By Foley A.L.
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35. On the memory arts, see Mary Carruthers, The Book of Memory: A Study of Mem- 40 objects in the era of globalization ory in Medieval Culture (Cambridge: Cambridge University Press, 1990), esp. 19–23, 62–72; on Fra Angelico’s use of color in San Marco in the context of the memory arts, see Didi-Huberman, Fra Angelico, 60–75. 36. Thomas Aquinas, St. 1a, Q. 4, response. Aristotle also described a mnemonic technique done through some kind of system of images (see De anima 427v; Topics II–VII). See Carruthers, Book of Memory, 62–63.
27. On the history of the iconography in Europe, see J. A. Andres, “Die Darstellung des Gregoriusmesse im Mittelalter,” Zeitschrift für Christliche Kunst 30 (1917): 145–56, cited in Shestack, Fifteenth-Century Engravings, cat. no. 214, and Alexander Nagel, Michelangelo and the Reform of Art (Cambridge: Cambridge University Press, 2000), esp. 51. On the iconography in New Spain, see Sonia Pérez Carrillo, “Aproximación a la iconograﬁa de la misa de San Gregorio en América,” Cuadernos de arte colonial 4 (1988): 95–106, with further references, 104 n.
In this case, where documentation is scarce, one can only speculate on their reception in Europe; but in the case that follows, a Mexican featherwork mosaic depicting a Christian subject, there is enough evidence to launch an extended historical inquiry into its intended signiﬁcance for its original audience. The Mass of St. Gregory Featherwork: Circumstances of the Commission The Mass of St. Gregory featherwork in the Musée d’Auch (plate 1) is another early product of cultural interaction made for export that draws on both indigenous and European sources.