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Español: Estandarte de la Virgen de Guadalupe supuestamente adoptado por Miguel Hidalgo y Costilla como bandera de su movimiento. Fue recogido en el Pueblo de Atotonilco el 16 de Septiembre de 1810 y capturado por las tropas realistas después de la Batalla de Aculco el 7 de Noviembre de 1810.
Piglia de la farina che sia bella, et distemperala et fa' la pasta un pocho più grossa che quella de le lasangne, et avoltola intorno ad un bastone. Et dapoi caccia fore il bastone, et tagliala la pasta larga un dito piccolo, et resterà in modo de bindelle, overo stringhe. Et mitteli accocere in brodo grasso, overo in acqua secundo il tempo.
The Codex Escalada. Codex Escalada (or Codex 1548) is a sheet of parchment signed with a date of "1548", on which there have been drawn, in ink and in the European style, images (with supporting Nahuatl text) depicting the Marian apparition of Our Lady of Guadalupe to Juan Diego which allegedly occurred on four separate occasions in December 1531 on the hill of Tepeyac north of central Mexico ...
However, as the famous fettuccine Alfredo began circulating through restaurants and home kitchens, chefs started to make modifications to de Lelio's deceptively simple dish.
Image of the Virgin Mary Mother of God of Guadalupe (Spanish: Imagen de la Virgen María, madre de Dios de Guadalupe) published in 1648, was the first written account of the story of Our Lady of Guadalupe. It retells the events of the 1531 apparitions that led to the Marian veneration in Mexico City, New Spain.
The first page of the Huei Tlamahuiçoltica. Huei Tlamahuiçoltica ("The Great Event") [1] is a tract in Nahuatl comprising 36 pages and was published in Mexico City, Mexico in 1649 by Luis Laso de la Vega, the vicar of the chapel of Our Lady of Guadalupe at Tepeyac outside the same city.
Marcos Cipac de Aquino (?–1572), informally known as Marcos the Indian, was a Nahuatl artist in sixteenth-century Mexico, who may have been the painter of the image of the Virgin of Guadalupe. Art historian Jeanette Favrot Peterson has ventured, "Marcos Cipac (de Aquino) was the artist of the Mexican Guadalupe, capable of executing a large ...
For example, la Virgen de Guadalupe, who is an important figure in Mexican culture, is used in a socio-political context by Chicano artists as a symbol of both hope in times of suffering, and empowerment, particularly when embodying an average woman or portrayed in an act of resistance.