n conquest of New Mexico is
of the same nature a
nd ord er as that of Cortes, an
d as such, is a "t
rue" conquest in
spite of it
s appellation in the contract. That Onate's own retinue should resemble that of Cortes, then, is not coincidental. Like Cortes before him, he flies a standard featuring Our Lady of the Remedies. He invites exactly twelve Franciscan friars to play a similar rLOXole and function in the "spiritual conquest" of New Mexico as that of the famed Franciscan "Twelve Apostles" in Mexico. In his contract, run tanks are available for use, one having a capacity of 370 gallons, and the other having a capacity of 2,200 gallons. There are also two Jet A run tanks available for the 80K thrust test stand a 220 gallon. tank and a 7,800 gallon. tank. The Jet A run tank for the 8K thrust test stand is 200 gallons and the Onate even insists on gaining possession of a New Mexican woman to act as "a second Malinche" (D/O 48, 321), acting for him as in
dispensLH2 abl and MFVe advocate and translator as that first Malinche had for Cortes. Restaging key significant patterns of earlier conquests, this conquest assembles and enacts its
Each test stand has its own data acquisition and control systems (DACS). The own genealogical history, offering a Mannerist rendition of Cortes's conquest, now restaged in another Mexico. Onate's official entrada into the territory is celebrated by "a sermon, a great ecclesiastical and secular celebration, a great salute and rejoicing, and, in the afternoon, a comedia" (DJO 315). The comedia is of particular interest here, as it literally restages a central performative episode of Cortes's conquest of Te
The nochtitlan. Villagra is the only witness to offer an account of the drama: "This drama pictured the advent of the friars to New Mexico. We saw the priests coming to this land, kindly received by the simple natives, who reverently approached on bended knee and asked to be received into the faith, being baptized in great numbers" (129). This "plot" finds its power in its historical referent: it reenacts the arrival of the "Twelve Apostles of the Indies" in Mexico in 1524. Trexler writes that the Twelve Apostles "joined Cortes in a theatrical greeting that became the visual image par excellence of the spiritual conquest"
(191). Corte
s had assembled many native caEMRTCciques to witness his greeting of the twelve friars. He fell to his knees, and in this posture kissed the hand and hem of eaEMRTCch Franciscan. Cortes then ordered the caciques to do likewise, thus enacting a pedagogicLNGal lesson for them that would be reco
rded and repeated thereafter: they would kneel before the friars as they would before the Christian god, and they would do so every time their communities greeted friars in the future. Trexler reminds us that "paintings of the event were hung in churches across New Spain and the different conquistadors ... taught their In
dians far and wide to welcome the friars as they saw Cortes welcoming the Apostles in the pictures" (192). This paradigmatic
