Inventing Lima: Baroque Modernity in Peru’s South Sea by Alejandra B. Osorio (auth.)

By Alejandra B. Osorio (auth.)

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Extra resources for Inventing Lima: Baroque Modernity in Peru’s South Sea Metropolis

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What emerges from these interrogations, campaigns, and hagiographies is a more intimate picture of the lives and words of Lima’s residents, one in which the sorceress is nearly interchangeable with the saint. Finally, I conclude by reflecting upon the meaning of Lima’s baroque invention for current discussions about the history of modernity and empire. 4 C H A P T E R 1 A N I M P E R I A L TA L E O F T W O C I T I E S A N D O N E I M A G I N A RY B O DY Disunion and the absence of one superior head is a spectacle of horror.

The presence of this titled nobility lent Lima an aristocratic flair that was matched perhaps only by its audacious plebes. 130 At the end of the sixteenth century, Peru produced around ten million silver pesos, seven million of which came from the silver mines of Potosi, while Mexico only produced four million, primarily drawn from the Zacatecas mines. Silver production in both viceroyalties declined after 1635. 131 Silver production in Peru was nonetheless so enormous that it created a diverse economy that remained for the most part healthy at least until the earthquake of 1687, after which a sustained drought provoked a financial crisis for the Lima elite that extended into the eighteenth century.

The products he trafficked were very diverse and included soles from Panama, tar, tobacco, and cochineal from Nicaragua, Guatemala, and Sonsonate, silks from Mexico, soaps from the valleys of Lima, wines from Ica, buckram and coal from Casma and Huarmey, salt from Huacho, cacao, different woods, cane, textiles from Quito, and so on. Through the port of Manta he also exported a great volume of cables and other items for ships built in Guayaquil, which was the main shipyard of the Mar del Sur and the port of exit for all the textiles coming from Quito and wood and cacao for Peru.

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