document_title: Tin Woodman

question_text: who had no heart in wizard of oz

question_tokens: who had no heart in wizard of oz

text: Tin Woodman

text: The books[edit]

text: Originally an ordinary man by the name of Nick Chopper (the name first appearing in The Marvelous Land of Oz), the Tin Woodman used to make his living chopping down trees in the forests of Oz, as his father had before him. The Wicked Witch of the East enchanted his axe to prevent him from marrying his sweetheart, after being bribed by the lazy old woman who kept the Munchkin maiden as a servant, and did not wish to lose her. (In a later book of the series, The Tin Woodman of Oz, the woman is said to be the Witch's servant, and it is the Witch herself who decides to enchant Nick's axe.) The enchanted axe chopped off his limbs, one by one. Each time he lost a limb, Ku-Klip the tinsmith replaced it with a prosthetic limb made of tin. Finally, nothing was left of him but tin. However, Ku-Klip neglected to replace his heart. Once Nick Chopper was made entirely of tin, he was no longer able to love the lady he had fallen for.

text: In The Wonderful Wizard of Oz, Dorothy Gale befriends the Tin Woodman after they find him rusted in the forest, as he was caught in rain, and use his oil can to release him. He follows her to the Emerald City to get a heart from The Wizard. They are joined on their adventure by the Scarecrow and the Cowardly Lion. The Wizard sends Dorothy and her friends to the Winkie Country to kill the Wicked Witch of the West. The Tin Woodman's axe proves useful in this journey, both for chopping wood to create a bridge or raft as needed, and for chopping the heads off animals that threaten the party. When the Winged monkeys are sent by the Witch of the West against the group, they throw the Tin Woodman from a great height, damaging him badly. However Winkie Tinsmiths are able to repair him after the death of the Witch.

text: His desire for a heart notably contrasts with the Scarecrow's desire for brains, reflecting a common debate between the relative importance of the mind and the emotions. This occasions philosophical debate between the two friends as to why their own choices are superior; neither convinces the other, and Dorothy, listening, is unable to decide which one is right. Symbolically, because they remain with Dorothy throughout her quest, she is provided with both and need not select.[1] The Tin Woodman states unequivocally that he has neither heart nor brain, but cares nothing for the loss of his brain. Towards the end of the novel, though, Glinda praises his brain as not quite that of the Scarecrow's.

text: The Wizard turns out to be a "humbug" and can only provide a placebo heart made of velvet and filled with sawdust. However, this is enough to please the Tin Woodman, who, with or without a heart, was all along the most tender and emotional of Dorothy's companions (just as the Scarecrow was the wisest and the Cowardly Lion the bravest). When he accidentally crushes an insect, he is grief-stricken and, ironically, claims that he must be careful about such things, while those with hearts do not need such care. This tenderness remains with him throughout the series, as in The Patchwork Girl of Oz, where he refuses to let a butterfly be maimed for the casting of a spell.[2]

text: When Dorothy returns home to her farm in Kansas, the Tin Woodman returns to the Winkie Country to rule as emperor. Later, he has his subjects construct a palace made entirely of tin — from the architecture all the way down to the flowers in the garden.

text: Baum emphasized that the Tin Woodman remains alive, in contrast to the windup mechanical man Tik-Tok Dorothy meets in a later book. Nick Chopper was not turned into a machine, but rather had his flesh body replaced by a metal one. Far from missing his original existence, the Tin Woodman is proud (perhaps too proud) of his untiring tin body.

text: A recurring problem for the Tin Woodman in The Wonderful Wizard of Oz and afterward was his tendency to rust when exposed to rain, tears, or other moisture. For this reason, in The Marvelous Land of Oz the character has himself nickel-plated before helping his friend the Scarecrow fight to regain his throne in the Emerald City. Even so, the Tin Woodman continues to worry about rusting throughout the Oz series.

text: This is inaccurate, in that tin does not rust; only iron does. This may reflect the usage where an object made of iron or steel but coated with tin (in order to prevent rusting) is called a "Tin" object, as a "tin bath", a "tin toy", or a "tin can"; thus, the Tin Woodman might be interpreted (in English, at least) as being made of steel with a tin veneer. One passage in The Road to Oz, by Baum himself, wherein the Woodman attends Ozma's birthday party accompanied by a Winkie band playing a song called "There's No Plate Like Tin," strongly implies that this is the case. Another explanation may be that the Woodman is chiefly made of tin, with iron joints; in some of the illustrations, his joints are a different color from the rest of his body.[3] In Alexander Volkov's Russian adaptation of The Wonderful Wizard of Oz, Volkov avoided this problem by the translation of "The Tin Woodman" as the "Iron Woodchopper".

text: The Tin Woodman appeared in most of the Oz books that followed. He is a major character in the comic page Baum wrote with Walt McDougall in 1904-05, Queer Visitors from the Marvelous Land of Oz. In Ozma of Oz, he commands Princess Ozma's army, and is briefly turned into a tin whistle. In Dorothy and the Wizard in Oz, he serves as defense counsel in the trial of Eureka. He affects the plot of a book most notably in The Patchwork Girl of Oz, in which he forbids the young hero from collecting the wing of a butterfly needed for a magical potion because his heart requires him to protect insects from cruelty. Baum also wrote a short book titled The Scarecrow and the Tin Woodman, part of the Little Wizard Stories of Oz series for younger readers.

text: In The Tin Woodman of Oz, Nick Chopper finally sets out to find his lost love, Nimmie Amee, but discovers that she has already married Chopfyt, a man constructed partly out of his own dismembered and discarded limbs. For the Tin Woodman, this encounter with his former fiancée is almost as jarring as his experiences being transformed into a tin owl, meeting another tin man, Captain Fyter, and conversing with his ill-tempered original head.

text: Baum's successors in writing the series tended to use the Tin Woodman as a minor character, still ruling the Winkie Country but not governing the stories' outcome. Two exceptions to this pattern are Ozoplaning with the Wizard of Oz, by Ruth Plumly Thompson, and Lucky Bucky in Oz, by John R. Neill. The biggest exception is in Rachel Cosgrove's The Hidden Valley of Oz, in which the Tin Woodman leads the forces in the defeat of Terp the Terrible and cuts down the Magic Muffin Tree that gives Terp his great size.

text: The fact that Nick includes the natural deaths of his parents in the story of how he came to be made of tin has been a major element of debate. In his eponymous novel, he proclaims that no one in Oz ever died as far back as Lurline's enchantment of the country, which occurred long before the arrival of any outsiders such as the Wizard. (It should be noted, however, that although the living creatures of Oz do not die of age or disease, they may die of accidents or be killed by others.)

text: The Tin Man in later fiction[edit]

text: In the 1998 novel The Tin Man, by Dale Brown, the eponymous protagonist is a power-armored vigilante whom the media and police have dubbed The Tin Man for his physical resemblance to the Wizard of Oz character.

text: The Tin Woodman is a minor character in author Gregory Maguire's 1995 revisionist novel Wicked: The Life and Times of the Wicked Witch of the West, its 2003 Broadway musical adaptation and Maguire's 2005 sequel Son of a Witch. In the book, Nessarose - the Wicked Witch of the East - is seen enchanting the axe to swing around and chop off Nick Chopper's limbs. She does this for a peasant woman who wishes to stop her servant, probably Nimmie Amee, from marrying Nick Chopper. This seems to be close to the Tin Man's origin in the original books, but from the Witch's perspective.

text: In the musical adaptation of Wicked the Tin Man is revealed to be Boq, a Munchkin whom Nessarose, the Wicked Witch of the East, fell in love with when they were at school together. When she discovered his heart belonged to Glinda, she botched a spell that was meant to make him fall in love with her by taking his heart, but instead shrunk his heart to nothing by taking it away without 'giving' it to Nessa. To save his life, Elphaba, the Wicked Witch of the West, was forced to turn him into tin. Not understanding her reasons, he pursues Elphaba with a single-minded vengeance for his current form. The Tin Man's humble origin in the novel conflicts with his having been the aristocratic Boq.

text: In Oz Squad, Nick was shown in a sexual relationship with "Rebecca Eastwitch" in order to get closer to Nimmie Amee and attempt to elope with her.

text: A darker twist to the beloved woodman is made by author James A. Owen in the fourth installment of his series, The Chronicles of the Imaginarium Geographica when his identity is revealed to be Roger Bacon.[4]

text: The Tin Woodman appears in the 2011 TV series Once Upon a Time episode "Where Bluebirds Fly" portrayed by Austin Obiajunwa (as a teenager) and by Alex Désert (as an adult).[5] In this version he goes by the name Stanum (derived from the Latin world "stannum", which means "tin").

text: Since youth, Stanum has been a woodcutter and one day when he first met Zelena, the daughter of another woodsman, he finds out that Zelena has magic and befriends her, regardless of whatever the children say about Zelena, who they see as a freak. Many years later, Stanum, now a man, is punished by the Wicked Witch of the North for chopping down a tree in her domain, and his body slowly begins to transform into tin. To prevent himself from completely becoming tin, Stanum seeks out help from Zelena (now the Wicked Witch of the West) at the Emerald City of Oz. Zelena agrees to help him seek out the Crimson Heart, which can save him. During their quest, Stanum tells Zelena that she doesn't have to be lonely but she is doing her best to deny his advice. Suddenly, a lion comes of nowhere to attack Stanum, and Zelena uses her magic to make the lion go away (at this point the lion has become as Zelena would put it, cowardly). When they finally arrived to the location of the Crimson Heart, the two learned that the only way to make it work is through the absorption of another person's magic. Unfortunately Zelena's actions and selfish greed for magic causes her to betray Stanum, whom she suspect was aligned with Dorothy by keeping the Crimson Heart for herself, leaving Stanum to transform into the Tin Man permanently. Some time later, when Robin Hood arrives in Oz in the episode "Heart of Gold", the Tin Man is seen on the side of the Yellow Brick Road, torn apart.

text: Depictions on stage and screen[edit]

text: In 1902, Baum helped to adapt The Wizard of Oz into a wildly successful stage extravaganza. David C. Montgomery played the Tin Woodman, Niccolo Chopper (who played the piccolo), opposite Fred Stone as the Scarecrow, and the team became headliners. The piccolo would continue to appear in early adaptations, such as the 1910 film, but was largely forgotten, and the name "Niccolo" never appeared in one of the books. Revisionist books like Oz Squad have referred to him as "Nicholas," a name not found in the books, either.

