Talk:James Matamoros

Deleted the Traditions section because it is all wrong.

I have deleted the "Traditions" section as it is just totally wrong. The cathedral in Santiago is not dedicated to "Santiago Matamoros" and Mohamed Meziane never did the traditional offering a anyway. The supposed offering by Mizzian is a matter of legend and the article in telegraph.co.uk, by Isambard Wilkinson, dated 22 July 2004, is really shoddy reporting, most of it just repeating poorly sourced information or just legends. It is very easily verifiable that during the two short years that Mizzian was in Galicia the offerings were not made by him. In 1953 the offering was made by Admiral Regalado, in 1954 by General Franco, and in 1955 by Lt. General Rubio. GS3 (talk) 14:32, 8 August 2015 (UTC)

Semi-protected edit request on 14 May 2018

Adaptation in Spanish America Section:

Add:

By the time that the Spanish arrived in the Americas, Santiago Matamoros had become a embedded as a powerful symbol of Spanish nationalism and Catholic supremacy. His name first reached the Americas in the form of a popular battle call, and images of Santiago Matamoros were soon produced across the Spanish colonies by European, mestizo and indigenous artists. Furthermore, numerous local legends claim that Santiago miraculously appeared to protect Spanish colonists during battles with indigenous Americans, much as he did in the Battle of Clavijo legend.

These legends in part led to Santiago taking on the form of Santiago Mataindios, the Indian-Slayer, in the Americas. This transition occurred as early as 1615, when Santiago was depicted slaying an Incan warrior in the manuscript El primer nueva crónica y buen gobierno by indigenous Peruvian artist Felipe Guaman Poma de Ayala. Other portrayals of Santiago Mataindios can found in regional paintings from 17th century.

Images of Santiago both as Mataindios and Matamoros emerged as a popular subject of the Cuzco School in 18th century Peru. During this period it is likely that the image of Santiago was weaponized as a symbol of Spanish authority, in response to the numerous indigenous rebellions that occurred across Peru in the mid to late 1700’s. The depiction of indigenous Peruvians being crushed by Santiago on Horseback followed the same visual archetype as Santiago Matamoros, and clearly intended to intimidate indigenous viewers of the image. Colin-OBrienHIST1 (talk) 01:13, 14 May 2018 (UTC)

 Not done: please provide reliable sources that support the change you want to be made. Eggishorn (talk) (contrib) 16:58, 14 May 2018 (UTC)