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This learned ecclesiastic whose attention is being directly engaged by both the leftmost putto and the implied gaze of the Virgin on Juan Diego's tilma is generally agreed to be Cabrera himself, the erudite secular priest, whose careful observations and interpretations of the epidemic are recorded in the pages of the printed volume.
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In his left hand, he holds a book in which he writes with a quill pen. 6 On the left of the composition stands a cleric, who leaps out of Troncoso's engraving thanks to the diagonal crosshatching of his garments, which contrasts with the horizontal linear hatching of the building behind him. Yet, in studies of the frontispiece one figure is normally passed over quickly in favor of discussions of the rise of this most important of New World Marian devotions. These were the well-dressed gentlemen who in May 1737 had sought the intercession of the Virgin of Guadalupe to combat the plague, and, after the remission of the pestilence, officially recognized her as the patron of Mexico City, subsequently paying for the printing of Cabrera's account of the events in an act of pious commemoration. 5 In contrast to this scene of human misery, the foreground is occupied by the members of the city council ( cabildo secular). Perhaps the artist agreed with Cabrera that the indios had been justly struck down for their excessive consumption of pulque, a pre-Columbian alcoholic drink made from the maguey plant that was closely associated with disorder and idolatry. 4 Although they represent victims of all ages and both genders, in these highly classicizing figures of plague victims Troncoso does not hint that those of indigenous decent were the most affected by this deadly outbreak of typhus. In the center of the scene lies a bare-breasted women cradling a child who lies face down on the ground, while a half-obscured figure with a hat and walking stick leans on a wall. Flanked by these impressive natural features and man-made structures, a typical depiction of plague victims occupies the middle ground. 3 The mountains in the background, in turn, are reminiscent of the hill of Tepeyac or the mountains that surrounded the Valley of Mexico. The domes on the left evoke both the city's monumental cathedral and the future “collegiate” church of our Lady of Guadalupe, while the brick façade of the church on the right appears to be made of tezontle, a local volcanic rock used in the construction of a number of churches and convents throughout Mexico City.