tag: ul

text:
In the classic 1939 film The Wizard of Oz, the Tin Man was played by actor Jack Haley. Originally, Ray Bolger was cast to play the role of Tin Man, despite his desire to play the Scarecrow. Buddy Ebsen was, at the time, cast as Scarecrow, and was convinced to swap roles with Bolger.[6] While this pleased Bolger, it led to medical problems for Ebsen. The Tin Man's makeup originally contained aluminum powder which got into Ebsen's lungs, bringing him to the edge of death. He was rushed to a hospital and had to give up the role. Despite this, and the fact that the Tin Man's makeup was changed to a safer aluminum paste, Ebsen went on to outlive both Bolger and Haley. Haley based his breathy speaking style in the movie on the voice he used for telling his son bedtime stories. His portrayal of the character is by far the most famous. There is no explanation in the film of how the Tin Man became the Tin Man. It is subtly implied that he was always made of tin; the only reference to the tinsmith is the Tin Man's remark "The tinsmith forgot to give me a heart". Unlike the costumes of the Scarecrow (in the National Museum of American History) and Cowardly Lion (two sets in private hands), that of the Tin Man "was largely destroyed".[7][8] Haley also portrayed the Tin Man's Kansas counterpart, Hickory (one of Aunt Em and Uncle Henry's farmworkers). Screenwriter Noel Langley created this character for the film.[9] Hickory helps Zeke (Lion's alter ego) lower a bed into its place on a wagon at the farm. Unlike Zeke, Hickory and Hunk (Scarecrow's alter ego) lose their hats with Uncle Henry as they struggle to open the cellar when the tornado approaches the farm. He reunites with Dorothy when she awakes from being unconscious. Hickory is seen with Aunt Em, Uncle Henry, Zeke, and Hunk as well as Professor Marvel (The Wizard's alter ego).
In the original Broadway version of The Wiz, Tiger Haynes played the Tinman, a human woodcutter who became tin after the Wicked Witch of the East cursed his axe to chop him up (as in the book). Nipsey Russell played the Tinman in the film adaptation of The Wiz. In this version, as in the 1939 movie, there is no explanation of how he became tin, just a reference of the "genius who created me". He worked as the carnival barker and when the park was closed, he was abandoned, rusted and squeezed by his fourth wife, "Teeny" (a heavy tin sculpture of a fat lady). He was saved by Dorothy and the Scarecrow. Ne-Yo played the Tinman in the TV special The Wiz Live!. This version portrayed him as a construction worker on whom the Wicked Witch of the East developed an unrequited crush. When she found out he already had a girlfriend, "Bertha", she became so jealous, she turned him into a heartless tinman. The Witch boasted afterwards that if she couldn't have his heart, then no one could. Like Jack Haley in the 1939 movie, Ne-Yo also played one of Aunt Em's farmhands - John, who walks with a metal leg brace.
Other notable actors who have played the Tin Woodman include Oliver Hardy in a 1925 silent version of The Wizard of Oz directed by and starring Larry Semon, in which a villainous farmhand briefly fell into a tin pile and emerged as a "Tin Woodsman" [sic]. In subsequent scenes the tin was removed and he became "Knight of the Garter". In the 1960 television adaptation of The Land of Oz, he was played by vaudeville comedian Gil Lamb; in the 1969 film, The Wonderful Land of Oz he was played by Al Joseph; and in the 1985 film Return to Oz, he was played by Deep Roy, a little person who was able to fit inside a costume that looked nearly identical to John R. Neill's artwork.
In the 1961 animated TV series, Tales of the Wizard of Oz and its sequel, the 1964 NBC animated television special Return to Oz, the Tin Man (here named Rusty) was voiced by Larry D. Mann.
In the 1970s, the Tin Woodman appeared in a series of short animated educational films about heart health from Joleron Productions.
In an episode of The World's Greatest Super Friends, Superman temporarily became the Tin Man after a tornado took him, Wonder Woman, and Aquaman to Mister Mxyzptlk's planet of Oz.
In a 1981 episode of Scooby-Doo and Scrappy-Doo, Scrappy is dressed as the Tin Man after a tornado took him, Shaggy, and Scooby to "Ahz", a direct spoof of Oz with a different spelling by its enunciation.
In 1985, the Tin Woodman appeared in the educational film Act on Arthritis as well as in promotional commercials.
Roger Daltrey portrayed this character in the 1995 television stage performance The Wizard of Oz in Concert: Dreams Come True. The Kansas farmworker Hickory does not appear in this production. Daltrey performed a rock and roll tempo of "If I Only Had a Heart" in which he swung his microphone mimicking his Who persona. He also performed the bridge verses sung by the Tin Man in Nathan Lane's long version of "If I Only Had the Nerve". Toward the end, he hugged the Wizard (Joel Grey) saying to him "Thank you from the bottom of my heart!".
In 1996, they made a cartoon animated The Oz Kids. He has a son named Tin Boy. Like his father he can cut wood with his ax. And he has to be careful with water and snow or he'll be rust. His voice played by Andy Milder.
Hiroki Tsujiai from Ultra Maniac dresses as the Tin Man in the costume party.
James Kall portrayed the Tin Man in the 2001 ABC miniseries Life with Judy Garland: Me and My Shadows.
The Muppet Gonzo plays a similar role, the Tin Thing, in 2005's television film The Muppets' Wizard of Oz. In this version, he is the Wicked Witch's research assistant, transformed into a robot to prevent him wanting a day off to marry Camilla. Gonzo's other role is himself. He appears at the end of this film in the Muppets' show.
In 2006, the Tin Man was the protagonist in a pair of television commercials for Chef Boyardee brand canned Beef Ravioli, in a costume identical to the design used in the 1939 Oz film. In the commercials, the Tin Man (played by Australian actor David Somerville) is pursued by groups of children due to the fact that an oversized Beef Ravioli can label has been affixed to the back of his cylindrical torso (which he doesn't notice until the midpoint of the first commercial); thus, he appears to be a very large, mobile can of ravioli. In the first ad, the Tin Man escapes from his pursuers only to discover that the building he ducked into is an elementary school cafeteria full of hungry children and a teacher. The second ad begins with the Tin Man running through a residential neighborhood, accidentally adding to his pursuers when he stumbles across a backyard birthday party; after fleeing across a golf course (while dodging balls from the driving range), he is cornered in another backyard and threatened with a garden hose (playing on the Tin Man's classic weakness of rusting). As the scene shifts to the image of a Beef Ravioli can, sounds of water hitting metal and the Tin Man's cries for help are heard.
In 2006, the Chicago Under Ground Film Festival premiered Lee Lynch’s feature film titled Transposition of the Great Vessels. Based on the story of his own parents, who moved from Redding to Los Angeles, in hopes of making a better life. His father wanted to work for the forest service, and his mother wanted to be a cook, but their baby was born with a rare heart condition. They were forced to give up those dreams, and make choices that would give them insurance and stability. A naturalist movie interspersed with dream sequences; the “Tin Woodman” makes an appearance while on his deathbed, at UCLA Medical Center.
At Sundance of 2007, a film premiered by young director Ray Tintori entitled Death to the Tinman. It is a somewhat modernized retelling that takes place at sometime in the 1900s, in the town Verton, rather than Oz. However, the book of the same name, which tells the origins of the character, is cited by opening intertitles as the source. Although the basic premise is nearly identical, much of the details and all names and locations have been changed. This is partially due to the film's satirical look at criminal reenactments, as it states at the beginning that names "have been changed to protect the innocent." Perhaps the most interesting change that story makes, though, is the origin of the curse upon the Tinman's Axe, which is changed from being the Witch to being a curse from God. This film won a short filmmaking award at Sundance.
A 2007 CG animated short film called "After Oz",[10] produced by the film students at Vancouver Film School, centered on a stylized version of the Tin Man, after he has received his heart from Oz. The movie shows him moving through a colorful Oz city with his brand-new mechanical heart, before meeting a reddish female Tin Woman (or robot?) to whom he gives the heart. She proceeds to cruelly play with the heart.
An internet-collaboration, CG animated feature based on Baum's book The Tin Woodman of Oz was produced by A:M Films, and completed in 2009.
In 2010, Whitestone Motion Pictures[11] produced a 23-minute live-action short film, Heartless: The Story of the Tin Man. The film is based on the book The Tin Woodman of Oz, where Woot the Wanderer visits the Tin Man and asks how he came to be made of tin. In the film, the Tin Man appears to be more steam- or coal-powered. His chest cavity is covered by a door which reads "Pedudoe Tin Co." but this is a reference to the workings of the film company, and not a reference to any Oz book or material. The movie was made available for free viewing online and free downloading of its soundtrack.
In the 2013 prequel, Oz the Great and Powerful, although the Tin Woodman does not physically appear, the film introduces his creator, the Master Tinker, portrayed by Bill Cobbs.[12]
Tin Man appears in the animated film Legends of Oz: Dorothy's Return (which is based on Dorothy of Oz), voiced by Kelsey Grammer.
The Woodsman, a 2012 stage play written by James Ortiz with music by Edward W. Hardy, tells the backstory of the Tin Man, using puppetry, movement, and music. The play has received multiple Off Broadway productions, and won a 2016 Obie Award for Ortiz's puppet design.[13]
In the TV series Emerald City, the Tin Woodman equivalent is Jack (Gerran Howell), a friend of the enigmatic Tip, who helps 'him' escape from his imprisonment by a witch. When it is revealed that Tip is actually a girl whose true identity was suppressed by a potion, her strained emotional state causes her to push Jack over a balcony after he kisses her. Jack is subsequently found and rebuilt by scientists in a cyborg-like state; his head and right arm are still organic, but his heart and the rest of his body has been replaced or covered by mechanical armour.
The Tin Man appears in Once Upon a Time. In this show, he started out as a woodcutter named Stanum (portrayed by Austin Obiajunwa as a young man and by Alex Désert as an adult) who encountered a younger Zelena when she saved a bird's nest. When two bullies show up to harm Zelena, Stanum helped to fend them off. Years later, Stanum comes to Zelena for help. He tells Zelena that he is slowly turning to tin after he was cursed by the Wicked Witch of the North for cutting down a tree in her area. Stanum states that the Crimson Heart artifact might be able to help him, but needs Zelena's help to get by the beast that guards it. When close to its location, Stanum is attacked by a lion who is then fended off by Zelena. When they get to the heart, Zelena picks it up and felt some of her magic draining. When Zelena claims that Dorothy Gale put Stanum up to this task, Stanum commented that he never met Dorothy. He also stated that Zelena once claimed on the day they met that she would be happy being a normal human. As Stanum fully turns to tin and is unable to move, Zelena takes the box containing the Crystal Heart and leaves while telling Stanum that perhaps Dorothy will meet Stanum and free him.

