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The Getty Murúa II – The Depicted Coats of Arms

This is the second of a three part blog post series dealing with the fictional coats of arms in the Getty Murúa. In the previous part, the manuscript itself, its author and his environment were examined. This installation takes a look at the depiction of coats of arms in the Getty Murúa and attempts to situate them within a broader sociocultural context of the Americas. The third and final part has already been published here.

As was stated in the previous blog post, the Getty Murúa is accompanied by illustrations in each chapter, with the exception of those chapters which do not include such illustrations. The chapters which contain the aforementioned illustrations are those pertaining to the ancient rulers of the Incas. The illustrations depict the Inca rulers described in the respective chapters, accompanied on a separate page by their Coya (queen). Significantly, the page depicting the Inca is accompanied by their fictional coat of arms, rather than that of the Coya. This represents a significant difference between the Getty and Galvin manuscripts, wherein the coat of arms is only visible alongside the coya.

The images of the Getty manuscript

Figure 1: UNKNOWN ARTISTS, Mayta Capac, ca. 1616, coloured illustration, in: Martin DE MURÚA, Historia general del Piru (Ms. Ludwig XIII 16), fol. 28v, The J. Paul Getty Museum, Los Angeles.

Figure 2: Cesare VECELLIO, Man from Biarmia, 1598, wood cut, in: Habiti, Berenson Library,
Villa I Tatti.

The drawings in question depict the Incas in their royal regalia, standing on a tiled floor which extends into the background. They are depicted in various poses, and are sometimes shown holding a spear and shield. It is notable that these shields, when facing the viewer, are also decorated with geometric symbols. While these decorations may be compared to heraldic charges, they differ greatly from the depicted coats of arms (fig. 1). These are depicted as floating either over the Inca’s right or left shoulder. Stylistically, their depictions have no precedent in pre-conquest Andean art, but rather follow an European template of depiction of important rulers, specifically, that of European Renaissance costume books (fig. 2). Thus, they were created within an European visual tradition while still portraying indigenous individuals.[1] The distinction between the war shields and the coat of arms can be attributed to the visual communication strategies employed in pre-conquest America. It has been demonstrated that a tradition of indigenous peoples carrying shields and banners to denote geographic origin and ethnic affiliation during battle was prevalent in Meso-America.[2] It appears conceivable that either Murúa himself or the indigenous artists responsible for the execution of the drawings were cognisant of this tendency and thus painted the war shields in accordance with this tradition, particularly given that the coat of arms were rendered by a different artist than the one responsible for the portraits. Unfortunately, there is a lack of information regarding the artists working on either the Getty or the Galvin Murúa, with the exception of the fact that one of them was Guaman Poma. Thomas Cummins concludes that Murúa utilised local artists for his project. Whilst it appears highly probable that different artists executed the coats of arms in both the Getty and Galvin manuscripts, they appear almost identical except that they appear next to the Inca rather than the Coya in the Getty version.

The coats of arms

Figure 3: UNKNOWN ARTISTS, Royal Coat of Arms of the Inca Kings, ca. 1616, coloured illustration, in: Martin DE MURÚA, Historia general del Piru (Ms. Ludwig XIII 16), fol. 13, The J. Paul Getty Museum, Los Angeles.

Figure 4: UNKNOWN ARTISTS, Title Page, ca. 1616, coloured illustration, in: Martin DE MURÚA, Historia general del Piru (Ms. Ludwig XIII 16), fol. 2, The J. Paul Getty Museum, Los Angeles.

While the charge and tincture of each shield vary, all coats of arms are marshalled per fess, and the fields are plainly patterned. Despite the diversity of tincture and iconography, certain charges recur within the eight coats of arms (including the two coats of arms not associated with individuals, but rather with the Kingdom of Peru on fol. 307 and the royal coat of arms of the Inca kings on the title page). Among these symbols are recurring motifs found in European heraldry, such as the eagle, as well as others that draw upon the original indigenous iconography of royalty and power, including depictions of the Uncu, a knee-length piece of cloth worn by Incan royalty. The interplay between European conventions and indigenous symbols is particularly evident in the royal coat of arms of the Incan kings (fig. 3).  The pencil marks in the sketches reveal the stylistic changes made during the creation of the shield. Specifically, field two and three are noteworthy. The second field depicts an otorongo (jaguar) positioned behind a tree with its tail held upright, suggesting a different interpretation of the original design. A similar alteration in pose is also evident in the third field, depicting a quenti (hummingbird) with both wings raised to its right, resembling a rising pose. However, this was not the originally intended pose. While the pencil marks in the second field are less discernible, an examination of another coat of arms, that on the title page, can assist in reconstructing the original pose (Fig. 4). In this depiction, the wild cat is depicted with its tail oriented downward, while the hummingbird is shown in a dynamic, mid-flight pose with its wings spread to both sides.

