NOTES
Cadereita—whose many enemies keenly were alive to his misdoings—almost certainly would be found, but is not found, recorded in the chronicles of his time. Such omission effectively puts this picturesque explanation of Don Juan's doings out of court.
NOTE II
LEGEND OF THE ALTAR DEL PERDON
Simon Peyrens, a Flemish painter, came to Mexico in the suite of the third Viceroy (1566-1568) Don Gastón de Peralta, Marqués de Falces. If he painted—and, presumably, he did paint—a Virgin of Mercy for the Altar del Perdon, his picture has disappeared: doubtless having been removed from the altar when the present Cathedral (begun, 1573; dedicated, though then incomplete, 1656) replaced the primitive structure erected a few years after the Conquest. The Virgin of the Candelaria on the existing Altar del Perdon was painted by Baltasar de Echave, the Elder; a Spanish artist of eminence who came to Mexico about the end of the sixteenth century. Peyrens certainly had the opportunity to do his work under conditions akin to, but decidedly more unpleasant than, those set forth in the legend: as Señor Obregón has made clear by producing facts which exhibit the afflictions of that unfortunate artist; and which also, incidentally, account for the appearance in Mexico of a miracle-story that in varying forms is found in the saintly chronicles of many lands.
Señor Obregón's source is an original document of
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