text: Modern works[edit]

text:
The song "Country Robot/A Letter to Dorothy" by The Incredible Moses Leroy is written from the Tin Man's perspective; it includes the lyrics "You gave me oil, I was a rusty load/ You even helped me find my heart."
In the song "Tin Man" by the band America, the lyrics state that "Oz never did give nothin' to the Tin Man, that he didn't, didn't already have." The rest of the song has nothing to do with the Tin Man or Oz.
Country artist Kenny Chesney recorded the song "Tin Man" for his album "All I Need to Know". The first verse and refrain state:
Tracy Chapman included a song titled "Remember the Tinman" on her 1995 album New Beginning.
In the VeggieTales episode The Wonderful Wizard of Ha's, the Tin Man and his Kansas counterpart from the 1939 film were played by Larry the Cucumber.
In the 2007 Sci-Fi miniseries Tin Man, a "Tin Man" is a term used for the law enforcers of Central City in the Outer Zone (O.Z.) One of the story's protagonists, Wyatt Cain (played by Neal McDonough in the title role), is a Tin Man whose past left him hardened and distant from others. In addition, he is first found by Dorothy imprisoned in an iron suit that replays a non-stop loop of the capture of his wife and child.
The Avett Brothers 2009 Album I and Love and You features a song called "Tin Man".
Verses of the Future Islands 2010 post-pop, synth-ballad Tin Man contain numerous metaphorical, Tin-Man related references. The song also features a powerful and climactic end chorus consisting solely of the repeated line - "I am the Tin Man".
In the 2011 direct-to-DVD animated film Tom and Jerry and the Wizard of Oz, the Tin Man was voiced by Rob Paulsen.
The Tin Man appears in Dorothy and the Witches of Oz played by Jordan Turnage. He appears in the form of a man named Nick (played by Billy Boyd).
A 1990 episode of Star Trek: The Next Generation is titled "Tin Man."
The Phineas & Ferb episode "Wizard of Odd" features the Tin Man in his rusted state, but he is never freed from this condition. He is also featured in an end credits song entitled "Rusted."
Mickey Mouse Clubhouse did a parody special entitled "The Wizard of Dizz," in which the role of the Tin Man is played by Mickey Mouse.
The parody The Muppets' Wizard of Oz featured Gonzo the Great in the role of the Tin Man.
In the game Code Name: S.T.E.A.M., Tin Man, along with other Oz characters, is a playable character. His design is more based on Japanese culture and he have the ability to give steam to allies.
The Tin Woodman appears as a major antagonist in Danielle Paige's Dorothy Must Die novel series.

text: Sources of the Tin Man image[edit]

text: Economics and history professors have published scholarly studies that indicate the images and characters used by Baum and Denslow closely resembled political images that were well known in the 1890s.[14] They state that Baum and Denslow did not simply invent the Lion, Tin Woodman, Scarecrow, Yellow Brick Road, Silver Slippers, cyclone, monkeys, Emerald City, little people, Uncle Henry, passenger balloons, witches and the wizard. These were all common themes in the editorial cartoons of the previous decade. The notion of a "Tin Man" has deep roots in European and American history, according to Green (2006), and often appeared in cartoons of the 1880s and 1890s.[15] Baum and Denslow, like most writers and illustrators, used the materials at hand that they knew best. They built a story around them, added Dorothy, and added a series of lessons to the effect that everyone possesses the resources they need (such as brains, a heart and courage) if only they had self-confidence. The Wonderful Wizard of Oz was a children’s book, of course, but as Baum warned in the preface, it was a "modernized" fairy tale as well.

text: The Tin Man—the human turned into a machine—was a common feature in political cartoons and in advertisements in the 1890s. Indeed, he had been part of European folk art for 300 years. In political interpretations of The Wonderful Wizard of Oz, the Tin Woodman is supposedly described as a worker, dehumanized by industrialization. The Tin Woodman little by little lost his natural body and had it replaced by metal; so he has lost his heart and cannot move without the help of farmers (represented by the Scarecrow); in reality he has a strong sense of cooperation and love, which needs only an infusion of self-confidence to be awakened. In the 1890s many argued that to secure a political revolution a coalition of Farmers and Workers was needed.[16]

text: The 1890 editorial cartoon to the right shows President Benjamin Harrison wearing improvised tin armor because he wanted a tariff on tin. Such images support the argument that the figure of a "tin man" was in use as political allegory in the 1890s. The man on the right is politician James G. Blaine.

text: The oil needed by the Tin Woodman had a political dimension at the time because Rockefeller's Standard Oil Company stood accused of being a monopoly (and in fact was later found guilty by the Supreme Court). In the 1902 stage adaptation, which is full of topical references that do not appear either in the novel or in any of the film adaptations (unless they are satirical), the Tin Woodman wonders what he would do if he ran out of oil. "You wouldn't be as badly off as John D. Rockefeller," the Scarecrow responds, "He'd lose six thousand dollars a minute if that happened."[17]


document_title: The Santa Clause 3: The Escape Clause

question_text: who played jack frost in santa clause 3

question_tokens: who played jack frost in santa clause 3

root

text: The Santa Clause 3: The Escape Clause

text: Plot

text: Carol/Mrs. Claus is teaching a class of young elves and begins telling them a story of her life with Scott Calvin/Santa Claus. The couple are expecting their first child as Christmas Eve approached. Scott invites his in-laws, Sylvia and Bud Newman, to the North Pole, along with Scott's former wife, Laura, her husband, Neil, and their daughter, Lucy. Meanwhile, he is summoned to a meeting of the Council of Legendary Figures, consisting of Mother Nature, Father Time, the Easter Bunny, Cupid, the Tooth Fairy, and the Sandman. Jack Frost also arrives, jealous that he has no holiday or special occasion in his honor. Because he has been promoting himself during the Christmas season, Mother Nature suggests sanctions against him. When Santa says he is dealing with how to get the in-laws to come without revealing that he is Santa, Jack Frost negotiates a light sentence of community service at the North Pole, helping Santa and the elves put up various Canadian-themed paraphernalia, as Carol's parents believe Scott is a toymaker in Canada.

tag: p

text: However, Frost's ultimate goal is to trick Santa into renouncing his position. When elf Curtis inadvertently reveals the Escape Clause, Frost sneaks into Santa's hall of snow globes and steals one containing Scott as Santa. If Scott holds the globe and says, "I wish I'd never been Santa at all," he will go back in time and undo his career as Santa. When Lucy discovers this, Frost freezes her parents and locks her in a closet. He then orchestrates situations that make Scott think he must resign to make things better.

text: Frost tricks Scott into invoking the Escape Clause and both are sent to Scott's front yard in 1994, when Scott caused the original Santa to fall off of his roof and had to replace him. Frost causes the original Santa to fall off the roof and grabs Santa's coat before Scott can, making Frost the new Santa. Scott is sent back to the present day, where he has been CEO of his old company for the last 12 years and business takes priority over family. He also discovers that the new timeline has affected other people as well. Scott also learns he and Carol never married and Carol moved away years ago.

text: Scott goes to find Lucy and Neil, who are vacationing at the North Pole, which Frost has turned into a touristy resort. Christmas is now "Frostmas", the elves are miserable, and the reindeer are confined to a petting zoo. When Scott finds Lucy and Neil, Neil expresses his resentment for Scott's causing the separation between him and Laura. Scott confronts Frost as Santa Claus and tricks Jack Frost into recording his voice stating the Escape Clause. Scott has Lucy steal Frost's snow globe and bring it to him; when Frost finds out and takes the globe back, Scott plays the recording of Frost saying, "I wish I'd never been Santa at all", invoking the Escape Clause and causing Scott and Frost to be sent back again to 1994. Scott restrains Jack long enough to let the Scott Calvin of 1994 get the coat, making him Santa Claus again and taking him back to the North Pole in the present and the family where no time has passed.

text: Scott as Santa reconciles with his family and Jack is arrested by elf police. He reveals he cannot unfreeze his victims unless he is unfrozen himself. Scott convinces Lucy via a snow globe he had given her earlier of her warmly hugging a snowman, to give Frost a "magic hug" to unfreeze and reform him. The "Canada" ruse is dropped and Scott appears as Santa to Carol's parents. With two hours remaining before Santa must leave for his Christmas deliveries, Carol goes into labor.

text: Back to the present time, while Carol is telling the tale to her students, Scott walks in to reveal his baby boy, Buddy Claus.

text: Cast

text:
Tim Allen as Santa Claus / Scott Calvin
Martin Short as Jack Frost
Elizabeth Mitchell as Mrs. Claus / Carol Calvin
Judge Reinhold as Neil Miller
Wendy Crewson as Laura Miller
Liliana Mumy as Lucy Miller
Alan Arkin as Bud Newman
Ann-Margret as Sylvia Newman
Spencer Breslin as Curtis the Elf
Eric Lloyd as Charlie Calvin
Aisha Tyler as Mother Nature
Peter Boyle as Father Time
Michael Dorn as the Sandman
Jay Thomas as the Easter Bunny
Kevin Pollak as Cupid
Art LaFleur as the Tooth Fairy

text: Critical response

text: The Santa Clause 3 received negative reviews from critics. On Rotten Tomatoes, the film holds a rating of 15%, based on 65 reviews, with an average rating of 3.7/10. The site's consensus reads, "Playing Jack Frost as an evil cross between Liza Minnelli and Liberace, Martin Short is a welcome presence, but this tired series continues drawing from its bag of bland gags and dumb slapstick." On Metacritic, the film has a score of 32 out of 100, based on 17 critics, indicating "generally unfavorable reviews".[3]

text: Erid D. Snider, a reviewer wrote that Allen did The Santa Clause "The first time with enthusiasm, the second time with affection and the third time for a paycheck". Kyle Smith wrote, "We're getting a turkey and a ham for the holidays. Santa is so dumb he should be demoted to cleaning up after Geoffrey the Giraffe at Toys 'R' Us." Manohla Dargis dismissed the film as "Squeaky clean, but you might die of boredom." Finally, Mark Kermode described it on BBC Radio Five Live as "the cinematic equivalent of tertiary syphilis".[citation needed]

text: Awards and nominations

text:
Award
Category
Subject
Result

Golden Raspberry Award
Worst Actor
Tim Allen
Nominated

Worst Screen Couple
Nominated

Martin Short
Nominated

Worst Supporting Actor
Nominated

Worst Prequel or Sequel
Nominated

Worst Excuse for Family Entertainment
Nominated

tag: table

text: Box office

text: The first two films had become box-office successes during their opening weekends, but The Santa Clause 3 was beaten by Borat for the #1 spot.

text: As of February 7, 2007; The Santa Clause 3 made $84,500,122 in North America and a worldwide gross of $110,768,122.[4] The first film made $189,833,357 worldwide at the box-office while the second film made $172,855,065.

text: DVD & Blu-ray Disc release

text: The film was released on both standard DVD and high-definition Blu-ray Disc on November 20, 2007.

text: Video game

text: A tie-in video game was released on November 1st, 2006 for the Game Boy Advance, developed by 1st Playable Productions and published by Buena Vista Games.[5]


document_title: Indonesia–Malaysia relations

question_text: what caused the malay world to be divided into two countries now known as malaysia and indonesia

text: Indonesia–Malaysia relations

text: Country comparison[edit]

text:
Republic of Indonesia
 Federation of Malaysia

Coat of Arms

Flag

Population
255,461,700[7]
30,800,000[8]

Area
1,904,569  km2 (735,358 sq mi)
329,847  km2 (127,355 sq mi)

Population Density
124.66/km2 (322.87/sq mi)
92/km2 (237/sq mi)

Time zones
3
1

Capital
Jakarta
Kuala Lumpur (Putrajaya is the seat of government)

Largest City
Jakarta – 11,374,022 (30,326,103 Metro)
Kuala Lumpur – 1,627,172 (7,200,000 Metro)

Government
Unitary presidential constitutional republic
Federal parliamentary constitutional monarchy

Established
17 August 1945 (Independence from the Dutch Empire proclaimed for Indonesia)
31 August 1957 (Independence from the British Empire proclaimed for the Federation of Malaya)
16 September 1963 (Formation of Malaysia)

Predecessor States
Portuguese, Dutch, French and British Colonial Period (1512–1949)
 Portuguese Colonisation (1512–1850)

