605:, even depicting the friar striking and kicking an indigenous woman seated at a loom. This image is entitled "The Mercedarian friar Martín de Murúa abuses his parishioners and takes justice into his own hands." According to Rolena Adorno, "... when he became an author after 1600, was highly critical of a work by Murúa that he had recently illustrated. Guamán Poma was prompted to write his own account against what he understood to be Murúa's limited perspective, which he had encountered in the Galvin Murúa. Guamán Poma extended Andean history back in time of the era predating the Inca, and he also elaborated a long and highly critical survey of colonial society such as no other chronicle of his time produced. Guamán Poma's artistic repertoire, which was displayed in his own work in the creation of nearly four hundred drawings, drew upon the formative experience he had gained while working with Murúa, but it also developed in new directions to reveal a strong polemical and satirical bent that was directed against the abuses perpetrated under colonial rule ... Although the evidence suggests that they worked independently after 1600, the efforts of Murúa and Guamán Poma can never be separated, and their talents, individually and together, produced three distinctive testimonies to the interaction between missionary author and indigenous artist-cum-author in early colonial Peru."
699:. Crónica del siglo XVI. Anotaciones y Concordancias con las crónicas de Indias. ed. por Horacio H. Urteaga y C. A. Romero. Colección de libros y documentos referentes a la historia del Perú. ser. 2, t. 4. Lima 1922-1925. (Historia del origen y genealogía real de los Reyes Incas del Perú. Introducción, notas y arreglos por Constantino Bayle. Biblioteca "Missionalia hispanica", vol. 2. Madrid 1946. Los Orígenes de los Inkas. Crónica sobre el Antiguo Perú escrita en el año 1590 por el padre mercedario Fray ... Estudio bio-bibliográfico sobre el autor por Raúl Porras Barrenechea. Los pequeños grandes libros de historia americana. ser. 1, t. 11. Lima 1946).
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593:(1616), assuming that Guamán Poma served as an informant or coauthor to Murúa. In 1967, Condarco Morales performed a comparative study of the texts and concluded that Guamán Poma followed Murúa's work. A direct relationship between Guamán Poma and Murúa was confirmed by the Getty research project (2007–2008). The project's principal scholars included Juan de Ossio, Thomas Cummins, and Barbara Anderson, with collaboration by
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36:
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The Getty Murúa dates from 1615–16 and was the second version of the chronicle. Most of the text was compiled in Peru and present-day
Bolivia, although it was most likely re-edited in Spain. This version received the final approbation for printing, however for unknown reasons it remained unpublished
405:
Research has proven that several images (including two by Guaman Poma) from the Galvin Murúa were removed and pasted into the Getty Murúa, although overall the Galvin Murúa contains more images than its counterpart. The images in both manuscripts were colored using paints, dyes, and silver from the
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and Ivan
Boserup. After comparing the Getty Murúa and Galvin Murúa, these scholars proved that the chronicle does in fact include illustrations by Guamán Poma. They concluded that Guamán Poma was one of a team of scribes and artists that worked for Murúa while he was in Peru. While Murúa's project
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during the seventeenth century. Once in Spain, the manuscript was somehow acquired by
Castilian statesman and bibliophile Lorenzo Ramirez de Prado. After Ramirez's death in 1658, it was incorporated into the library of the Colegio Mayor de Cuenca in
370:). In the 1950s, the manuscript was bought by a rare bookseller in San Francisco, California and resold to the late John Galvin (d. 1996), a European aristocrat and private collector. The text remains in the hands of the Galvin family in
546:. The most striking feature of the chronicle is its numerous illustrations, which include portraits of Inca nobility and depictions of traditional ceremonies. These images blend European and indigenous artistic traditions.
349:
The Galvin Murúa dates from the 1580s and was completed around 1600. This first version of the chronicle was compiled in Peru by Murúa with the assistance of local scribes and
Indigenous artists (one of whom was
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began sometime in the 1580s, Guamán Poma became involved only as an illustrator and only shortly before 1600. These findings were the basis of an exhibition and symposium at the Getty Center in
October 2008.
244:(also known as Guamán Poma), who provided over 100 illustrations of great historical significance for the work, but who was later highly critical of Murúa's depiction of Inca history in his own writings.
