CRAIG H. RUSSEL and MANUEL de SUMAYA- 'Rowdy Musicians- Cofraternities and the Inquisition'
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Transcript of CRAIG H. RUSSEL and MANUEL de SUMAYA- 'Rowdy Musicians- Cofraternities and the Inquisition'
ROWDY MUSICIANS, COFRATERNITIES AND THE INQUISITION: NEWLY-DISCOVEREDDOCUMENTS CONCERNING MUSICAL LIFE IN BAROQUE MEXICOAuthor(s): Craig H. Russell and Presbyter Manuel de SumayaSource: Revista de Musicología, Vol. 16, No. 5, Del XV Congreso de la Sociedad Internacional deMusicología: Culturas Musicales Del Mediterráneo y sus Ramificaciones: Vol. 5 (1993), pp. 2801-2813Published by: Sociedad Española de Musicologia (SEDEM)Stable URL: http://www.jstor.org/stable/20796894 .
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ROWDY MUSICIANS, COFRATERNITIES AND THE INQUISITION: NEWLY-DISCOVERED DOCUMENTS CONCERNING MUSICAL LIFE
IN BAROQUE MEXICO
Craig H. Russell
Only rarely has a musical document surfaced in Mexico City's General
Archive (the Archivo General de la Naci?n) that was not initially uncovered by the indefatigable labors of Gabriel Sald?var y Silva or
Robert Stevenson.1 Both scholars have mined a wealth of information
concerning Mexico's past by delving into the General Archive's various
branches or ?ramos.? Significantly, then, the appearance of newly discovered information in this institution's Inquisition and Fraternity and
Cofraternity Sections provides the musicologist with some new insights into the musical Ufe of Mexico and New Spain between 1650 and 1750.
New citations in the General Archive's Branch of the Inquisition
provide biographical details about several musicians. Gaspar de Cepeda y
Castro, in addition to being the chantre at the Puebla Cathedral, was a
highly placed official in the Inquisition.2 He died in 1721, and the
Inquisition carefully catalogued his possessions in a lengthy document of
97 folios. His stash of treasures and accumulated wealth would make
Malcolm Forbes or Donald Trump jealous.
1 Consult Gabriel Sald?var y Silva, Historia de la m?sica en M?xico: ?pocas precorte
siana y colonial, Mexico City, Ediciones Gernika & Secretar?a de Educaci?n P?blica, 1987,
rpnt. of Mexico City, Secretar?a de Educaci?n P?blica, 1934; and also Robert Stevenson,
Music in Aztec and Inca Territories, Berkeley & Los Angeles, University of California Press,
1968, and Music in Mexico: A Historical Survey, New York, Thomas Y. Crowell, 1952. 2 Archivo General de la Naci?n (AGN), M?xico. Ramo de la Inquisici?n. Tomo 766,
n?mero 16, hojas 316-413. 1717. ?Autos de embargo en los bienes del Sr. Lic. D. Gaspar de
Cepeda y Castro, Chantre de la Santa Iglesia Catedral de esta ciudad de Puebla de los ?ngeles.?
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2802 CRAIG H. RUSSELL
Of greater interest are the numerous documents that recount the trials and legal proceedings brought against more rambunctious musicians. Then?as now?musicians can be a rather seedy or rowdy lot with a
proclivity for falling into trouble with the law. Bartolom? Ortiz?who had a long list of aliases and false identities?was a professional musician who was tried and convicted of bigamy (casado dos veces)? His story is
fascinating and would make a stupendous screen play. After Ortiz's
conviction, he led a daring escape from jail, was then tracked relentlessly by the Inquisition who eventually recaptured and incarcerated the poor soul in a secret prison. In a similar tale, an organist in Puebla, Manuel de
Z??iga, was charged with having two wives.4 During his trial he defended himself by bemoaning the loss of his first wife who (he tells us) had lamentably died years ago. At this point in the trial his wife?who had
?passed away??strolled into the court room, a very angry woman. Needless to say, he was convicted. Like Ortiz, Z??iga too led a successful
jail break only to be recaptured and die in prison six years later. The choristers Alonso Tirado in Peru and Juan de Escobar y Llamas
of Campeche became embroiled with legal problems with the Inquisition.5 In another document the mestizo Agust?n Alvarez is in court trying to
suppress the scandalous and superstitious songs of Francisco de Molina.6
This, and other documents show the Inquisition to be gravely troubled by any act that is vaguely superstitious. And in Juan Bautista's court case, the defendant is described as a ?foreigner, trickster, and archlutenist.?7 This tidbit is interesting for it confirms the use of archlute on Mexican soil.