 Dutch East India Company (1602–1800)
 Dutch East Indies (1800–1949)

 French and British interlude (1806–1815)

Japanese Occupation Period (1942–1945)
 Occupied Dutch East Indies (1942–1945)

Post–war Period (1945–1949)
 Republic of Indonesia (1945–1949)
 Emergency Government (1948–1949)

Post–Colonial Period (1949–present)
 United States of Indonesia (1949–1950)
 Dutch New Guinea (1949–1962)
 Republic of Indonesia

 Liberal Democracy Period (1950–1957)
 Guided Democracy Period (1957–1965)
 Transition Period (1965–1966)
 New Order Period (1966–1998)
 Reformasi Period (1998–present)

Portuguese Colonial Period (1511–1641)
 Portuguese Malacca (1511–1641)

Dutch Colonial Period (1641–1825)
 Dutch Malacca (1641–1795; 1818–1825)

British Colonial Period (1771–1946)
 Straits Settlements (1826–1946)
 Federated Malay States (1895–1946)
 Unfederated Malay States (1909–1946)
 Kingdom of Sarawak (1841–1946)
 Crown Colony of Labuan (1848–1946)
 British North Borneo (1881–1946)

Japanese Occupation Period (1942–1945)
 Occupied Malaya (1942–1945)
 Occupied British Borneo (1942–1945)
 Si Rat Malai (1943–1945)

Interim Military Period (1945–1946)
 Military Administration of Malaya (1945–1946)
 Military Administration of Borneo (1945–1946)

Self–Government Period (1946–1963)
 Malayan Union (1946–1948)
 Federation of Malaya (1948–1963)
 Crown Colony of North Borneo (1946–1963)
 Crown Colony of Sarawak (1946–1963)

Federation Period (1963–present)
 Federation of Malaysia (1963–present)

First Leader
Sukarno
Abdul Rahman of Negeri Sembilan (Monarch)
Tunku Abdul Rahman (Prime Minister)

Head of State
 President: Joko Widodo
 Monarch: Muhammad V

Head of Government
Prime Minister: Najib Razak

Legislature
People's Consultative Assembly (Bicameral)
Parliament (Bicameral)

Upper House
Dewan Perwakilan Daerah
President: Mohammad Saleh
Dewan Negara
President: S. Vigneswaran

Lower House
Dewan Perwakilan Rakyat
Speaker: Setya Novanto
Dewan Rakyat
Speaker: Pandikar Amin Mulia

Judiciary
Supreme Court
Chief Justice: Muhammad Hatta Ali
Constitutional Court
Chief Justice: Arief Hidayat
Federal Court
Chief Justice: Arifin Zakaria

Official language
Indonesian (de facto and de jure)
Malaysian (de facto and de jure), English (de jure in some official purposes)

Recognised regional languages
Various
Various

Main religions
87.2% Islam, 6.9% Protestantism, 2.9% Catholicism, 1.6% Hinduism, 0.72% Buddhism, 0.05% Confucianism, 0.5% Other
61.3% Islam, 19.8% Buddhism, 9.2% Christianity, 6.3% Hinduism, 1.3% Confucianism/Taoism/Chinese folk religion, 1% No answer, 0.7% Atheism, 0.4% Other

Ethnic groups
40.22% Javanese, 15.5% Sundanese, 3.58% Batak, 3.03% Madurese, 2.88% Betawi, 2.73% Minangkabau, 2.69% Bugis, 2.27% Malay, 1.97% Bantenese, 1.74% Banjar, 1.73% Acehnese, 1.67% Balinese, 1.34% Sasak, 1.27 Dayak, 1.2% Chinese, 1.14% Papuan, 1.13% Makassarese, 14.24% Others
54.66% Malay Bumiputera, 23.2% Chinese, 14.14% Indigenous / Non - Malay Bumiputera, 7.0% Indian, 0.9% Others

HDI
0.689
0.789

GDP (per capita)
$11,135
$25,833

GDP (nominal)
$895.577 billion
$375.633 billion

Expatriate populations
2,500,000 people of Indonesian-origin living in Malaysia
No information

text: History[edit]

text: The History of Indonesia and History of Malaysia were often intertwined. Throughout their history the borders of ancient kingdoms and empires — such as Srivijaya, Majapahit, Malacca, Aceh and Johor-Riau — often comprised both modern day countries. For centuries, the relations, migrations and interactions between Indonesian and Malaysian people have been quite intense, and it is common for Malaysians to trace their relatives in Indonesia and vice versa. The Malays' homes are on both sides of the strait and also on coastal Borneo, while Dayak homelands are both in East Malaysian Borneo and Indonesian Kalimantan. Some of Indonesian origin ethnic groups such as Minang, Bugis, and Javanese had significant migration to Malaysia and formed significant communities in Malaysia. Negeri Sembilan in particular have large numbers of Minangkabau people.

text: During the colonial era, the region was contested among European colonial powers, notably British and Dutch. From the 17th to early 19th century, various states, ports and cities in the region were held as Dutch colonies or British possessions. The current borders between Indonesia and Malaysia were basically inherited from those established by the colonial powers through their treaties. The Anglo-Dutch Treaty of 1814 and 1824 significantly shaped the territories of Indonesia, Malaysia, Singapore, and India. These treaties officially divided the archipelago into two: Malaya, which was ruled by the United Kingdom, and the Dutch East Indies, which was ruled by the Netherlands. The successor states of Malaya and the Dutch East Indies are Malaysia and Indonesia, respectively. The line that separated the spheres of influence between the British and the Dutch ultimately became the border between Indonesia and Malaysia.

text: During World War II both British Malaya and Borneo together with the Dutch East Indies fell to the Japanese Empire. After the Japanese defeat, Indonesia declared its independence in 1945, followed a war of independence against Dutch until 1949. The British reestablished their authority in Malaya, and their withdrawal two decades later meant the independence of the states of Malaysia, Singapore, and Brunei. The diplomatic relations between the Republic of Indonesia and Federation of Malaya were established promptly after Malaya's independence from Britain in 1957.[9]

text: However, the relations between the two nations deteriorated under Indonesian President Sukarno in 1962 (see Indonesia–Malaysia confrontation, see Indonesian withdrawal from the United Nations). The conflict resulted from Indonesian opposition to the formation of Malaysia, a merger of the Federation of Malaya with two former British colonies on Borneo: Sarawak and Sabah. The conflict has led to the termination of diplomatic relations on 17 September 1963.[9]

text: After the fall of Sukarno, relations between Indonesia and Malaysia were restored under President Suharto; as both parties agreed to normalise the bilateral relationship and pursued peaceful co-operation and partnership. The bilateral relations recovery process was started on 1 June 1966 when the foreign ministers of two nations signed the Bangkok Accord to end hostility and confrontation. Followed by Jakarta Accord signed on 11 August 1966 in Jakarta, marked the re-establishment of bilateral relations. In September 1967 Indonesian Liaison Office was opened in Kuala Lumpur, led to establishment of Indonesian embassy.[9]

text: In 1967, both countries together with Philippines, Singapore and Thailand founded ASEAN to ensure the peace and stability in the region. Since the 1970s under Suharto and Mahathir administrations, both countries enjoys relatively cordial and close relationship, stemmed from both proximity and serumpun (kinship) spirit. However, some diplomatic spats have occurred that at times put tensions on bilateral relations. These range from territorial disputes, treatment of migrant workers to accusations of cultural theft.

text: Territorial disputes[edit]

text: Most of the current borders were inherited from Dutch East Indies and British Malaya and Borneo colonial rule. Currently, both nations are in a territorial dispute over the oil rich islands of Ambalat. Previously, they were over territorial disputes over the islands of Ligitan and Sipadan, which were won by Malaysia.[10]

text: The recent border disputes arisen in Straits of Malacca and South China Sea area mainly because the disagreement on exact locations of maritime naval borders in these waters. Both parties involved in arresting and detaining their counterpart's officials and fishermen accused on territorial breaching violations and illegal fishing.[11][12][13][14]

text: In August 2017, the Malaysian Insight claimed that according to an unnamed source, China will offer Malaysia advanced rocket launchers and a radar system to be based on the southern tip of the Southeast Asian country.[15][16] Up to 12 units of the AR3 multiple-launch artillery rocket system (MLRS) will be offered to Malaysia in a purchase program with a loan period of 50 years. The AR3 has a maximum range of up to 280 kilometres, a distance which will place some parts of Indonesia within firing range.[17] This was however denied by the Malaysian Armed Forces, citing they did not even received any offer from China. The Chinese side also declined to comment on the report, saying “weapons exports were not part of its remit”.[18]

text: Migrant worker[edit]

text: The Indonesian migrant worker (Indonesian: TKI abbreviation of Tenaga Kerja Indonesia) has become the important issue between both countries. In the 1980s to 1990s Malaysia saw the remarkable growth and development on economy, industrialisation and modernisation. With its large population and large workforce, Indonesian jobseekers suddenly began to regard Malaysia as an attractive destination for work and improving their economic situation. In 1997 both Indonesia and Malaysia were hit by the financial crisis that prompted the fall of the Suharto regime. Indonesian suffered the worst, large amounts of Indonesians lost their jobs and a large influx of Indonesian jobseeker migrant workers began to pour into Malaysia, which in return caused social problems in Malaysia, such as competition for jobs, crime and poverty.

text: The problems plaguing Indonesian migrant workers such as illegal immigration, crime, human trafficking, abuse, poor treatment and extortion upon migrant workers. Approximately 300,000 domestic workers, most of them from Indonesia, are employed in Malaysia. Many work up to 18 hours a day, seven days a week, for wages of 400 to 600 ringgit (US$118–177) a month and typically must turn over the first six to seven months of their salary to repay exorbitant recruitment fees. Some suffer physical or sexual violence from employers.[19] Since 2009, Indonesia has temporarily stopped sending domestic workers to Malaysia until both countries agree on ways to protect them. Indonesia resume sending migrant workers to Malaysia in December 2011 as both countries sign a memorandum of understanding (MoU) about worker protection by the end of April 2011.[20]

text: Culture[edit]

text: Because of many similarities and shared cultures between Indonesia and Malaysia—also because of significant numbers of Indonesian-origin immigrants in today's Malaysian demographic—both countries are often involved in disputes over cultural claims of the origin. Through an intensive tourism campaign, Malaysia has featured some famous cultural icons, namely the song Rasa Sayange, batik, shadow puppet theater and barongan (reog) dance.[21] This tourism promotion and cultural campaigns had alarmed and upset Indonesians that always thought that these arts and cultures belongs to them. As the reaction, many Indonesians felt the need to safeguard their cultural legacies, and to the extreme developed the anti-Malaysia sentiments. In 2009 the Pendet controversy fuelled again the cultural disputes among neighbours.[22] The advertisement promoting Discovery Channel's programme "Enigmatic Malaysia" featured Balinese Pendet dancer which it incorrectly showed to be a Malaysian dance.[23][24][25]

text: Disputes over the origins of a variety of dishes found in both countries is also a perpetual issue, from rendang[22] to lumpia (popiah). The claims to an extent also overlap with neighbouring Singapore. Despite the dispute never leading to a serious confrontation between the two countries, and politicians of both sides having even acknowledged it as "petty", in Indonesia however, an activist group held a demonstration in front of the Malaysian Embassy in Jakarta to protest the origin of the dish, lumpia in February 2015.[26]

text: On the other hand, the shared language and culture have their own benefits on connecting the people of both countries. For example, Indonesian popular cultures such as Indonesian musics, films and sinetrons are popular in Malaysia. Numerous Indonesian bands and musicians have their fan-base in Malaysia and often performed some concerts in Malaysia. Vice versa Malaysian singers such as Sheila Majid and Siti Nurhaliza are beloved and popular in Indonesia. Malaysian animation Upin & Ipin with deep Malay culture had also gain wide popularity and appeal among Indonesian children and families.[27] However this cultural exchanges is not always appreciated, the overwhelming popularity of Indonesian music in Malaysia had alarmed the Malaysian music industry. In 2008 Malaysian music industry demanded the restriction of Indonesian songs on Malaysian radio broadcasts.[28]

text: In addition, the two nations are fierce rivals in the world of international football (soccer). Competitive matches between the two countries are famed for their immense turnout and intense atmosphere, whether the tie is in Malaysia or Indonesia.

