In November 1680, the arch designed by Carlos de Sigüenza y Góngora and constructed in the Plaza of Santo Domingo in Mexico City audaciously displayed on a central panel the painting of the incoming viceroy, Tomás de la Cerda, enthroned on a Mexican eagle, surrounded by ancient Mexica emperors. Sigüenzas mirror for princes, Teatro de virtudes, curiously and cleverly endows the viceroy with two bodies, one natural and the other immortal and collective. The present book explores the centrality of this royal paradigm for understanding Sigüenzas innovative vision of viceregal governance as a socially unifying force.