Most valuable of the new documents are the detailed payment records for the Festival of San Pedro de Arb?es, a martyr and patron saint of the
3 AGN, Ramo de la Inquisici?n. Tomo 790, n?mero 1, hojas 1-200. 1721. ?El Sr.
Fiscal del Santo Oficio contra Bartolom? Hortiz; alias D. Manuel Echanagucia de Arteaga; alias Pedro Chac?n, Alias D. Francisco Juncos; alias D. Jos? de Lanzagorta, natural de la ciudad de M?rida, al parecer espa?ol y de oficio m?sico, por casado dos veces.?
4 AGN, Ramo de la Inquisici?n. Tomo 840, n?mero 1, hojas 1-264. 1733. ?Manuel de
Z??iga, espa?ol: natural de la ciudad de Puebla, por casado dos veces. ? Guanajuato?
fojas 1 a 264. Inventario de los bienes de Manuel de Zu?iga, de oficio organero, hojas 21 y 22.?
5 AGN, Ramo de la Inquisici?n. Tomo 889, hojas 204-251. 1721. ?Contra Fr. Alonso
Tirado, Religioso Corista del Orden de Santo Domingo de la Provincia de Quito en el Reino del Per?.? AGN, Ramo de la Inquisici?n. Tomo 830, n?mero 33, hojas 419-429. 1730. ?Juan de Escobar y Llamas, Chantre y Vicario General del Obispado de Campeche.? 6
AGN, Ramo de la Inquisici?n. Tomo 858, hojas 605-610, 612-621. 1735. ?Denuncia
Agust?n ?lvarez, mestizo m?sico a Francisco de Molina por unos versos supersticiosos.? 7 ?extranjero, m?sico ta?edor de un arcilaud, y jugador de manos, etc.? AGN, Ramo
de la Inquisici?n. Tomo 725, hoja 156. 1720. ?Denuncia contra Juan Bautista, extranjero, m?sico ta?edor de un arcilaud, jugador de manos, &a.?
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ROWDY MUSICIANS, COFRATERNITIES AND THE INQUISITION 2803
Mexican Inquisition. Every expense for the opulent festivities surrounding San Pedro Arbues's feast day of September 16 during the years 1669-1741 is recorded with meticulous care in an enormous document of 240 folios in the Branch of Fraternities and Cofraternities.8 The annual budget supplies precise figures for such things as candles, lilies, bouquets, bonfires, carpets for the chapel, dramas, and?of course?music.
The budget for 1668 provides a representative example of the festival's
expenditures. Its primary emphasis is the spectacular illumination of the
Cathedral. Without question, the single most expensive item is candle wax. The number of candles, their individual weights and specific
disposition or location is spelled out in great detail. The document reads:9
First, for the main altar are 10 candles of 2 lbs. each = 20 pesos For placement next to the Saint, 2 candles of 12 ozs. 1 peso Plus 16 candles of 12 ozs. for the candelabras 12 pesos Plus 12 candles at 4 ozs... 3 pesos Plus 10 and a half for the chandeliers 10 pesos
And it continues. The total sum for wax mounts to a whopping 65
pesos, or 66, if one includes the peso that was charged for delivering the wax to the Cathedral?a sort of Baroque equivalent of 'shipping-and handling'. The sum is staggering given that the budget for the entire festival is only 133 pesos. In short, half of the funds were expended exclusively on candles.
The rest of the budget elucidates the sort of activities and cost that the remaining 67 pesos provided. For instance, the holy fathers spent 2 pesos, 2 tomines for six dozen rockets or fireworks.10 The same amount went toward firewood for the luminarias, small bonfires that glowed outside the Cathedral. Three pesos went toward the bouquets and carpets the sacristan had placed in the chapel. With respect to artistic functions, 20
pesos were sufficient to commission the writing and production of a new
8 AGN, Ramo de Cofrad?as y Archicofrad?as. Tomo 17, expediente 2, hojas 73-312.
1688-1741. ?M?xico Sr Sn Pedro de Arbues.? This document contains the budgets for the
Festival of San Pedro de Arb?es celebrated by the Tribunal of the Inquisition every year on
September 16. 9 ?Primeramte Para El Altar mayor dies velas de a dos libras Vo 20 p.