text: Environment[edit]

text: The slash and burn practice to clear the lands for palm plantations in Sumatra and Kalimantan were causing haze and smoke fog that blown northwards by wind and had reached Malaysia and Singapore. The haze occur in 1997, 2005, 2006, and reached the highest haze pollutant levels in June 2013.[29]

text: The haze is clearly hazardous for health and dangerous for transportation, especially flight safety in the region. The trans-border haze problems has strained diplomatic relations between Indonesia and Malaysia, and also with Singapore. Malaysian and Singaporean government had noted their protest and urged Indonesian government to reduce the hot-spots. In the peak of the haze that usually occur during dry season, Malaysian and Singaporean offer assistance to put off the fires. Indonesian government had banned the slash and burn practice, however the method was still widely used to clear palm oil plantation lands.

text: Another important environment issue is transborder illegal logging. Indonesian government has expressed the concern that many rainforest along Indonesia—Malaysia borders in Borneo were suffering illegal loggings, mostly done by Malaysian loggers. The concern was arroused because Malaysian authorities seem to be doing nothing to prevent the crime and even seems to be encouraging this practice to increase Malaysian timber yield.

text: Media[edit]

text: Malaysians expressed their concern that media in Indonesia seems to encouraging and fostering the anti-Malaysia sentiments through distorted news coverages, exaggerations and blowing the issues beyond the proportions.[30] Malaysian government concerned about anti-Malaysia sentiments, protest and aggressive actions of certain extremists amids the bilateral spats over a Balinese dance and the mistreatment of Indonesian housemaids in Malaysia.[31] Malaysia government also stated had run out of patience and sent a protest letter to Indonesia after a demonstration triggered by a maritime dispute.[32]

text: On the other hands Indonesian media also had accused the government-controlled media in Malaysia to often presenting negative opinions and poor images on Indonesia and Indonesian people as the political agenda to prevent the Indonesian reformation and democratic movement to spill beyond its borders.[33] The government of Indonesia also had sent the notes of protest for Malaysian media on using the term indon to refer for Indonesia and Indonesian people that considered as derogatory.[34]

text: Education[edit]

text: As of December 2012, about 6,000 Malaysians are studying in Indonesia while about 14,000 Indonesians are studying in Malaysia.[35]

text: Trade and economy[edit]

text: Malaysian companies that are investing in Indonesia are Maybank, CIMB, Petronas, Tabung Haji and Sime Darby, as stated by the Yang di-Pertuan Agong in his message to Malaysians in Indonesia while he and the Raja Permaisuri Agong were on a state visit to Indonesia in December 2012.[36] Both countries are actively pursuing subregional economic co-operation to develop trans-border economic zones and free-trade areas that could generate regional economy, such as Sijori (Singapore-Johor-Riau) on the west and BIMP-EAGA on the east region.

text: Tourism[edit]

text: Because of their proximity, travellers from both countries are important source of visitors that generated travel and tourism industry. Indonesians are the second largest visitors for Malaysia, reaching 2,548,021 visitors in 2013.[37] On the other hand, Malaysians are also the second largest visitors for Indonesia, reaching 1,302,237 travellers in 2011.[38] The top visitors of both countries are Singaporean visitors. Kuala Lumpur, Malacca and Penang are popular destinations for Indonesian travellers, and vice versa Bandung, Medan and Bukittinggi are particularly popular among Malaysian tourist.


document_title: Our Lady of Guadalupe

question_text: who did the virgin of guadalupe appeared to

question_tokens: who did the virgin of guadalupe appeared to

text: Our Lady of Guadalupe

text: Marian apparitions[edit]

text: Official Catholic accounts state that the Virgin Mary appeared four times before Juan Diego and one more before Juan Diego's uncle. According to these accounts the first apparition occurred on the morning of December 9, 1531, when a native Mexican peasant named Juan Diego saw a vision of a maiden at a place called the Hill of Tepeyac, which would become part of Villa de Guadalupe, a suburb of Mexico City. Speaking to Juan Diego in his native Nahuatl language (the language of the Aztec empire), the maiden identified herself as the Virgin Mary, "mother of the very true deity"[3] and asked for a church to be built at that site in her honor.

text: Based on her words, Juan Diego then sought out the archbishop of Mexico City, Fray Juan de Zumárraga, to tell him what had happened. As the bishop did not believe Diego, on the same day, Juan Diego saw the Virgin Mary for a second time (the second apparition); she asked him to keep insisting.

text: On Sunday, December 10, Juan Diego talked to the archbishop for a second time. The latter instructed him to return to Tepeyac Hill, and ask the lady for a miraculous sign to prove her identity. That same day, the third apparition occurred when Diego returned to Tepeyac and encountering the Virgin Mary, reported the bishop's request for a sign; she consented to provide one on the following day (December 11).[4]

text: By Monday, December 11, however, Juan Diego's uncle Juan Bernardino had fallen sick and Juan Diego was obliged to attend to him. In the very early hours of Tuesday, December 12, Juan Bernardino's condition having deteriorated overnight, Juan Diego set out to Tlatelolco to fetch a priest to hear Juan Bernardino's confession and minister to him on his death-bed.

text: In order to avoid being delayed by the Virgin and ashamed at having failed to meet her on the Monday as agreed, Juan Diego chose another route around the hill, but the Virgin intercepted him and asked where he was going (fourth apparition); Juan Diego explained what had happened and the Virgin gently chided him for not having had recourse to her. In the words which have become the most famous phrase of the Guadalupe event and are inscribed over the main entrance to the Basilica of Guadalupe, she asked, “¿No estoy yo aquí que soy tu madre?” (Am I not here, I who am your mother?). She assured him that Juan Bernardino had now recovered and she told him to gather flowers from the top of Tepeyac Hill, which was normally barren, especially in December. Juan followed her instructions and he found Castilian roses, not native to Mexico, blooming there. The Virgin arranged the flowers in Juan's tilma, or cloak, and when Juan Diego opened his cloak before archbishop Zumárraga on December 12, the flowers fell to the floor, and on the fabric was the image of the Virgin of Guadalupe.[5]

text: The next day, on December 13, Juan Diego found his uncle fully recovered, as the Virgin had assured him, and Juan Bernardino recounted that he too had seen her, at his bed-side (fifth apparition); that she had instructed him to inform the bishop of this apparition and of his miraculous cure; and that she had told him she desired to be known under the title of Guadalupe.

text: The bishop kept Juan Diego's mantle first in his private chapel and then in the church on public display where it attracted great attention. On December 26, 1531 a procession formed for taking the miraculous image back to Tepeyac where it was installed in a small hastily erected chapel.[6] In course of this procession, the first miracle was allegedly performed when an Indian was mortally wounded in the neck by an arrow shot by accident during some stylized martial displays executed in honour of the Virgin. In great distress, the Indians carried him before the Virgin's image and pleaded for his life. Upon the arrow being withdrawn, the victim made a full and immediate recovery.[7]

text: Juan Diego's tilma has become Mexico's most popular religious and cultural symbol, and has received widespread ecclesiastical and popular support. In the 19th century it became the rallying call of American-born Spaniards in New Spain, who saw the story of the apparition as legitimizing their own Mexican origin and infusing it with an almost messianic sense of mission and identity – thus also legitimizing their armed rebellion against Spain.[8][9]

text: Historically the devotion to Our Lady of Guadalupe did not lack clerical opponents within Mexico, especially in the early years, and in more recent times some Catholic scholars, and even a former abbot of the basilica, Monsignor Guillermo Schulenburg, have openly doubted the historical existence of Juan Diego, referring to the devotion as merely symbolic, propagated by a sensational cult. Nonetheless, Juan Diego was canonized in 2002, under the name Saint Juan Diego Cuauhtlatoatzin.

text: While the image garners much religious devotion and Mexican patriotism, scholarly criticism on the image is also notable, considering the artistic disproportion of the image, the similarity of the image to Spanish pre-colonial artwork closely related to the Aztec colony at the time, the alleged relationship of Marcos Cipac de Aquino in either inventing or amending the tilma cloak, and the public declaration of the abbot of the Guadalupe shrine pertaining to the false existence of the Marian apparitions.

text: Early history[edit]

text: Following the Conquest in 1519–21, the Spanish destroyed a temple of the mother goddess Tonantzin at Tepeyac outside Mexico City, and built a chapel dedicated to the Virgin on the site. Tonantzin (the beloved mother of the gods) was celebrated each winter solstice[10][11][12] which occurred on different dates, the winter solstice of 1531 occurred on December 12, 1531 according to the UNAM.[11][12][13] Newly converted natives continued to come from afar to worship there, often addressing the Virgin Mary as Tonantzin.[14]

text: What is purported by some to be the earliest mention of the miraculous apparition of the Virgin is a page of parchment (the Codex Escalada) which was discovered in 1995 and, according to investigative analysis, dates from the sixteenth century.[15] This document bears two pictorial representations of Juan Diego and the apparition, several inscriptions in Nahuatl referring to Juan Diego by his Aztec name, and the date of his death: 1548, as well as the year that the Virgin Mary appeared: 1531. It also contains the glyph of Antonio Valeriano; and finally, the signature of Fray Bernardino de Sahagun that was authenticated by experts from the Banco de Mexico and Charles E. Dibble.[16]

text: Scholarly doubts have been cast on the authenticity of the document, however.[17]

text: A more complete early description of the apparition occurs in a 16-page manuscript called the Nican mopohua, which was acquired by the New York Public Library in 1880, and has been reliably dated in 1556. This document, written in Nahuatl, but in Latin script, tells the story of the apparitions and the supernatural origin of the image. It was probably composed by a native Aztec man, called Antonio Valeriano, who had been educated by Franciscans. The text of this document was later incorporated into a printed pamphlet which was widely circulated in 1649.[18][19][20][21]

text: In spite of these documents, there are no written accounts of the Guadalupe vision by Catholic clergymen of the 16th century, as there ought to have been if the event had the importance it is claimed to have had.[22] In particular, the canonical account of the vision features archbishop Juan de Zumárraga as a major player in the story, but, although Zumárraga was a prolific writer, there is nothing in his extant writings that can confirm the story.

