Listening in Detail: Performances of Cuban Music by Alejandra T. Vázquez (review)
Morrill then examines the image of the “wild man,” the civilized vs. the uncivilized, in the murals. Father Tomás seems to have given the Amerindian artists great latitude in the programmatic details, which makes all the more interesting the opportunity to study how they may have internalized the notion of Christian civility. Throughout these chapters, Morrill observes painted details that come from preconquest Mexica and Mixtec religious iconography. This is particularly evident in the interspersing of animals between the processional images of sibyls and virtues, where they are used as moralistic emblems. The end result of Morrill’s work is a thoughtful exposé of two pictorial cycles evidencing tireless archival research and great theological acumen.