Abstract

I analyze Andrés Barajas’ illustrations of Calderón’s El gran teatro del mundo, manifesting the philosophical and theological hypertexts with iconographic palimpsests that influenced the prints of Barajas. Parting from the formal and hermeneutic input of Barajas’ work on the play and viceversa, it will be shown that there is an iconographic continuum from the middle ages to the twentieth century.