From the turn to seventeenth through the early eighteenth century, three retablos (altarpieces) were created in Yucatán that relied on a similar Renaissance design. The retablos located in the ex-convents of Mani and Teabo all adopt the Spanish sixteenth-century Renaissance style of the Plateresque. Further, the retablos are connected by the inclusion of caryatid framing devices that establishes a strong affinity among the works. Two of the retablos are located in Mani: the Retablo of San Antonio de Padua and the Retablo of Nuestra Señora de Soledad (or sometimes called the Dolores Retablo). At Teabo is the Retablo de Santa Teresita del Niño Jesús (or Las Ánimas). This paper explores the relationships among the retablos by considering their iconography and their styles to address the retablos’ dates and their current locations. While offering insights about these retablos, this contribution also provides a rich discussion of the thriving artistic industry that was present in Yucatán.

中文翻译：

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提博和玛尼的重生：殖民地尤卡坦州文艺复兴祭坛的演变

从转弯到17世纪到18世纪初，在尤卡坦州创建了三座retablos（祭坛画），它们依赖于类似的文艺复兴时期设计。位于玛尼（Mani）和蒂博（Teabo）前届会议上的歌剧院都采用了西班牙16世纪的文艺复兴时期的文艺复兴时期风格。此外，通过包括在各个作品之间建立起强烈亲和力的小女贞框架装置来连接重制作品。其中两处retablos位于玛尼（Mani）：圣安东尼奥·德·帕多瓦的Retablo和NuestraSeñorade Soledad的Retablo（或有时被称为Dolores Retablo）。在Teabo的是Retablo de Santa Teresita delNiñoJesús（或LasÁnimas）。本文通过考虑他们的肖像和样式来探讨重传之间的关系，以解决重传日期和当前位置。