text: The written record that does exist suggests the Catholic clergy in 16th century Mexico were deeply divided as to the orthodoxy of the cult springing up around the image of Our Lady of Guadalupe, with the Franciscan order (who had custody of the chapel at Tepeyac) being strongly opposed to the cult, while the Dominicans supported it.[23]

text: The main promoter of the cult was the Dominican Alonso de Montúfar, who succeeded the Franciscan Juan de Zumárraga as archbishop of Mexico. In a 1556 sermon Montúfar commended popular devotion to "Our Lady of Guadalupe," referring to a painting on cloth (a tilma) in the chapel of the Virgin Mary at Tepeyac, where certain miracles had occurred. Days later, Fray Francisco de Bustamante, local head of the Franciscan order, delivered a sermon denouncing the cult. He expressed concern that the Archbishop was promoting a superstitious regard for an image:

text: "The devotion at the chapel...to which they have given the name Guadalupe was prejudicial to the Indians because they believed that the image itself worked miracles, contrary to what the missionary friars had been teaching them, and because many were disappointed when it did not."[24]

text: The next day Archbishop Montúfar opened an inquiry into the matter. At the inquiry, the Franciscans repeated their position that the image encouraged idolatry and superstition, and four witnesses testified to Bustamante's claim that the image was painted by an Indian, with one witness naming him "the Indian painter Marcos".[25] This could refer to the Aztec painter Marcos Cipac de Aquino, who was active at that time.[26][27] But "if he did, he did so without making a preliminary sketch – in itself a near-miraculous procedure.[...] Cipac may well have had a hand in painting the Image, but only in painting the additions, such as the angel and moon at the Virgin's feet",[28] claims Prof. Jody Brant Smith (referring to Philip Serna Callahan's examination of the tilma using infrared photography in 1979).

text: Ultimately Archbishop Montúfar (himself a Dominican) decided to end Franciscan custody of the shrine.[29] From then on the shrine was served by diocesan priests under the authority of the archbishop.[30] Moreover, Archbishop Montúfar authorized the construction of a much larger church at Tepeyac, in which the tilma was mounted and displayed.

text: The report of this 1556 inquiry is the most extensive documentation concerning the Virgin of Guadalupe from the 16th century, and significantly, it makes no mention of Juan Diego, the miraculous apparition, or any other element from the legend.

text: In the late 1570s, the Franciscan historian Bernardino de Sahagún denounced the cult at Tepeyac and the use of the name "Tonantzin" to call Our Lady in a personal digression in his General History of the Things of New Spain, in the version known as the Florentine Codex.

text: At this place [Tepeyac], [the Indians] had a temple dedicated to the mother of the gods, whom they called Tonantzin, which means Our Mother. There they performed many sacrifices in honor of this goddess...And now that a church of Our Lady of Guadalupe is built there, they also call her Tonantzin, being motivated by the preachers who called Our Lady, the Mother of God, Tonantzin. It is not known for certain where the beginning of this Tonantzin may have originated, but this we know for certain, that, from its first usage, the word means that ancient Tonantzin. And it is something that should be remedied, for the correct [native] name of the Mother of God, Holy Mary, is not Tonantzin, but Dios inantzin. It appears to be a Satanic invention to cloak idolatry under the confusion of this name, Tonantzin.[31]

text: Sahagún's criticism of the cult seems to have stemmed primarily from his concern about a syncretistic application of the native name Tonantzin to the Virgin Mary. However, Sahagún often used the same name in his sermons as late as the 1560s.[32]

text: In the 16th century and probably continuing into the early 17th century, the image was modified by adding the mandorla-shaped sunburst around the Virgin, the stars on her cloak, the moon under her feet, and the angel with folded cloth supporting her—as was determined by an infrared and ocular study of the tilma in 1979.[33]

text: First printed accounts[edit]

text: One of the first printed accounts of the history of the apparitions and image occurs in Imagen de la Virgen Maria, Madre de Dios de Guadalupe, published in 1648 by Miguel Sánchez, a diocesan priest of Mexico City.[34]

text: Other account is the Codex Escalada dated from the sixteenth century that is a sheet of parchment containing some apparitions of the Virgin Mary and the figure of Juan Diego, the glyph of Antonio Valeriano and the signature of Fray Bernardino de Sahagún. It also contains the following glosses: "1548 Also in that year of 1531 appeared to Cuahtlatoatzin our beloved mother the Lady of Guadalupe in Mexico. Cuahtlatoatzin died worthily"[35]

text: The next printed account was a 36-page tract in the Nahuatl language, Huei tlamahuiçoltica ("The Great Event"), which was published in 1649. This tract contains a section called the Nican mopohua ("Here it is recounted"), which we have already touched on above. The composition and authorship of the Huei tlamahuiçoltica is assigned by a majority of scholars to Luis Laso de la Vega, vicar of the sanctuary of Tepeyac from 1647–1657.[36][37] Nevertheless, the most important section of the tract, the Nican Mopohua, appears to be much older. It has been attributed since the late 1600s to Antonio Valeriano (ca. 1531–1605), a native Aztec man who had been educated by the Franciscans and who collaborated extensively with Bernardino de Sahagún.[18] A manuscript version of the Nican Mopohua, now held by the New York Public Library,[38] appears to be datable to the mid-1500s, and may have been the original work by Valeriano that was used by Laso in composing the Huei tlamahuiçoltica. Most authorities agree on the dating and on Valeriano's authorship.[19][20][21]

text: On the other hand, in 1666, the scholar Luis Becerra Tanco published in Mexico a book about the history of the apparitions under the name "Origen milagroso del santuario de Nuestra Señora de Guadalupe," which was republished in Spain in 1675 as "Felicidad de Mexico en la admirable aparición de la virgen María de Guadalupe y origen de su milagrosa Imagen, que se venera extramuros de aquella ciudad."[39] In the same way, in 1688, Jesuit Father Francisco de Florencia published "La Estrella del Norte de México" with the history of the same apparitions.[40]

text: Two separate accounts, one in Nahuatl from Juan Bautista del Barrio de San Juan from the 16th century,[41] and the other in Spanish by Servando Teresa de Mier[42] date the original apparition and native celebration on September 8 of the Julian calendar, but also note that the Spaniards celebrate it on December 12 instead.

text: With the help of the Informaciones Jurídicas de 1666, a feast day in name of Our Lady of Guadalupe was requested and approved, as well as the transfer of the date of the feast of the Virgin of Guadalupe from September 8 to December 12, the latest date on which the Virgin supposedly appeared to Juan Diego. The initiative to perform them was made by Francisco de Siles who proposed to ask the Church of Rome a Mass itself with allusive text to the apparitions and stamping of the image, along with the divine office itself, and the precept of hearing Mass on December 12, the last date of the apparitions of the Virgin to Juan Diego as the new date to commemorate the apparitions (which until then was on September 8, the birth of the Virgin).[43][clarification needed]

text: In 1666, the Church in México began gathering information from people who reported having known Juan Diego, and in 1723 a formal investigation into his life was ordered, where more data was gathered to support veneration. Because of the Informaciones Jurídicas de 1666 in the year 1754, the Sacred Congregation of Rites confirmed the true value of the apparitions and granted celebrating Mass and Office for the feast of Guadalupe on December 12.[44][45]

text: These published accounts of the origin of the image venerated in Tepeyac increased interest in the identity of Juan Diego, the original recipient of the vision. A new Basilica church was built to house the image. Completed in 1709, it is now known as the Old Basilica.

text: The crown ornament[edit]

text: The image had originally featured a 12-point crown on the Virgin's head, but this disappeared in 1887–88. The change was first noticed on 23 February 1888, when the image was removed to a nearby church.[46] Eventually a painter confessed on his deathbed that he had been instructed by a clergyman to remove the crown. This may have been motivated by the fact that the gold paint was flaking off of the crown, leaving it looking dilapidated. But according to the historian David Brading, “the decision to remove rather than replace the crown was no doubt inspired by a desire to 'modernize' the image and reinforce its similarity to the nineteenth-century images of the Immaculate Conception which were exhibited at Lourdes and elsewhere… What is rarely mentioned is that the frame which surrounded the canvas was adjusted to leave almost no space above the Virgin's head, thereby obscuring the effects of the erasure."[47] it is unclear why the frame was lowered, which makes the covering of the crown not easily noticeable.

text: A different crown was installed to the image. On 8 February 1887, a Papal bull from Pope Leo XIII granted permission a Canonical Coronation of the image, which occurred on 12 October 1895.[48] Since then the Virgin of Guadalupe has been proclaimed "Queen of Mexico", "Patroness of the Americas", "Empress of Latin America", and "Protectress of Unborn Children" (the latter two titles given by Pope John Paul II in 1999).[49][50] Under this title, she was also proclaimed "Heavenly Patroness of the Philippines" on 16 July 1935 by Pope Pius XI both witnessed and signed by Cardinal Eugenio Pacelli, a designation he later rescinded on 12 September 1942 upon becoming Pope Pius XII.

text: On 25 March 1966, Pope Paul VI presented a Golden Rose to the sacred image. Finally, under Pope John Paul II the move to beatify Juan Diego intensified. John Paul II took a special interest in non-European Catholics and saints. During his leadership, the Congregation for the Causes of Saints declared Juan Diego "venerable" (in 1987), and the pope himself announced his beatification on 6 May 1990, during a Mass at the Basilica of Our Lady of Guadalupe in Mexico City, declaring him “protector and advocate of the indigenous peoples," with December 9 established as his feast day.

text: At that time historians revived doubts as to the quality of the evidence regarding Juan Diego. The writings of bishop Zumárraga, into whose hands Juan purportedly delivered the miraculous image, did not refer to him or the event. The record of the 1556 ecclesiastical inquiry omitted him, and he was not mentioned in documentation before the mid-17th century. In 1996 the 83-year-old abbot of the Basilica of Guadalupe, Guillermo Schulenburg, was forced to resign following an interview published in the Catholic magazine Ixthus, in which he was quoted as saying that Juan Diego was "a symbol, not a reality", and that his canonization would be the “recognition of a cult. It is not recognition of the physical, real existence of a person.”[51] In 1883 Joaquín García Icazbalceta, historian and biographer of Zumárraga, in a confidential report on the Lady of Guadalupe for Bishop Labastida, had been hesitant to support the story of the vision. He concluded that Juan Diego had not existed.[52]

text: In 1995, Father Xavier Escalada, a Jesuit whose four volume Guadalupe encyclopedia had just been published, announced the existence of a sheet of parchment (known as Codex Escalada), which bore an illustrated account of the vision and some notations in Nahuatl concerning the life and death of Juan Diego. Previously unknown, the document was dated 1548. It bore the signatures of Antonio Valeriano and Bernardino de Sahagún, which are considered to verify its contents. The codex was the subject of an appendix to the Guadalupe enciclopedia, published in 1997.[17] Some scholars remained unconvinced, one describing the discovery of the Codex as "rather like finding a picture of St. Paul's vision of Christ on the road to Damascus, drawn by St. Luke and signed by St. Peter."[53]

text: Marian title[edit]

text: In the earliest account of the apparition, the Nican Mopohua, the Virgin Mary tells Juan Bernardino, the uncle of Juan Diego, that the image left on the tilma is to be known by the name "the Perfect Virgin, Holy Mary of Guadalupe."[54]

text: Scholars do not agree as to how the name "Guadalupe" was ascribed to the image.[55] Some believe that the Spanish transcribed or transliterated a Nahuatl name, as the site had long been an important sacred spot. Others hold that the Spanish name Guadalupe is the original name, and refers to the Spanish Our Lady of Guadalupe, Extremadura, whose cult had been important in Spain in the 16th century and had been brought to the New World with the Spanish conquest.