Stylistic considerations regarding the shields

The reasons for these changes remain unclear; however, it can be hypothesised that the indigenous artists responsible for the designs may have lacked a comprehensive understanding of European heraldic conventions. Consequently, their work required correction to align more closely with the expectations of the Spanish audience regarding heraldic depictions of birds and big cats. In European heraldry, lions are usually depicted with their tail held upright, unless the animal is depicted with a specific attitude (e.g. a lion coward), in which case a modified posture is used. The same principle applies to bird depictions, which typically lack dynamism in the position of the bird’s wings.

The role of heraldry in early colonial Meso-American society

At this point, it is useful to examine some authenticated coats of arms in the recently established Spanish colonies. Extensive research has been conducted on Meso-American heraldry, specifically the territory encompassing modern-day Mexico.[3]   Despite the lack of comprehensive research on Peruvian heraldry, an examination of its northern neighbours can offer valuable insights into the Spanish government’s approach to colonial heraldry. In a manner similar to Europe, heraldic symbols in Peru served as a symbol of power and privilege bestowed by the king. Many Spanish conquistadors were granted a so called encomendero, which entitled them to receive tribute from specific territories. This privilege was accompanied by significant economic and social benefits, while the right to bear arms was a symbolic gesture that elevated its holder to the nobility.[4] Upon seeing the privileges bestowed upon their Spanish counterparts, the indigenous noblemen swiftly adopted the practice of requesting their own shield. In their petitions to the Spanish king, three distinct components of their claim can be identified. Firstly, the indigenous people’s role in assisting the Spanish military in conquering and maintaining South America as a colony is emphasised. Secondly, the native lords placed significant emphasis on their conversion to Christianity. Lastly, they had to be of noble descent.

The iconography of some Meso-American coats of arms

Figure 5: UNKNOWN ARTIST, Coat of Arms of Don Antonio Cortés Totquihuaztli, 1564, pigment on paper, Fundación Casa de Alba, Madrid.

In their seminal work, de la Paz and Luque-Talaván provide a detailed description of these early indigenous Meso-American coats of arms, characterising them as “very European in their format and content”[5]. Indeed, there are instances of coats of arms belonging to native Meso-American nobility that incorporate the initials of the Spanish royal family.[6] In another example, the coat of arms of Antonio Cortés Totoquihuaztli (fig. 5), governor of Tlacopan, illustrates the assimilation of indigenous symbols into an European context. The crest of this coat of arms features an eagle holding a small scroll in its beak, inscribed with the words “águila blanca pequeño” (small white eagle). This reference is a Spanish interpretation of the name Totquihuaztli, a Tepanec leader and member of the Aztec Triple Alliance. By incorporating the eagle and the scroll, Don Antonio situates his blazon within a European frame, employing the Spanish interpretation of the name of a pre-conquest leader. However, by doing so, he also alludes to his own pre-conquest and indigenous ancestry, thereby highlighting his forefather. This practice aligns with the pre-Hispanic tradition of naming locations through glyphs by phonetic means.[7] The eagle is a symbol of considerable versatility in Meso-American iconography. It may also refer to Huitzilopochtli, the patron deity of the Mexica.[8] The examples given here represent only a small proportion of the iconography and visual communication of authentic indigenous coats of arms; further research is required to explore this in more depth. The meaning of the fictional blazons in the Galvin and Getty manuscript cannot be explained by this schema. Firstly, it should be noted that the examples given are South, rather than Meso-American, in nature. Secondly, the origins of these depictions are unclear; it is unknown whether they were imagined by Murúa himself, or whether there were any other parties involved in their design. Finally, it is not clear whether their elements have precedent in indigenous visual culture. Further research is required to address these inquiries.