Para Junto al Sto dos Velas de a doce onsas Vo 01 p. mas dies y seis velas de a doce oncas para Los quatro coraterales Vo 12 p. mas doce Velas de a quatro En Libra Vo 03 p. mas dies Libras y media de a seis En Libra para La campara y candiles Vo 10 p.?
10 In the monetary system of the time, 8 tomines equalled one peso.
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2804 CRAIG H. RUSSELL
comedia or play for the celebration. Lastly, the cathedral musicians received 30 pesos for performing vespers and a mass.
The budget for the year 1710 is similar although much more concise.11 Don Joseph de Bustos, the Treasurer of the Inquisition, submitted the
following budget:12
Don Joseph de Bustos reports that the funds that were expended in the Festival of San Pedro Arbuez came to 162 pesos and 3 tomines in the
following fashion:
For the candle wax for the altar and renewal of the de las manos as is specified by the receipt that I am submitting13 75 p[esos], 7
For the Preacher 12 p. For the Musicians as is specified by the receipt14 30 p. For the Sacristans 4 p. For firewood and resinous pine 2 p. 41. For the juncia,15 string players, and shawms,
firecrackers and fireworks 18 p. For the play 20 p.
The expenses for the cited items amount to 162 p. 3t. one hundred sixty two pesos and three tomines that I attest to in the proper form. I request that You send me the dispatch of payment.
A systematic examination of the yearly entries as seen in accompanying table at the end of this article provides valuable information regarding the Festival of San Pedro Arbues and its expenses. Beginning with the first
entry in 1668 we find that from the outset the chapel musicians were paid 30 pesos for singing vespers and mass. This performance fee of 30 pesos remains the same for each year all the way through the document's final
entry in 1741. In 1671, Matheo Xaramillo is specified as the author of a
11 AGN, Ramo de Cofrad?as y Archicofrad?as. Tomo 17, expediente 2, hoja 181.
12 A facsimile of this budget appears at the end of this article. 13 Since wax was such an expensive item, there was often an additional receipt pertain
ing to candle wax that spelled out precisely the ?going rate? for the price of wax per pound and the total number of pounds delivered.
14 The receipt that is alluded to pertains to the practise begun in 1701 of having the chap el master sign a receipt in acknowledgement of the 30 pesos paid for the services of the ca
thedral musicians. 15 It is unclear just what instrument is referred to by the term juncia. The present writer
feels it most likely is a low-registered double-reed instrument such as a baj?n or bassoon.
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ROWDY MUSICIANS, COFRATERNITIES AND THE INQUISITION 2805
new play or comedia for which he is paid 20 pesos in order to write, rehearse, and perform the work with his own theater troupe. In 1673
Rodrigo Bernal is commissioned to build a stage for musicians. The first
expansion of the musical resources occurs in 1681 with the inclusion of
clarines (clarion trumpets), and the budget allows an additional 4 pesos to
pay for their fee on top of the immutable 30 pesos paid to the cathedral musicians. In 1682 the trumpets were paid 6 pesos, 2 pesos more than the
previous year: perhaps there were additional trumpeters which could account for the elevated fee. The chirim?as (or shawms) received 4 pesos in 1683, and trumpets and shawms collectively got 5 pesos in 1684.
Atabales (timpani) appear on the payment records for the first time in
1685 along with the now-obligatory trumpets and shawms. Moving down to 1688 we see strings (or arcos) included for the first time, momentarily falling out of use again until their inclusion as the expected norm
beginning in 1694. A fascinating side note in 1691 specifies the ethnic origin of the shawm and trumpet players as being Native Americans or
Indios. In 1699 we encounter a rather novel book-keeping practise of lumping
together strings, juncia, shawms, and firewood as a single item in the
budget! We can safely conclude from the preceding and following entries that the instruments continued to receive their customary 6 pesos, while 1
peso, 4 tomines was the allotted amount for firewood?the sum of the two
figures equalling 7 pesos, 4 tomines as recorded in 1699.
