Maravilla Americana

Maravilla Americana (American Marvel) are the first two words of the lengthy title of a literary masterpiece by Miguel Cabrera (1695–1768), “the genial brush turned to a pen” as it was immediately celebrated, on the image of Our Lady of Guadalupe. Its translation to Italian gave the pen fame in Europe among artists and clergymen beyond what the brush had accomplished in the Vatican, when Pope Benedict XIV felt impelled to exclaim: “Non fecit taliter omni nationi” from Psalm 147:20—God’s done nothing like it for any other nation—in admiring Cabrera’s copy of the Guadalupan image.

Written in 1756, it is still the standard description of many wonders extant to the portrait. Cabrera and six other master painters were called by the Chapter of the Basilica in 1751 to give their professional opinion on the Guadalupan Portrait from an artistic standpoint; specifically, signalling out the materials and pictorial technique that composed it. After fulfilling this request and presenting a report, Cabrera felt inspired to extend it on his own; but as a courtesy, required a signed opinion of his work from his six colleagues, six professional statements which were also printed in both languages.

Maravilla Americana is divided into eight chapters:

"On the Awesome Durability of the Image of Our Lady of Guadalupe". It is expounded as miraculous that fibers which normally biodegrade (in our present terminology) in a few years, subsisting intact for (till then) more than 225 years. He takes special note of the very thin cotton thread which unites both parts of the ayate, which by itself couldn't resist the least force, remaining in place. Cabrera attributes this awesome duration to the Holy Image being stamped on the natural fibers.

"As to the Cloth or Canvas on Which Our Lady is Depicted". Here he attempts several explanations as to the nature of the fibers; palm possibly, it’s not maguey which is too coarse. It looks more like a middle quality European twine which we call “cotense”. It’s however trivial to determine if it’s palm or maguey; for either would be the most disproportionate for a human artist to choose. He concludes: “What excites admiration is the softness to the touch, it feels like silk”. But it certainly doesn’t look like silk! To the sight the woof is coarse, the quality is middle.

"On the total absence of priming in this painting". There is no over-varnish or any sort of preparation as normally required on canvas— essential as it is on any surface to be painted, painting on a coarse fabric without it is impossible.

"On the marvellous drawing of Our Lady of Guadalupe". “It is unmatched; and so perfectly finished, and marvellous, that I’m fully certain that whoever with elementary knowledge of the principles of this art, on seeing it, will exceed himself in eloquence to make this portent known as miraculous”. After extending himself further in a eulogy, he proceeds to describe it in various details.

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