What’s next?

In the third and final part of the series of blog posts, the previous findings will be placed in a broader colonial context. There, the dynastic notions of the Spanish will be put into dialogue with the Getty Murúa and the role of the modern heraldist in these postcolonial debates will be elaborated. 

[1] Cf. Thomas F. Cummins, The Images in Murúa’s Historia General del Piru: An Art Historical Study, in: Anderson and Ibid. (eds.), The Getty Murúa, pp. 147–174, here pp. 150–156.

[2] Cf. María Castañeda de la Paz and Miguel Luque-Talaván, Privileges of the “Others”: The Coats of Arms Granted to Indigenous Conquistadors, in: Simon McKeown (ed.), The International Emblem: From Incunabula to the Internet. Selected Proceedings of the Eighth International Conference of the Society for Emblem Studies, 28th July – 1st August 2008, Winchester College, Newcastle upon Tyne 2010, pp. 283–316, here p. 287.

[3] Cf. de la Paz and Luque-Talaván, Privileges of the “Others”; Mónica Domínguez Torres, Emblazoning Identity: Indigenous Heraldry in Colonial Mexico and Perus, in: Ilona Katzew (ed.), Contested Visions in the Spanish Colonial World, exh. cat. Los Angeles, County Museum of Art 6th November 2011 – 29th January 2012 and Mexico City, Museo Nacional de Historia 6th July – 7th October 2012, Los Angeles 2011, pp. 97–116; Robert Hasket, Paper Shields: The Ideology of Coats of Arms in Colonial Mexican Premordial Titels, in: Ethnohistory (1) 1996, pp. 99–126.

[4] Cf. de la Paz and Luque-Talaván, Privileges of the “Others”, p. 285.

[5] Cf. Ibid., p. 290.

[6] Cf. Ibid., p. 291.

[7] Cf. Torres, Emblazoning Identity, p. 100.

[8] Cf. De la Paz and Luque-Talaván, Priveleges of the “Other”, p. 293.

Literature

  • Cummins, Thomas F., The Images in Murúa’s Historia General del Piru: An Art Historical Study, in: Anderson and ibid. (eds.), The Getty Murúa, pp. 147–174.
  • De la Paz, María Castañeda and Miguel Luque-Talaván, Privileges of the “Others”: The Coats of Arms Granted to Indigenous Conquistadors, in: Simon McKeown (ed.), The International Emblem: From Incunabula to the Internet. Selected Proceedings of the Eighth International Conference of the Society for Emblem Studies, 28th July – 1st August 2008, Winchester College, Newcastle upon Tyne 2010, pp. 283–316.
  • Hasket, Robert, Paper Shields: The Ideology of Coats of Arms in Colonial Mexican Premordial Titels, in: Ethnohistory (1) 1996, pp. 99–126.
  • Torres, Mónica Domínguez, Emblazoning Identity: Indigenous Heraldry in Colonial Mexico and Perus, in: Ilona Katzew (ed.), Contested Visions in the Spanish Colonial World, exh. cat. Los Angeles, County Museum of Art 6th November 2011 – 29th January 2012 and Mexico City, Museo Nacional de Historia 6th July – 7th October 2012, Los Angeles 2011, pp. 97–116.

Image References

Figure 1: The J. Paul Getty Museum, Los Angeles, URL: https://www.getty.edu/art/collection/object/105W9T (Accessed 12.11.2024).

Figure 2: Giulia Calvi, The World in Dress. Costume Books across Italy, Europe, and the East, Cambridge 2022, p. 19.

Figure 3:The J. Paul Getty Museum, Los Angeles, URL: https://www.getty.edu/art/collection/object/107T39 (Accessed 12.11.2024).

Figure 4: The J. Paul Getty Museum, Los Angeles, URL: https://www.getty.edu/art/collection/object/108DYZ (Accessed 12.11.2024).

Figure 5: Torres, Emblazoning Identity, p. 101.


OpenEdition suggests that you cite this post as follows:
Jannes Schönhardt (February 12, 2025). The Getty Murúa II – The Depicted Coats of Arms. Heraldica Nova. Retrieved January 17, 2026 from https://doi.org/10.58079/13ayn


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