Religious Pluralism, Democracy, and the Catholic Church in Latin America (review)
daily" feature of religious life (p. 35). These two studies make a useful accompaniment to other recent research and performances of theatrical Xavieriana. The chapter on festivals celebrating the beatification of Ignatius and Francis makes a significant contribution to the study of ephemeral activities in the Baroque world, and should be read alongside the scholarship on the activities of viceregal poets Sor Juana Ines de la Cruz and Luis de Gongora, as well as works on Jesuit ephemera like Jeffrey Muller's study of the 1640 Jesuit centenary celebrations. Maria Cristina Osswald gives us an important overview of the origins of Xavier iconography in Portugal, including the famous painted series of his life at Sao Roque in Lisbon, and Gabriela Torres Olleta looks at Xavier's afterlife in prints, although neither article considers recent work by Midori Wakakuwa, who has assembled a more thorough series of imagery and worked out a sophisticated chronology for an inconsistent iconographic tradition that was never as enthusiastically promoted by die Society as that of Ignatius of Loyola.