Beginning in 1701, it became customary for the Chapel Master to sign a receipt acknowledging the 30 pesos paid for his services and that of the
Chapel musicians. The list of chapel masters is quite impressive. Antonio de Salazar signs the years 1701-1714, Geronimo Z?rate for the years 1715-1724, Juan Salibes for 1725-1732, and then a hop-scotch alternating between Manuel de Sumaya and Fernando de Castillo for the years through 1738, followed by Salvador Zapata in 1739 and Thadeo
Torquemada in the last two documented years of 1740 and 1741. Two facsimiles at the end of this article provide representative examples of these receipts: the first facsimile is signed by chapel master Antonio de Salazar in 1710. It reads:
I received from Don Diego Joseph de Bustos thirty pesos for the attendance of the Chapel at vespers and mass for the festival of San Pedro Arbues that the Holy Tribunal of the Inquisition celebrated in the Royal Convent of Santo Domingo. I testify this to be true. Mexico, the 17 of
September, 1710.
Maestro Anttonio [sic] de Salazar.
30 pesos
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2806 CRAIG H. RUSSELL
The second receipt is signed by Manuel de Sumaya in 1733 and states:
I received from the Treasurer of the Holy Office of the Inquisition in Mexico, Don Augustt[in]o Castillo y Collanttes, thirty pesos for the attendance by the Chapel at vespers and the day of the glorious martyr San Pedro de Arb?es that the Tribunal of the Holy Office annually celebrates in the Imperial Convent of Santo Domingo of Mexico. So that it might be
declared, I sign this on the 16 of September, 1733.
300 pesos Presbyter Manuel de Sumaya
Although these new documents provide much food for thought, further research is needed. A meticulous combing of the Mexico City Cathedral music holdings might provide some clues as to what specific musical pieces were actually performed. The sudden disappearance of the Festival of San Pedro de Arb?es after 1741 is also mysterious, given the
political strength of the Inquisition (who were the sponsors of the festival) well beyond that date and considering the long tradition of the festival itself. Equally fascinating is the existence of ?Indian? shawm and trumpet
players that landed paying jobs at the festival. The music education
system on the American continents that produced these professional instrumentalists must have been quite respectable and merits further study.
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ROWDY MUSICIANS, COFRATERNITIES AND THE INQUISITION 2807
Archivo General de la Naci?n, M?xico Ramo Cofrad?a y Archicofrad?as, Tomo 17, Expediente 2, fols. 73-312
Sr. Sn. Pedro de Arbues
Year Folio Maestro deCapiila & M?sicos 30 pesos
Chirim?as Clarineso
[Trompetas
Arcos Ata bales
Receipt signed by the Chapel Master!
Details of the
Budget
Expenses (Pesos & Reales)
1668 75v
De les m?sicos de la capila de la Cathed:' v?speras, y misa treinta pesos
133 P.
1669 78 146 PA| 11 R.
1670 81 141 P.&I 3R.
1671 83 A Matheo Xaramillo autor de Comedias por la que representa con su compa??a El dia del 8*20
144 .& 7R.
1672 85 A Matheo Xaramillo, autor de Comedias... 20 P.
142 P.&I 5R.
1673 87v &92
Al Mro Rodrigo Bemal por el tablado cf9 hico para los m?sicos y cinco ps y seis R 8 A Matheo Xaramillo...
148P.&I 2R.
1674 94 AJ Rodrigo Bernal por el Tablado... 149 P.
1675 96 Al Mfb Rodrigo Bemal por el Tablado...
149 P.& 1.5 R.
1676 98 Al Mft> Rodrigo Bernal por el Tablado...
149P.&I 1R.
1677 100 144P.&I 2R.
1678 102 142 P.
1679 104 140 P.
1680 106 141 P.&I 3R.
1681 108 de los clarines, quatro 143P.&I 4R.
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2808 CRAIG H. RUSSELL
Year Folio
Maestro decapila & M?sicos 30 pesos
Chirim?as Clarines o ?Trompetas
Arcos Juncia Ata bates
Tablado Receipt signed by the Chapel Master
Details of the
Budget
Expenses (Pesos & Reales)
1682 110 de los clarines seis pesos 146 P.
1683 113 de los chirim?as del SancttTO sacramento de la cathedral quatre ps
152P.&I 4R.