text: The first theory to promote a Nahuatl origin was that of Luis Becerra Tanco.[55] In his 1675 work Felicidad de Mexico, Becerra Tanco claimed that Juan Bernardino and Juan Diego would not have been able to understand the name Guadalupe because the "d" and "g" sounds do not exist in Nahuatl.

text: He proposed two Nahuatl alternative names that sound similar to "Guadalupe", Tecuatlanopeuh [tekʷat͡ɬaˈnopeʍ], which he translates as "she whose origins were in the rocky summit", and Tecuantlaxopeuh [tekʷant͡ɬaˈʃopeʍ], "she who banishes those who devoured us."[55]

text: Ondina and Justo Gonzalez suggest that the name is a Spanish version of the Nahuatl term, Coātlaxopeuh [koaːt͡ɬaˈʃopeʍ], which they interpret as meaning “the one who crushes the serpent,” and that it may be referring to the feathered serpent Quetzalcoatl. In addition, Mary was portrayed in European art as crushing the serpent of the Garden of Eden.[56]

text: According to another theory the juxtaposition of Guadalupe and a snake may indicate a nexus with the Aztec goddess of love and fertility, Tonantzin (in Nahuatl, "Our Revered Mother"), who was also known by the name Coatlícue ("The Serpent Skirt"). This appears to be borne out by the fact that this goddess had had a temple dedicated to her on the very Tepeyac Hill where Juan Diego had his vision, temple which had recently been destroyed at the behest of the new Catholic authorities. In the 16th century the Franciscans were suspicious that the cult of Guadalupe showed, or was susceptible to, elements of syncretism, i.e. the importation of an object of reverence in one belief system into another (see above).

text: The theory promoting the Spanish language origin of the name claims that:

text:
Juan Diego and Juan Bernardino would have been familiar with the Spanish language "g" and "d" sounds since their baptismal names contain those sounds.
There is no documentation of any other name for the Virgin during the almost 144 years between the apparition being recorded in 1531 and Becerra Tanco's proposed theory in 1675.
Documents written by contemporary Spaniards and Franciscan friars argue that for the name to be changed to a native name, such as Tepeaca or Tepeaquilla, would not make sense if a Nahuatl name were already in use, and suggest the Spanish Guadalupe was the original.[55]

text: The venerated image as artifact[edit]

text: Iconographic description[edit]

text:
The image features a full-length representation of a mestiza girl or young woman with high cheek-bones, delicate features, and straight, unbraided black hair simply parted in the middle framing her face.
The subject matter is in a standing posture showing in contemplative prayer with hands joined and little finger separated and head slightly inclined; she gazes with heavy-lidded eyes at a spot below and to her right, and to left in viewpoint of the observer.
She is dressed from neck to feet in a pink robe and blue-green cerulean mantle, one side folded within the arms, emblazoned with eight-point stars with two black tassels tied at high waist, wearing a neck brooch featuring a colonial styled cross.
The robe is spangled with a small gold quatrefoil motif ornamented with vines and flowers, its sleeves reaching to her wrists where the cuffs of a white undergarment appear.
The subject stands on a crescent moon, allegedly color silver in the past and now have turned dark.
A feathered cherubic angel with outstretched arms carries the robe on her exposed feet which is uncolored.
A sunburst of straight and wavy gold rays interchange behind while projecting behind the Virgin are enclosed within a mandorla. Beyond the mandorla to right and left is an unpainted expanse, white in colour with a faint blue tinge. The present image shows the 1791 nitric acid spill on the top right side, unaffecting the subject matter's aureola.[57]

text: Physical description[edit]

text: The portrait was executed on a fabric support of natural material constituted by two pieces (originally three) joined together. The join is clearly visible as a seam passing from top to bottom, with the Virgin's face and hands and the head of the angel on the left piece. It passes through the left wrist of the Virgin. The fabric is mounted on a large metal sheet to which it has been glued for some time.[58] The image, currently set in a massive frame protected behind bullet-proof glass, hangs inclined at a slight angle on the wall of the basilica behind the altar. At this point, there is a wide gap between the wall and the sanctuary facilitating closer viewing from moving walkways set on the floor beneath the main level of the basilica, carrying people a short distance in either direction. Viewed from the main body of the basilica, the image is located above and to the right of the altar and is retracted at night into a small vault (accessible by steps) set into the wall.[59] An intricate metal crown designed by the painter Salomé Pina according to plans devised by Rómulo Escudero and Pérez Gallardo, and executed by the Parisian goldsmith, Edgar Morgan, is fixed above the image by a rod, and a massive Mexican flag is draped around and below the frame.[60]

text: The nature of the fabric is discussed below. Its measurements were taken by José Ignacio Bartolache on December 29, 1786 in the presence of Joseph Bernardo de Nava, a public notary: height 170 cm (67 in), width 105 cm (41 in).[61] The original height (before it was first shielded behind glass in the late 18th century, at which time the unpainted portion beyond the Virgin's head must have been cut down) was 229 cm (90 in).[62]

text: Technical analyses[edit]

text: Neither the fabric ("the support") nor the image (together, "the tilma") has been analyzed using the full range of resources now available to museum conservationists. Four technical studies have been conducted so far. Of these, the findings of at least three have been published. Each study required the permission of the custodians of the tilma in the Basilica. However, Callahan's study was taken at the initiative of a third party: the custodians did not know in advance what his research would reveal.

text: Summary conclusions ("contra" indicates a contrary finding)

text:
Canvas Support: The material of the support is soft to the touch (almost silken: MC; something like cotton: G) but to the eye it suggested a coarse weave of palm threads called "pita" or the rough fiber called "cotense" (MC), or a hemp and linen mixture (R). It was traditionally held to be made from ixtle, an agave fiber.
Ground, or primer: R asserted (MC and PC contra) by ocular examination that the tilma was primed, though with primer "applied irregularly." R does not clarify whether his observed "irregular" application entails that majorly the entire tilma was primed, or just certain areas – such as those areas of the tilma extrinsic to the image – where PC agrees had later additions. MC, alternatively, observed that the image had soaked through to the reverse of the tilma.[67]

text:
Under-drawing: PC asserted there was no under-drawing.
Brush-work: R suggested (PC contra) there was some visible brushwork on the original image, but in a minute area of the image ("her eyes, including the irises, have outlines, apparently applied by a brush").
Condition of the surface layer: PC reports that the un-retouched portions of the image, particularly the blue mantle and the face, are in a very good state of preservation, with no flaking or peeling. The three most recent inspections (G, PC and R) agree (i) that additions have been made to the image (gold leaf added to the sun's rays—which has flaked off; silver paint or other material to depict the moon—which has discolored; and the re-construction or addition of the angel supporting the Marian image), and (ii) that portions of the original image have been abraded and re-touched in places. Some flaking is visible, though only in retouched areas (mostly along the line of the vertical seam, or at passages considered to be later additions).
Varnish: The tilma has never been varnished.
Binding Medium: R provisionally identified the pigments and binding medium (distemper) as consistent with 16th-century methods of painting sargas (MC, PC contra for different reasons), but the color values and luminosity are in good condition.

text: Trans-religious significance[edit]

text: The iconography of the Virgin is fully Catholic:[70] Miguel Sanchez, the author of the 1648 tract Imagen de la Virgen María, described her as the Woman of the Apocalypse from the New Testament's Revelation 12:1, "clothed with the sun, and the moon under her feet, and upon her head a crown of twelve stars.” She is described as a representation of the Immaculate Conception.[53]

text: Virgil Elizondo says the image also had layers of meaning for the indigenous people of Mexico who associated her image with their polytheistic deities, which further contributed to her popularity.[71] Her blue-green mantle was the color reserved for the divine couple Ometecuhtli and Omecihuatl;[72] her belt is interpreted as a sign of pregnancy; and a cross-shaped image, symbolizing the cosmos and called nahui-ollin, is inscribed beneath the image's sash.[73] She was called "mother of maguey,"[74] the source of the sacred beverage pulque.[75] Pulque was also known as "the milk of the Virgin."[76] The rays of light surrounding her are seen to also represent maguey spines.[74]

text: Cultural significance[edit]

text: Symbol of Mexico[edit]

text: Nuestra Señora de Guadalupe became the recognized symbol of Catholic Mexicans. Miguel Sánchez, the author in 1648 of the first published account of the vision, identified Guadalupe as Revelation's Woman of the Apocalypse, and said:

text: "...this New World has been won and conquered by the hand of the Virgin Mary ... [who had] prepared, disposed, and contrived her exquisite likeness in this her Mexican land, which was conquered for such a glorious purpose, won that there should appear so Mexican an image."[53]

text: Throughout the Mexican national history of the 19th and 20th centuries, the Guadalupan name and image have been unifying national symbols; the first President of Mexico (1824–29) changed his name from José Miguel Ramón Adaucto Fernández y Félix to Guadalupe Victoria in honor of the Virgin of Guadalupe.[77] Father Miguel Hidalgo, in the Mexican War of Independence (1810), and Emiliano Zapata, in the Mexican Revolution (1910), led their respective armed forces with Guadalupan flags emblazoned with an image of Our Lady of Guadalupe. In 1999, the Church officially proclaimed her the Patroness of the Americas, the Empress of Latin America, and the Protectress of Unborn Children.

