VIRREINATO DE PERÚ, PP. SIGLO XVIIILa flota Eucarística

Oil on canvas. 126 x 250 cm. PROVENANCE: Former Boza Vega León collection, by inheritance to Guillermo Boza Vega León, Lima (until 1986). Collection of Francisco de Antequera y Arce, Spanish Ambassador to Ecuador (Quito and Buenos Aires, 1986- 2003). Private collection, Buenos Aires (2003-present). EXHIBITIONS Museu Nacional d "Art de Catalunya (May 25 - August 15, 2004), Peru; Indigenous and Viceroyalty, Barcelona, Madrid, National Library (October 22, 2004-January 9, 2005), Peru; Indigenous and Viceroyalty, Barcelona. Washington, D.C., National Geographic Museum at Explorers Hall (Feb. 25 - May 30, 2005), Peru; Indigenous and Viceroyalty, Barcelona. BIBLIOGRAPHY: Various Authors: Peru Indígena y Virreinal Sociedad Estatal para la acción cultural exterior,SEACEX, 2004, p. 232, fig. 239 (illustrated). See: file:///C:/Users/USERS/USER/Downloads/Peruindigenayvirreinal_b2.pdf López de Guzmán, Rafael: Religiosidad andaluza en América, repertorio iconográfico, Granada, 2017, p. 19, fig.7 (illustrated). (See: https://editorial.ugr.es/media/ugr/files/sample-136781.pdf The symbolic use of the boat or ship in relation to the Church goes back to the earliest times of Christianity, both in literature and art. The "Ship of the Church," guided by St. Peter or Jesus Christ and with prominent figures such as the Virgin Mary or Solomon on board, is mentioned in Proverbs 30:14: "Navis institoris de longe portans panem suum" (it is as a merchant's ship brings his bread from afar). This symbol justifies the ecumenical mission of the Church and the spread of Christianity through a voyage that encompasses new territories. The Ship of the Church also represents other religious and moral symbolism, such as regeneration after the universal flood and divine protection in confrontations against infidels, exemplified by the Virgin of the Rosary in the naval battle of Lepanto, who is considered the patron saint of the Spanish Navy. These metaphors are reflected in art, especially in the "Eucharistic Ship", supported by the Proverbs of Solomon. The Sacred Form becomes a spiritual commodity, symbolizing its export to new lands during the catechization of the indigenous people. The galleons of the Carrera de Indias, normally commanded by military commanders, are under the protection of Marian invocations such as the Virgin of the Rosary, Christological figures or specific saints according to the devotions of the principals. The scheme of transport and maritime traffic was definitively designed from 1566, being organized through two annual fleets, that of New Spain and that of Tierra Firme. The Galeones de Tierra Firme, linking Spain with the viceroyalty of Peru, combined a convoy of merchant ships with the Armada de la Guarda de la Carrera de Indias for military protection. This structure differed from the Fleets of New Spain, which linked Spain with the viceroyalty of Mexico and, on the outward journey, only had two war galleons for their protection, benefiting from the escort of the Armada on their return when they were in the waters of Cuba. The route of both fleets began in Andalusia, with stops in the Canary Islands before crossing the Atlantic to the Caribbean. The Tierra Firme galleons, loaded with Peruvian silver, exchanged products that the Peruvian fleet brought from Lima, putting the metropolis in contact with the viceroyal capital and the products generated in this territory. The key points were Cartagena de Indias and Portobelo, while the fleets from New Spain, carrying European and colonial products, arrived in Veracruz and carried out exchanges at the Veracruz and Jalapa fairs. Throughout the 17th and 18th centuries, both fleets faced challenges such as storms, enemy attacks and changes in trade routes. The Tierra Firme Galleons were replaced by the system of loose logs in 1739, while the New Spain Fleets lasted until 1789, symbolizing an era of Spanish naval history. Each of these fleets was commanded by a Captain General (in command of the Capitana ship that led the voyage) and an Admiral (in command of the Almiranta ship that closed the fleet). In addition to other warships, the center of the fleet was occupied by merchant ships, which, protected, made the Atlantic crossing. This spectacular painting is an extraordinary document that describes both the allegorical voyage of the Catholic Church and the voyage of Christianity towards the New World, within the context of the spiritual crossing of the subject towards the port of salvation. The process of knowledge and territorial occupation in America was marked by two parallel projects: on the one hand, the objective of the Hispanic monarchy to expand its territories and, on the other, the evangelizing expansion of the religious orders. Three gilded naves rise imposing