 grains
Rifles use 1 to 2 grains per caliber of bore size.
Prior to the development of the Spanish M1752 musket, the Spanish arquebus (or harquebus) ranged in caliber between .79-.90.
.80 caliber rifle would use upwards of 160 grains or 5.85 drams
½ arroba = 87,500 grains = 546 shots
1747 Tyler Rutherford
The background image is a detail of the north side of the Espada Aqueduct and the foreground image is a map of the missions of San Antonio by Luis Antonio Menchaca published in 1764.
1748 Connie Swann
If you wanted the most vivid color of red in 1748, you had to harvest an insect that lived on only two species of cactus native to south Texas and the New World. The Aztecs called it nocheztli. The Spanish called it cochinilla.
Cochineal red was a highly desired export to the Old World, second to silver, for almost 300 years. It wasn’t until the fall of the Spanish empire in the Americas that cochineal started its decline while production began to flourish in the Canary Islands.
Inspired by the indigenous color of our region, locally sourced cochineal was utilized for this work.
1749 Joe Harjo
This performance print records a contemporary Native American Indian, myself, carrying out the act of standing, breathing and simply existing, creating a dialog between indigenous peoples, both past and present. The span of time described in the title references the millennia of Native habitation versus the relatively brief 300 years of forced assimilation including loss of language, religion, culture, identity, and life.
1750 Katie Pell
San Fernando cathedral, completed in 1750. Part of the history, not the beginning nor the end.
1751 Noël Bella Merriam
Our Lady of Candelaria is the patroness of the Canary Islands. It is said that her statue washed ashore on the island of Tenerife in 1392. The aboriginal Guanche people of the island associated this medieval sculpture of a beautiful, dark-sinned woman with their goddess Chaxiraxi and worshiped her in a cave. When the Spanish Isleños (Canary Islanders) built San Fernando Cathedral (1738-1755) they dedicated it to both Nuestra Señora de Candelaria and the patroness of Mexico, Nuestra Señora de Guadalupe. My painting is a vision of Our Lady of Candelaria which might have sustained Isleños who labored on the San Fernando Cathedral. It blends her image with the half-finished cathedral and memories of the home they left behind – the sunshine, beaches and sacred cave of Tenerife Island. I find this aspect of San Antonio’s history powerful and meaningful since I was raised Catholic and had a medal of the Virgin Mary which I cherished as a child. Completing San Fernando Cathedral given the difficulty in obtaining funds from the Spanish crown must have seemed to be a miraculous feat blessed by Our Lady of Candelaria.
1752 Francesca Simonite
Growing up in a family of photographers in San Antonio has caused me to question how photography has influenced the way I understand my own experiences and memories. In an attempt to explore the subjectivity and reality of the visual image, I physically alter photographs shot on 35mm film with text. I believe that written words and numbers work in similar ways as the photograph itself beyond both functioning as time stamps. I question whether the act of cutting, dissecting, and rearranging my personal archive of seemingly arbitrary photographs and text makes these moments truer to my original experiences, or just as false as a single frame or print.
1753 Raul Gonzalez
My artwork is a reflection of Jesus F. de la Teja’s book “San Antonio de Bexar: A Community on New Spain’s Northern Frontier.”
1754 Samuel Morales Urbina
By 1754, political and socioeconomic factors were shaping the integration of native and foreign communities in south Texas, circumstances that would consequently give birth to a new Tejano culture. This nine-color screen print (Tcalāux: “to give birth” in Coahuiltecan) presents an experience rather than an event, and aims to convey the idea of struggle and the unavoidable unification between Indigenous and Spanish opposing forces.
The Indigen