corpus of annalistic history known to have been produced by a Nahua of any time period (Lockhart, 1992, 387).

A connection between Tezozomoc and Chimalpahin is revealed in the Crónica mexicayotl. Since the earliest manuscript is in Chimalpahin's handwriting, it is believed that he was the copyist but he also included some parts of his own (Anderson and Schroeder, 1997: 8). History for Tezozomoc and Chimalpahin is viewed as the work of a collective effort from different genres and modes. Tezozomoc's role in this Crónica seems to be that of the main authority who, by his prestige and nobility, has the recognition to authenticate all the sources and testimonies he presents. That some were still orally transmitted or pictographically represented is revealed in the constant use of sensory verbsappears without this native attire in the much-celebrated Corpus of Santa Ana paintings (ca. 1680) that document the annual Corpus Christi procession in Cuzco and the confraternity's participation. This would have corresponded to Bishop Mollinedo's reign in the city. The bishop had expressed his distaste for the practice and could well have been influential in having the Inca clothing removed from the statue for solemn, public occasions (see Cummins 2004: 35). Although his successors also complained, the practice continued well into the eighteenth century.

## San Lorenzo de los Carangas, Potosí (1728–44)

Towards the end of the seventeenth century, a new style of planiform carving emerged on church exteriors in the Andean altiplano from Arequipa to Lake Titicaca and across the Bolivian highlands. This late Baroque or ultra-Baroque style did