nun again uses an interplay between characters, this time heaven and earth, to show how earth's loss is heaven's gain:
Anne is not among the exemplary heroic, learned, and saintly women whom Sor Juana Ines de la Cruz invokes in the Respuesta a sor Filotea to further her argument in favor of older women teaching young girls to read, although Luna notes that the sculptural group constitutes a visual counterpart that could be found in numerous convents, particularly those, like Sor Juana's Jeronymite
convent, where girls were taught by nuns.
monks of El Escorial mainly performed plainchant themselves, but Noone discusses an anonymous polyphonic Requiem setting possibly composed by one of the monks; royal chapel musicians, furthermore, were on hand for the processions and other ceremonies accompanying the reburials of royal corpses that commenced in 1573.
His examination of the Tercera Parte of Siguenza's history of the Jeronymite
Order, which deals principally with the foundation and decoration of the Escorial, notably its paintings, frescos and other works of art, is revealing in itself, but is doubly significant in that it uncovers a combative mind of wide cultural sympathies and independent judgement, which provides further evidence that the post-Tridentine intellectual history of Spain was less rigidly orthodox than has traditionally been thought.
Attempts to establish her legitimacy were still at stake and performed against the backdrop of the ongoing civil war that followed Enrique's death in 1475 when Isabel requested that the Jeronymite
prior of the monastery of Santa Maria del Prado in Valladolid, Hernando de Talavera,  make a copy of his sermon preached to the monks at Santa Maria during the Advent season.
The monk-musician Martin de Villanueva was brought to the Escorial in 1586 from the Jeronymite
monastery of San Jeronimo in Granada, specifically because of his musical skills.
One would love, for example, to be in a position - surviving material permitting - to make such comparisons with another great Jeronymite
monastery, that at Belem near Lisbon, which like the Escorial was a dynastic mausoleum; and other intriguing comparisons and contrasts spring to my mind through my work and that of Ernesto Goncalves de Pinho on the "Royal Monastery" of Santa Cruz in Coimbra, where Portugal's first kings are buried, and which - like the Escorial - enjoyed extensive royal patronage in both its monastic and prominent educational roles.
As late as 1827 the Jeronymite
monk Ignacio Ramoneda (of the Monastery of San Lorenzo de El Escorial) used the term ternario menor for what we would call triple-time hymns notated in black breves and semi-breves.
Hernandez's two volumes consist of transcriptions of manuscripts which are fundamental to our knowledge of music and musicians at El Escorial during the period in which the monastery was occupied by the Jeronymite
The first paper, by Luis Hernandez, presented an overview of the function and role of music in the liturgy during the period in which the Jeronymite
order occupied the monastery.
They consider such topics as observant reform's conceptual frameworks between principle and practice, "observance" as paradigm in mendicant and monastic order chronicles, Bernardino da Siena and observant preaching as a vehicle for religious transformation, pawn broking between theory and practice in observant socio-economic thought, the observance and the confrontation with early Protestantism, and the Spanish Jeronymites
' incorporation of the Isidrites in 1567.