566:(MERCENARIAN FRIAR MORÚA. are so brave and righteous (righteous or avengers) and he mistreat the Indians and he make them work with a stick in this kingdom in the doctrines there is no remedy.),
334:: the Galvin Murúa (also known as the "Loyola Murúa") and the Getty Murúa (also known as the "Wellington Murúa"). The former is kept in a private collection in Ireland while the latter is at the
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267:. All along the way, he took the opportunity to have the local religious and government authorities review his work for comment and correction. He eventually passed through
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398:, Germany, changing hands once more before its "rediscovery" by Manuel Ballesteros Gaibrois in the early 1950s. Ballesteros Gaibrois published a two volume edition of
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Murúa worked closely with indigenous peoples in compiling his text, incorporating their testimonies and oral accounts of Inca culture and political history into
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The following year, while living in Madrid, Murúa received the necessary authorizations from both his Order and the king to publish his chronicle, entitled
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FRAILE MERZENARIO MORVA. son tan bravos y justicieros y mal trata a los yndios y haze trauajar con un palo en este reyno en las dotrinas no ay rremedio.
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In 1611, Murúa made the decision to return to Spain. He chose, however, not to take the usual route, by way of Panama. Instead, he traveled across the
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In addition to his missionary work, Murúa gathered data to write a history of the Andean past. He was assisted in his translation of the date from the
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711:. Introducción y notas de Manuel Ballesteros Gaibrois. Bibliotheca Americana vetus. Con prólogo del Duque de Wellington. 2 vols. Madrid 1962-64.
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326:(Second book, of the government that the Incas had in this kingdom and rites and ceremonies that they kept.), manuscript completed in 1613.
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in 1962 and 1964. In 1983, the manuscript was sold to the Getty
Research Institute. Since then it has been known as the "Getty Murúa."
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The Getty Murúa: Essays on the Making of Martin de Murúa's 'Historia
General del Piru,' J. Paul Getty Museum Ms. Ludwig XIII 16
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Americas and Europe. An exhaustive study of both manuscripts was funded by the Getty
Research Institute in 2007-2008.
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205:, where he was sent by his superiors and arrived in Peru in the early 1580s. He is known to have lived in the
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and Martín de Murúa met and there was a close collaboration between them that later ended in rupture.
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Libro segundo, del gobierno que los Yngas tubieron en este reino y ritos y ceremonias que guardaban.
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Murúa's chronicle is divided into three books. The following is the complete title of the work:
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Twentieth-century scholars had often speculated that there existed a some relationship between
294:, Murúa wrote of the presence of a number of mythological creatures in South America, such as
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354:). By the 18th century, the Galvin Murúa ended up in the possession of the Jesuit College in
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Fray Martín de Murúa: Historia general del Perú. Origen y descendencia de los Incas (1611)
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and giants, which gave rise to the names of many geographical landmarks of the continent.
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depicting the friar Morúa beating a native worker. The superimposed legend says:
705:(1573). Pequeños Grandes Libros de Historia Americana, Serie 1, t. 4. Lima 1943.
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well. From about 1595 to 1601 his residence was at the
Mercedarian Monastery of
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The first book is divided into 92 chapters and contains the following:
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A facsimile of the manuscript at the Getty Museum
Virtual Library
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Finally, the third book contains the following in 31 chapters:
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The second book has 40 chapters and includes the following:
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Illustration made by Martín de Murúa showing the Sapa Inca
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1. Rolena Adorno and Ivan Boserup, "The Making of Murúa's
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Spanish Mercedarian friar and missionary (c. 1525–c. 1618)
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ponen las conquistas que hizieron de differentes probinc
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Fr. Martín de Murúa, elector genl. del orden de nra. Sa
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around that period. He later traveled throughout the
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de las mds. Rra de captious, comor y cura de Hunata
60:. Unsourced material may be challenged and removed.
427:dencia de los Incas, donde se trata de las guerras
259:). After a lengthy stay, from there he went on to
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482:da De los Españoles, con su modo de governar cond
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487:ción y trato y la descripción de las más prinsi
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213:as a missionary, serving in the proximities of
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437:Descripción de las ciudades y lugares del, con
201:Murúa volunteered to serve in the missions of
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467:Ingas. Señores deste Reyno del Pirú donde se
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462:(I) Libro del Origen y descendencia de los
422:Historia General del Pirú. Origen y descen
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697:Historia de los Incas. Reyes del Perú ...
601:Guamán Poma notably attacks Murúa in his
120:Learn how and when to remove this message
782:Roman Catholic missionaries in New Spain
568:El primer nueva corónica y buen gobierno
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392:Arthur Wellesley, 1st Duke of Wellington
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523:(III) Libro tersero, donde se trata, en
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58:adding citations to reliable sources
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