrated in 1622, which later became the Basilica of Guadalupe. Its actual title is Virgen de Guadalupe con escenas de ocho milagros, but the term "Stradanus engraving" is used by Guadalupan researchers.
Tepeyac or the Hill of Tepeyac, historically known by the names Tepeyacac and Tepeaquilla, is located inside Gustavo A. Madero, the northernmost delegación or borough of Mexico City. According to the Catholic tradition, it is the site where Saint Juan Diego met the Virgin of Guadalupe in December 1531, and received the iconic image of the Lady of Guadalupe. The Basilica of Our Lady of Guadalupe located there is one of the most visited Catholic shrines in the world. Spanish colonists erected a Catholic chapel at the site, Our Lady of Guadalupe, "the place of many miracles."
Miguel Sánchez (1594–1674) was a Novohispanic priest, writer and theologian. He is most renowned as the author of the 1648 publication Imagen de la Virgen María, a description and theological interpretation of an apparition to Juan Diego of the Virgin Mary as Our Lady of Guadalupe which is the first published narrative of the event. The precise nature of the cult before that date and whether the tradition as to the apparition dates back to 1531, constitute a vexed historical problem. The existence of a cult of the Virgin Mary at a chapel at Tepeyac, focussed on a painted cult image of the Virgin and enjoying a reputation for miraculous healing, was certainly established by 1556. Professor Brading, a scholar of Mexican history, noted of Sánchez: "even if he did not initiate the devotion, he determined the manner in which the image was exalted and justified."
Codex Escalada is a sheet of parchment on which there have been drawn, in ink and in the European style, images depicting the Marian apparition of Our Lady of Guadalupe to Juan Diego which allegedly occurred on four separate occasions in December 1531 on the hill of Tepeyac north of central Mexico City. If authentic, and if correctly dated to the mid-16th century, the document fills a gap in the documentary record as to the antiquity of the tradition regarding those apparitions and of the image of the Virgin associated with the fourth apparition which is venerated at the Basilica of Guadalupe. The parchment first came to light in 1995, and in 2002 was named in honour of Fr. Xavier Escalada S.J. who brought it to public attention and who published it in 1997.
Coatlaxopeuh is a word proposed by father Mariano Jacobo Rojas of Tepoztlán as a possible Nahuatl origin of the word Guadalupe, the appellation of the Virgin of Guadalupe. The suggestion of a Nahuatl etymology for the Virgin's name was part of the Mexican indigenista debates of the mid 20th century, in which prominent intellectuals reinterpreted Mexican history with a renewed emphasis on the nation's indigenous heritage. In addition to coatlaxopeuh many other proposed Nahuatl etymologies of Guadalupe have been suggested, but in the devotional literature coatlaxopeuh remains the most accepted.
The Basilica of Guadalupe or Santuario de Nuestra Señora de Guadalupe, has a fifty five gold crowns inside. is a Roman Catholic church located in the metropolitan area of Monterrey, Nuevo León, Mexico. Standing in the neighborhood of Colonia Independencia, just outside the city's downtown area, the temple is one of the larger Church edifices in northern Mexico. It is dedicated to Virgin Mary in her guise as Our Lady of Guadalupe, the Patroness of America, who appeared to St Juan Diego on Tepeyac Hill outside Mexico City in 1531.
Antonio Valeriano was a colonial Mexican, Nahua scholar and politician. He was a collaborator with fray Bernardino de Sahagún in the creation of the twelve-volume General History of the Things of New Spain, the Florentine Codex, He served as judge-governor of both his home, Azcapotzalco, and of Tenochtitlan, in Spanish colonial New Spain.
Roman Marian churches are religious buildings dedicated to the veneration of the Blessed Virgin Mary. These churches were built throughout the history of the Catholic Church, and today they can be found on every continent including Antarctica. The history of Marian church architecture tells the unfolding story of the development of Roman Catholic Mariology.
Informaciones Jurídicas de 1666 is a Spanish document that helped support the apparition of the Virgin Mary to Juan Diego Cuauhtlatoatzin at the hill of Tepeyac in 1531. The apparition is also known today as the iconic Virgin of Guadalupe. The Proceedings of 1666 consist of a series of investigations, record examinations, testimonies from artists, physicians, and Aztec historians, and oral accounts from elderly men and women who had knowledge and experience with Juan Diego and his contemporaries.
Lisa Sousa is an American academic historian active in the field of Latin American studies. A specialist in the colonial-era history of Latin America and of Colonial Mexico in particular, Sousa is noted for her research, commentary, and translations of colonial Mesoamerican literature and Nahuatl-language historical texts. She has also published research on historical and contemporary indigenous peoples in Mexico, the roles of women in indigenous societies and cultural definitions of gender. Sousa is a Full Professor in the History Department at Occidental College in Los Angeles, California.
Juan Diego Cuauhtlatoatzin, also known as Juan Diego, was a Chichimec peasant and Marian visionary. He is said to have been granted apparitions of the Virgin Mary on four occasions in December 1531: three at the hill of Tepeyac and a fourth before don Juan de Zumárraga, then bishop of Mexico. The Basilica of Our Lady of Guadalupe, located at the foot of Tepeyac, houses the cloak (tilmahtli) that is traditionally said to be Juan Diego's, and upon which the image of the Virgin is said to have been miraculously impressed as proof of the authenticity of the apparitions.
Tepeyac is a 1917 film directed by José Manuel Ramos, Carlos E. Gonzáles and Fernando Sáyago rescued by Aurelio de los Reyes and restored by National Autonomous University of Mexico.
The Church of Our Lady of Guadalupe known locally as La Iglesia de Nuestra Senora de Guadalupe, is a Catholic place of worship in Puerto Vallarta on the Pacific Coast of Mexico. It is open daily, with services in English available on Saturdays and mass in both Spanish and English on Sundays. The Church, built between 1930 and 1940, was constructed on the original foundations of a chapel initially dedicated to Lady Guadalupe in 1901. The Church is dedicated to Our Lady of Guadalupe, also known as the Virgin Mary. She is the patron saint of Mexico and is considered a religious symbol of Catholic faith and female empowerment. Her feast day on 12 December is also the date of her first apparition. To celebrate this festival (fiesta), many individuals in the Mexican community display altars in their homes consisting of a painting of Our Lady of Guadalupe surrounded by flowers, candles, and other individual touches. During this time, members of many churches, including the church in Puerto Vallarta, light fireworks after the evening rosary leading up to the 12th of December, the day in 1531 that La Virgen de Guadalupe had her first interaction with a Mexican man named Juan Diego, which essentially established Catholicism in Mexico. She is depicted as a dark-skinned woman whose dialect is Nahuatl, which is Juan Diego's native language. Originally classified as a symbol of religion and faith, her significance in current times surpasses her role in Catholicism. Today, some see her as a figure of Mexican patriotism and liberation.
Our Lady of Guadalupe Parish Church, designated as the Diocesan Shrine of Our Lady of Guadalupe of the Roman Catholic Diocese of San Pablo, is the only Roman Catholic Church in Pagsanjan, Laguna, Philippines, and the oldest church in the Philippines under the patronage of Our Lady of Guadalupe. It is home to the patroness of Pagsanjan, Our Lady of Guadalupe, whose image was a gift from Mexico.
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