Volume 99, Spring 2026

EN:

In the 1980s, two books by Sir Isaac Newton (1643–1727) and a third by the natural philosopher Samuel Clarke (1675–1729), which related to Newton’s writings, were found listed in the 1809 estate inventory of Lunenburg German merchant Casper Wollenhaupt. Set against the backdrop of the founding of Lunenburg and the revolutionary consciousness of the Romantic Era, this essay examines the reading habits of the Lunenburg-German merchant Casper Wollenhaupt to reveal insights into his character and personal life by examining the themes and subject matter of the books in his library, highlighted by the exceptional presence of writings by Sir Isaac Newton on biblical prophecy.

EN:

Historical markers across America marginalize the histories of traditionally underrepresented groups. The historical markers of the greater Reno, Nevada area represent the state of historical markers across the country. As historical markers cement histories into and onto landscapes, they become meta-material cultural objects. By infusing history and landscape, historical markers influence public understandings of the past and are central to placemaking. Archaeologists must engage with public historical narratives to ensure that representations of the past are inclusive and accurate. Because historical markers are an existing and accepted form of public history, they are an ideal way to begin sharing more complete narratives of the past.

EN:

Ifá is regarded as compendium of Yoruba culture because, all aspects of peoples’ life: past, present, future are encapsulated in it. Ayò ọlọ́pọ́n is an indigenous Yoruba board game played globally today. Despite the international nomenclatures of Ifá and ayò ọlọ́pọ́n across nations, no work is known that either established relationship between the two cultural elements or associate any cultural significance to ayò ọlọ́pọ́n numerals as undertaken by this study. Relevant data relating to Ifá and ayò ọlọ́pọ́n performers’ observations, Ifá and ayò ọlọ́pọ́n’s relevant texts are sampled and analyzed with symbolism- a semiotic mode, whereby, a sign represents something or somebody in one or more capacity. This approach is apt because symbolism is basic to Ifá divination system. Comparisons are made and relationships established in-between Ifá and ayò ọlọ́pọ́n numerology. It is found out that, first and second prime numbers- 2 and 3 and, or with third prime number- 5 regulate Ifá and ayò ọlọ́pọ́n systems. It is also stated that Ifá and ayò systems operate around principles of arithmetic progression, permutations and combinations. The study concludes that symbols 2 and 3 in ayò ọlọ́pọ́n and Ifá divination systems are condicio sine qua non and memes.

EN:

The Ángel Arcabucero is a Peruvian iconography that rose to fruition in the 17th century. Depicting an angel carrying an arquebus, a long firearm, this piece combines traditional aristocratic portraiture with religious imagery. Colonized by Spain in the 16th century, Peru experienced an evangelization of the Catholic Church. Religious imagery became a prevalent theme throughout Peru from the 16th to 19th centuries, specifically in Cusco, a city in the Andean region. The armed angel paintings were created with the intent of adorning the walls and altars of Catholic Spanish churches in Peru. In this paper, I will argue that the Arcangel Arcabucero moves beyond a simple representation of a religious icon and is instead meant to embody aristocratic honor and military control, as it was depicted in Viceregal Cusco. Through examining the hybrid depiction of the Ángel Arcabucero, I will create a deeper understanding of the blending of aristocratic influences with religious imagery and the purpose they served in 17th-19th century Peru. I will also examine the materiality of the brocade garments worn by the angels, along with the shift from the iconography of angels as religious soldiers in a spiritual battle, carrying swords and feathers, to angels personified as militant figures, carrying muskets. I will do this by examining the El Arcángel Salamiel con Arcabuz painting of 19th-century Peru, comparing it to similar images of its time, and examining the influence of Spanish ruling in Peru.

FR:

L'Ángel Arcabucero est une iconographie péruvienne qui s'est concrétisée au XVIIe siècle. Représentant un ange portant une arquebuse, une longue arme à feu, cette pièce combine le portrait aristocratique traditionnel avec l'imagerie religieuse. Colonisé par l'Espagne au XVIe siècle, le Pérou a connu une évangélisation de l'Église catholique. L'imagerie religieuse est devenue un thème répandu dans tout le Pérou du XVIe au XIXe siècle, en particulier à Cusco, une ville de la région andine. Les peintures d'anges armés ont été créées dans le but d'orner les murs et les autels des églises catholiques espagnoles du Pérou. Dans cet article, je soutiendrai que l’Arcangel Arcabucero va au-delà d’une simple représentation d’une icône religieuse et est plutôt censé incarner l’honneur aristocratique et le contrôle militaire, comme il a été représenté dans le vice-roi de Cusco. En examinant la représentation hybride de l'Ángel Arcabucero, je créerai une compréhension plus profonde du mélange d'influences aristocratiques avec l'imagerie religieuse et de l'objectif qu'elles servaient au Pérou du XVIIe au XIXe siècle. J'examinerai également la matérialité des vêtements de brocart portés par les anges, ainsi que le passage de l'iconographie des anges en tant que soldats religieux dans une bataille spirituelle, portant des épées et des plumes, à des anges personnifiés comme des figures militantes, portant des mousquets. Je le ferai en examinant la peinture El Arcángel Salamiel con Arcabuz du Pérou du XIXe siècle, en la comparant à des images similaires de son époque et en examinant l'influence de la domination espagnole au Pérou.