1684 115 de Chirim?as y Clarinero 5 144P.il .5R.
1685 117 de Chirim?as Clarineros ataba?llos y tule seis p[esos] y quatre R[eales]
143P.&I 4.5 R.
1686 119 De los clarines y cKrimias 6 y rr? 6p[esos]4R[eaJes]
150 P.
1687 120 A los clarineros y chirim?as seis pesos y medio. 6 pfesos] 4 (Reales)
160P.&I 4R.
1688 121 A los clarines y chirim?as seis pess j De los arcos quatre reales. 151 PA| 6R.
1689 122 De los Clarines y Chirim?a seis pesymedio
144 PA| 4R.
1690 123 De las chirim?as y clarines 6p4 143 PA| 3R.
1691 127 a los Yndios chirimiteros y trompetas seis ps
139P.&I 4T.
1692 129 159 P.
1693 134 a los sacristanes y musica de chirim?as 6 pfesos) 159 P.
1694 136 de las Chirirnias Clar?n atabales Arcos y Juncia quatre ps y quatre tom[?ne]s
161 PA| 4T.
1695 137 Trompetas darin arcos Junsia quatre pessos y quatro tomines
191 P.8 7T.
1696 139 Trompetas chirim?as arcos y juncia 4 p[esos] 4 ((omines]
149 P.
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ROWDY MUSICIANS, COFRATERNITIES AND THE INQUISITION 2809
Year Folio
Maestro decapila & M?sicos 30 pesos
Chirr?as Clarines o
Trompetasl Arcos Juncia Ata
bales Tablado Receipt
signed by the Chapel Masterl
Details of the
Budget
Expenses (Pesos & Tomines)
1697 140 Arcos Juncia y Chirim?as 4 p(esos] 4 [tomines]
161 P.&l 4T.
1698 142 Arcos Juncia Y chirim?as 4p4 168 P.&j 6T.
1699 144 de los Arcos, Juncia, Chirim?as y Le?a 7 p(esos]4 [tomines]
161 P.&l 41
1700 145 de Arcos Juncia y Chirim?as 161 P.&I 4T.
1701 147 Antonio de Salazar fol. 148
Chirim?as Clar?n Arcos y Juncia 6 175 P.&l 2T.
1702 151 Antonio de Salazar fol. 152
Chirim?as arcos y Junzia 6 181 P.&l 71
1703 155 Antonio de Salazar fol. 158
Junzia y Chirim?as 6p 230 P.&l
4T.
1704 159 Antonio de Salazar fol. 161
Juncia Arcos y Chirim?as seis ps 228 P.&I
4T.
1705 165 Antonio de Salazar fol. 166
Juncia Arcos y Chirim?as 6 219 P.
1706 170 Antonio de Salazar fol. 169
Juncia Arcos y Chirim?as 6p 224P.&I 71
1707 171 Antonio de Salazar fol. 173
Juncia Arcos y Chirim?as 6 185 P.&I 3 T.
1708 174 Antonio de Salazar fol. 176
de Juncia Arcos y Chirim?as 6 170 P.&I 51
1709 177 Antonio de Salazar fol. 178
De Juncia Arcos y Chirim?as 6 194P.&I 4T.
1710 181 Antonio de Salazar fol. 184
de Juncia Arcos Chirim?as Bombas y Cohetes 18p(esos]
