to follow

Here is a set of essays on Historia general del Piru that discuss not only the manuscript's physical components—quires and watermarks, scripts and pigments—but also its relation to other Andean manuscripts, Inca textiles, European portraits, and Spanish sources and publication procedures. The sum is an unusually detailed and interdisciplinary analysis of the creation and fate of a historical and artistic treasure.

This volume showcases dynamic developments in the field of manuscript research that go beyond traditional textual, iconographic, or codicological studies. Using state-of-the-art conservation technologies, scholars investigate how four manuscripts--the Galvin Mur a, the Getty Mur a, the Florentine Codex, and the Relaci n de Michoac n--were created and demonstrate why these objects must be studied in a comparative context. The forensic study of manuscripts provides art historians, anthropologists, curators, and conservators with effective methods for determining authorship, identifying technical innovations, and contextualizing illustrated histories. This information, in turn, allows for more nuanced arguments that transcend the information that the written texts and painted images themselves provide. The book encourages scholars to think broadly about the manuscripts of colonial Mexico and Peru in the sixteenth and seventeenth centuries and employ new techniques and methods of research.

to follow

Here is a set of essays on Historia general del Piru that discuss not only the manuscript's physical components—quires and watermarks, scripts and pigments—but also its relation to other Andean manuscripts, Inca textiles, European portraits, and Spanish sources and publication procedures. The sum is an unusually detailed and interdisciplinary analysis of the creation and fate of a historical and artistic treasure.

This volume showcases dynamic developments in the field of manuscript research that go beyond traditional textual, iconographic, or codicological studies. Using state-of-the-art conservation technologies, scholars investigate how four manuscripts--the Galvin Mur a, the Getty Mur a, the Florentine Codex, and the Relaci n de Michoac n--were created and demonstrate why these objects must be studied in a comparative context. The forensic study of manuscripts provides art historians, anthropologists, curators, and conservators with effective methods for determining authorship, identifying technical innovations, and contextualizing illustrated histories. This information, in turn, allows for more nuanced arguments that transcend the information that the written texts and painted images themselves provide. The book encourages scholars to think broadly about the manuscripts of colonial Mexico and Peru in the sixteenth and seventeenth centuries and employ new techniques and methods of research.