Luis del Alcázar

Luis del Alcázar (Ludovicus ab Alcasar, Louis of Alcazar) (1554–1613) was a Spanish Jesuit theologian.

Title page from the Vestigatio of Luis del Alcázar (1614).

Life

He was the eldest son of Melchor del Alcázar, a jurist,[1] and nephew of the poet Baltasar del Alcázar, and was born in Seville. He studied at Seville, Cordova and Salamanca, entered the Society of Jesus in 1568, and became a priest in 1578. Alcázar was a friend of the Jesuit Juan de Pineda (1552–1637) (also a pupil of Jerome de Prado),[2] and the Dominican Agustin Salucio; he died in Rome.[3][4]

Works
Illustration from the Vestigatio, showing the Woman of the Apocalypse.

He is known for his Vestigatio arcani sensus in Apocalypsi (1614) published after his death, putting forward what would later be called a preterist view of Biblical prophecy, in commentary on the Book of Revelation; his work is regarded as the first major application of the method of interpretation of prophecy by reading in terms of the author's contemporary concerns.[5] His view was that everything in the Apocalypse, apart from the three final chapters, referred to events that had already come to pass when John of Patmos was writing. He attacked Joachim of Fiore, in particular, for millenarianism.[6] The book's illustrations were after Juan de Jáuregui y Aguilar, who produced a series of 24 designs on the Apocalypse.[7] He suggested that 2 Esdras was later than Revelation, and borrowed from it.[8]

A further work was In eas Veteris Testamenti partes quas respicit Apocalypsis (1631).[9]

Influence

Alcázar's method was for the Book of Revelation, and was shortly taken up by Hugo Grotius.[5][10] John Donne cites him in a sermon.[11] Henry Hammond was an exception, among English Protestants, in following Alcázar's interpretation.[10] Alcázar, with Johann Heinrich Heidegger, is referenced in Tristram Shandy as "Lewis de Acasar".[12]

He was a friend of Francisco Pacheco, and had an influence on the iconography of the Immaculate Conception: the horns of the crescent moon in Pacheco's codification pointed away from the sun, as Alcázar and Galileo argued.[13]

Notes
  1. Justi, Karl; Keane, A. H. (Augustus Henry) (1889). Diego Velazquez and his times. Harvard University. London, H. Grevel & co., Philadelphia, J.B. Lippincott co.
  2. Herbermann, Charles, ed. (1913). "Jerome de Prado" . Catholic Encyclopedia. New York: Robert Appleton Company.
  3. Robert A. Maryks, The Jesuit Order as a synagogue of Jews: Jesuits of Jewish ancestry and purity-of-blood laws in the early Society of Jesus (2010), p. 155 note 133; Google Books.
  4. (in German) Klaus Reinhardt, Bibelkommentare spanischer Autoren (1500-1700): Autoren M-Z (1999), p. 193; Google Books.
  5. Haase, Wolfgang; Temporini, Hildegard (1982). Aufstieg und Niedergang der römischen Welt: Geschichte und Kultur Roms im Spiegel der neueren Forschung. Walter de Gruyter. ISBN 978-3-11-011893-3.
  6. Amanat, Abbas; Bernhardsson, Magnus Thorkell (2002). Imagining the End: Visions of Apocalypse from the Ancient Middle East to Modern America. Bloomsbury Academic. ISBN 978-1-86064-724-6.
  7. (in Spanish) PDF
  8. Kovacs, Judith; Rowland, Christopher (2008-04-15). Revelation: The Apocalypse of Jesus Christ. Wiley. ISBN 978-1-4051-4321-9.
  9. Google Books.
  10. Google Books
  11. archive.org
  12. René Bösch, Labyrinth of Digressions: Tristram Shandy as perceived and influenced by Sterne's early imitators (2007); p. 139; Google Books.
  13. Eileen Reeves, Painting the Heavens: Art and Science in the Age of Galileo (1999), p. 184; Google Books.
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