162 P.&l 3T.
1711 185 Antonio de Salazar fol. 187
Junzia Chirimias y atabales 6 173P.&I 61
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2810 CRAIG H. RUSSELL
Maestro decapila & M?sicos 30 pesos
Year Folio Chirim?as Clarines o
[Trompetas I Arcos Juncia Ata
bales Tablado Receipt
signed by the! Chapel Master
Details of the
Budget
1712 189 Antonio de Salazar fol. 191
Junzia arcos y Chir?mias 6
1713 193 Antonio de Salazar fol. 196
Juncia Arcos y Chirim?as 6
1714 198 Antonio de Salazar fol. 199
Bombas Juncia Arcos Chirim?as Atauales y Le?a pa las luminarias 20 pfesos] 4 [Reales]
1715 207 Geronimo Zarate fol. 206
Juncia, Arcos, chir?mias y atauales seis p06
1716 209 Geronimo
Zarate fol. 211
Junzia Arcos Chirim?as seis
1717 213 Geronimo Zarate fol. 215
Junzia, Arcos Chirim?as y atabales, seis ff6
1718 217 Geronimo Zarate fol. 219
Junzia Arcos Chirim?as Y atabales, seis p08
1719 221 Geronimo Zarate fol. 223
Juncia Arco Chirim?as y Atabales, seis p08
1720 225 Geronimo
Zarate fol. 226
Juncia Arcos Chirim?as y Atabales 6
1721 229 Geronimo Zarate fol. 230
Juncia Arcos Chirim?as Y Atabales 6p
1722 233 Geronimo Zarate fol. 235
Junzia Arcos Chirim?as Y atabales 6
1723 237 Geronimo Zarate fol. 238
Juncia Arcos Chirim?as 6
1724 241 Geronimo
Zarate foi. 243
Juncia, Arcos, Chirim?as, Y Atabales 6p
1725 245 Juan
Salibes fol. 248
Juncia, Arcos, Chirim?as, Y 6p
1726 249 Juan
Salibes fol. 252
Juncia Arcos Chirim?as Y Atabales 6p
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ROWDY MUSICIANS, COFRATERNITIES AND THE INQUISITION 2811
Year Folio Maestro decapila & M?sicos 30 pesos
Chirim?as Clarines o
?Trompetas
Arcos Juncia Ata bales
Tablado Receipt signed by the Chapel Master
Details of the
Budget
Expenses (Pesos & I
1727 253 Juan
Salibes foi. 256
Junzia Arcos Owimias Y Atabales 6 p.
I 199 PAI FL
1728 257 Juan
Salibes fol. 259
Juncia Arcos Y Chirim?as 6 I 217 P. a| 4.5 R.
1729 261 Juan
Salibes fol. 262
Junzia, arcos, Chirim?as, Y atabales 6 p. I 265 PA I
.5R.
1730 265 Juan
Salibes fol. 267
Juncia, arcos, chirim?as y atabales 6 p.
179 PA| 1R.
1731 269 Juan
Salibes fol. 272
Junzia, arcos, chirim?as, Y atabales 6 p. 1178P.il
5T.
1732 273 Juan
Salibes fol. 275
Junzia, Arcos, Chirim?as, y Ataus 6 p.
167 A| 1R.
1733 277 Manuel de Sumaya fol. 279
Junzia, Arcos, Y chirim?as 6 p. I 159 A| 1R.
1734 281 Manuel de Sumaya fol. 283
Junzia, arcos, Y chirim?as seis p 165 P.
1735 285 Francisco de) Castillo fol. 287
Junzia Arcos Y chirim?as 161 P.
1736 289 Manuel de Sumaya foi. 290
Junzia arcos Y Chirim?as seis pesos
|168 PA| 3R.
1737 293 Manuel de Sumaya fol. 294
Junzia, Arcos, Y Chirim?as seis 08 168P.&I
3R.
1738 297 Francisco del Castillo fol. 299
Junzias, arcos Y chirim?as seisp08
169 A| 7R.
1739 301 Salvador Zapata fol. 303
Junzia, arcos, Y chirim?as seisd*
I 170 PA| 5R.
1740 305 Thacteo
Torquemada fol. 307
Junzia, arcos Y chirim?as seis ff6
I 234P.&I 3R.
1741 309 Thadeo
Torquemada fol. 310
Junzia, arcos Y chirim?as se?sd08 1198 P.&l
4R.
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2812 CRAIG H. RUSSELL
^^^^^cJ^J/^^y :._.- ?)j ?>4 '?
Archivo General de la Naci?n. Ramo de Cofrad?as y Archicofrad?as. Tomo 17, expediente 2, hoja 181.
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ROWDY MUSICIANS, COFRATERNITIES AND THE INQUISITION 2813
fola. Jpf ii/ffJttKy e/te-?C??ff"r> J?t<x.-??ne/Z. Sf o
Archivo General de la Naci?n. Ramo de Cofrad?as y Archicofrad?as. Tomo 17, expediente 2, hoja 184.
,1
Archivo General de la Naci?n. Ramo de Cofrad?as y Archicofrad?as. Tomo 17, expediente 2, hoja 279.
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