Abstract A curious image appeared amid the celebrations of the beatification of Jesuit founder Ignatius Loyola (c.1491–1556), in Seville, Spain, in February 1610. The different saintly founders of religious orders were represented as signs of the zodiac. Although no physical specimen survives, we can learn about the convergence of the secular with sacred imagery in early modern Catholicism. This representation is an example of typology, wherein varying registers, in this case, visual ones, are applied simultaneously to tie together disparate ideas and symbols. Although usually employed to contrast the Old and New Testament, typology had other uses in Catholicism as seen in Seville. This article thus helps one understand a different and more mundane imagining of early modern saints with the aid of representations of the zodiac, which has not yet been the subject of detailed study. This article attempts to rectify oversights in the scholarship with a case study involving the Society of Jesus and its founder, Ignatius, in Seville and the implementation of a typological representation produced for the beatification of Ignatius. This likeness sought to draw connections between religious and secular iconographies in order to articulate aspects of twelve founders from disparate periods in Christian history.

中文翻译：

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塞维利亚繁星点点的圣徒：早期现代天主教的世俗和神圣类型

摘要1610年2月，在西班牙塞维利亚的耶稣会创始人伊格纳修斯·洛约拉（Ignatius Loyola，约1491年至1556年）的圣餐庆祝活动中，出现了一个奇怪的图像。尽管没有任何自然标本能够幸存，但我们可以了解现代天主教早期世俗与神圣意象的融合。此表示形式是类型学的一个示例，其中，同时应用各种寄存器（在这种情况下为可视寄存器）将不同的想法和符号联系在一起。尽管通常用来对比旧约和新约，但类型学在天主教中还有其他用途，如塞维利亚所见。因此，本文借助黄道十二宫的表述，帮助人们了解现代圣徒的不同而更平凡的想象，尚未进行详细研究。本文试图通过一个涉及耶稣会及其创始人伊格纳修斯在塞维利亚的案例研究，以及为伊格纳修斯的圣化所产生的类型学表现形式的案例研究，来纠正学术界的监督。这种相似性试图在宗教和世俗肖像画之间建立联系，以阐明十二位创始人在基督教历史上不同时期的表现。