text: In 1810 Miguel Hidalgo y Costilla initiated the bid for Mexican independence with his Grito de Dolores, with the cry "Death to the Spaniards and long live the Virgin of Guadalupe!" When Hidalgo's mestizo-indigenous army attacked Guanajuato and Valladolid, they placed "the image of the Virgin of Guadalupe, which was the insignia of their enterprise, on sticks or on reeds painted different colors" and "they all wore a print of the Virgin on their hats."[77] After Hidalgo's death leadership of the revolution fell to a zambo/mestizo priest named José María Morelos, who led insurgent troops in the Mexican south. Morelos adopted the Virgin as the seal of his Congress of Chilpancingo, inscribing her feast day into the Chilpancingo constitution and declaring that Guadalupe was the power behind his victories:

text: New Spain puts less faith in its own efforts than in the power of God and the intercession of its Blessed Mother, who appeared within the precincts of Tepeyac as the miraculous image of Guadalupe that had come to comfort us, defend us, visibly be our protection.[77]

text: Simón Bolívar noticed the Guadalupan theme in these uprisings, and shortly before Morelos's execution in 1815 wrote: "the leaders of the independence struggle have put fanaticism to use by proclaiming the famous Virgin of Guadalupe as the queen of the patriots, praying to her in times of hardship and displaying her on their flags ... the veneration for this image in Mexico far exceeds the greatest reverence that the shrewdest prophet might inspire."[53]

text: In 1912, Emiliano Zapata's peasant army rose out of the south against the government of Francisco Madero. Though Zapata's rebel forces were primarily interested in land reform – "tierra y libertad" ('land and liberty') was the slogan of the uprising – when his peasant troops penetrated Mexico City they carried Guadalupan banners.[78] More recently, the contemporary Zapatista National Liberation Army (EZLN) named their "mobile city" in honor of the Virgin: it is called Guadalupe Tepeyac. EZLN spokesperson Subcomandante Marcos wrote a humorous letter in 1995 describing the EZLN bickering over what to do with a Guadalupe statue they had received as a gift.[79]

text: Mexican culture[edit]

text: Harringon argues that:

text: Hernán Cortés, the Conquistador who overthrew the Aztec empire in 1521, was a native of Extremadura, home to Our Lady of Guadalupe. By the 16th century the Extremadura Guadalupe, a statue of the Virgin said to be carved by Saint Luke the Evangelist, was already a national icon. It was found at the beginning of the 14th century when the Virgin appeared to a humble shepherd and ordered him to dig at the site of the apparition. The recovered Virgin then miraculously helped to expel the Moors from Spain, and her small shrine evolved into the great Guadalupe monastery.

text: According to the traditional account, the name of Guadalupe was chosen by the Virgin herself when she appeared on the hill outside Mexico City in 1531, ten years after the Conquest.[81]

text: Guadalupe continues to be a mixture of the cultures which blended to form Mexico, both racially and religiously,[82] "the first mestiza",[83] or "the first Mexican".[84] "bringing together people of distinct cultural heritages, while at the same time affirming their distinctness."[85] As Jacques Lafaye wrote in Quetzalcoatl and Guadalupe, "as the Christians built their first churches with the rubble and the columns of the ancient pagan temples, so they often borrowed pagan customs for their own cult purposes."[86] The author Judy King asserts that Guadalupe is a "common denominator" uniting Mexicans. Writing that Mexico is composed of a vast patchwork of differences – linguistic, ethnic, and class-based – King says "The Virgin of Guadalupe is the rubber band that binds this disparate nation into a whole."[84] The Mexican novelist Carlos Fuentes once said that "you cannot truly be considered a Mexican unless you believe in the Virgin of Guadalupe."[87] Nobel Literature laureate Octavio Paz wrote in 1974 that "the Mexican people, after more than two centuries of experiments, have faith only in the Virgin of Guadalupe and the National Lottery".[88]

text: In Literature and Film[edit]

text: One notable reference in literature to La Virgen of Guadalupe and her predecessor, the Aztec Earth goddess Tonantzín, is in Sandra Cisneros' short story "Little Miracles, Kept Promises," from her collection Woman Hollering Creek and Other Stories (1991). Cisneros' story is constructed out of brief notes that people give Our Lady of Guadalupe in thanks for favors received, which in Cisneros' hands becomes a portrait of an extended Chicano community living throughout Texas. "Little Miracles" ends with an extended narrative (pp. 124–29) of a feminist artist, Rosario "Chayo" De Leon, who at first didn't allow images of La Virgen de Guadalupe in her home because she associated her with subservience and suffering, particularly by Mexican women. But when she learns that Guadalupe's shrine is built on the same hill in Mexico City that had a shrine to Tonantzín, the Aztec Earth goddess and serpent destroyer, Chayo comes to understand that there's a deep, syncretic connection between the Aztec goddess and the Mexican saint; together they inspire Chayo's new artistic creativity, inner strength, and independence. In Chayo's words, "I finally understood who you are. No longer Mary the mild, but our mother Tonantzín. Your church at Tepeyac built on the site of her temple" (128).[89]

text: Our Lady of Guadalupe, Juan Diego, and the tilma have been investigated through film several times in recent history. One of the most notable and thorough filmic investigations was done by director Tim Watkins in the 2013 film The Blood & The Rose.[90] Documentarians have been portraying the message of Our Lady of Guadalupe since the 1990s in an attempt to bring the message of the apparition to the North American audience.

text: Catholic Church[edit]

text: Papal Honors[edit]

text: Several Supreme Pontiffs have honored the image, specifically:

text:
Pope Benedict XIV, in the Papal bull Non Est Equidem of 25 May 1754, declared Our Lady of Guadalupe patroness of what was then named New Spain, corresponding to Spanish Central and Northern America, and approved liturgical texts for the Mass and the Breviary in her honor.
Pope Leo XIII granted new texts in 1891 and on 8 February 1887 authorized the canonical coronation of the image, which occurred on 12 October 1895.
Pope St. Pius X proclaimed her patron of Latin America in 1910.
Pope Pius XI declared Our Lady of Guadalupe the "Heavenly Patroness of the Philippines" on 16 July 1935 and the relevant Apostolic Letter was signed by Vatican Secretary of State Cardinal Eugenio Pacelli (later Pope Pius XII).[49][91][92] This was revised on 12 September 1942, when Pope Pius XII, by the Apostolic Letter Impositi Nobis constituted and declared the Blessed Virgin Mary under the title Immaculate Conception as "Principal and Universal Patroness of the Philippine Islands", with Saint Pudentiana and Saint Rose of Lima constituted and declared to be the secondary patronesses.[93]
Pope Pius XII accorded her the title "Queen of Mexico and Empress of the Americas" in 1945, and "Patroness of the Americas" in 1946.
Pope St. John XXIII invoked her as "Mother of the Americas" in 1961, referring to her as Mother and Teacher of the Faith of All American populations.
Bl. Pope Paul VI gave the image a Golden Rose on 20 March 1966.[94][95]
Pope St. John Paul II visited her shrine on 26 January 1979, and again when he beatified Juan Diego there on 6 May 1990. In 1992, he dedicated to Our Lady of Guadalupe a chapel within Saint Peter's Basilica in the Vatican. At the request of the Special Assembly for the Americas of the Synod of Bishops, he reiterated her title of Patroness of the Americas on 22 January 1999 and granted the rank of solemnity in that region. The same Supreme Pontiff included in the General Roman Calendar as an optional memorial the liturgical celebration of Our Lady of Guadalupe on 12 December.[94]
Pope Francis granted the image a second Golden Rose via Cardinal Marc Ouellet for presentation at the Basilica on 18 November 2013.[96] The same Supreme Pontiff granted a new gold-plated silver crown with an accompanying prayer to the image during his apostolic visit to the Basilica on 13 February 2016. On the crown was inscribed "Mater Mea, Spes Mea" ("My Mother [and] My Hope").

text: Pious Beliefs and Devotions[edit]

text: Protection from damage[edit]

text: Roman Catholic sources claim that the original image has many miraculous and supernatural properties, including that the tilma has maintained its structural integrity for approximately 500 years despite exposure to soot, candle wax, incense, constant manual veneration by devotees, the historical fact that the image was displayed without any protective glass for its first 115 years, while replicas normally endure for only circa 15 years before degrading,[97] and that it repaired itself with no external assistance after a 1791 accident in which nitric acid was spilled on its top right, causing considerable damage but leaving the aureola of the Virgin intact.

text: Furthermore, on 14 November 1921 a bomb hidden within a basket of flowers and left under the tilma by an anti-Catholic secularist exploded and damaged the altar of the Basilica that houses the original image, but the tilma was unharmed. A brass standing crucifix, bent by the explosion, is now preserved at the shrine's museum and is believed to be miraculous by devotees.[98]

text: Other Supernatural Qualities[edit]

text: In 1929 and 1951 photographers claimed to have found a figure reflected in the Virgin's eyes; upon inspection they said that the reflection was tripled in what is called the Purkinje effect, commonly found in human eyes.[99] An ophthalmologist, Dr. Jose Aste Tonsmann, later enlarged an image of the Virgin's eyes by 2500x and claimed to have found not only the aforementioned single figure, but images of all the witnesses present when the tilma was first revealed before Zumárraga in 1531, plus a small family group of mother, father, and a group of children, in the center of the Virgin's eyes, fourteen people in all.[100]

text: Numerous Catholic websites repeat the claim[101] that in 1936 biochemist Richard Kuhn analyzed a sample of the fabric and announced that the pigments used were from no known source, whether animal, mineral, or vegetable.[100]. According to The Wonder of Guadalupe by Francis Johnston, this was requested by Professor Hahn and Professor Marcelino Junco, retired professor of organic chemistry at the National University of Mexico.

text: Dr. Philip Serna Callahan, who photographed the icon under infrared light, declared from his photographs that portions of the face, hands, robe, and mantle had been painted in one step, with no sketches or corrections and no visible brush strokes.[102]

text: Veneration[edit]

text: The shrine of the Virgin of Guadalupe is the most visited Catholic pilgrimage destination in the world. Over the Friday and Saturday of December 11 to 12, 2009, a record number of 6.1 million pilgrims visited the Basilica of Guadalupe in Mexico City to commemorate the anniversary of the apparition.[103]

text: The Virgin of Guadalupe is considered the Patroness of Mexico and the Continental Americas; she is also venerated by Native Americans, on the account of the devotion calling for the conversion of the Americas. Replicas of the tilma can be found in thousands of churches throughout the world, and numerous parishes bear her name.

text: Due to a claim that her black girdle indicates pregnancy on the image, the Blessed Virgin Mary, under this title is popularly invoked as Patroness of the Unborn and a common image for the Pro-Life movement.

text: Churches named in honor of Our Lady of Guadalupe[edit]

text: This section does not cite any sources. Please help improve this section by adding citations to reliable sources. Unsourced material may be challenged and removed. (December 2017) (Learn how and when to remove this template message)

text:
The Basilica of Our Lady of Guadalupe, the shrine founded on the original site on Tepeyac Hill in Mexico City, Mexico.
The Basílica of Guadalupe in Monterrey, Nuevo León, Mexico.
The Cathedral of Our Lady of Guadalupe in Zamora, Michoacán, Mexico.
The Cathedral Santuario de Guadalupe in Dallas, Texas, United States.
The Shrine of Our Lady of Guadalupe, in La Crosse, Wisconsin, United States.
Our Lady of Guadalupe Seminary, the English-language seminary of the Priestly Fraternity of St. Peter in Denton, Nebraska, United States.
El Santuario de Guadalupe, Santa Fe, New Mexico: the oldest extant shrine to Our Lady of Guadalupe in the United States.
The Church of Our Lady of Guadalupe, Guadalupe, California.
The Cathedral of Our Lady of Guadalupe of the Roman Catholic Diocese of Basse-Terre, on the Lesser Antillian island and French overseas department Guadeloupe, which is also denominated in her honor.
The Cathedral of Our Lady of Guadalupe in Ponce, Puerto Rico.
The Diocesan Shrine of Our Lady of Guadalupe, Pagsanjan, Laguna, Philippines.
The National Shrine of Our Lady of Guadalupe, Makati City, Philippines.
The Church of Our Lady of Guadalupe, Puchong, Kuala Lumpur, Malaysia.
The Abbey of the Dormition in Jerusalem, Israel houses a mosaic of Our Lady of Guadalupe in its interior.