are known to have been brought by 1610 and were subsequently produced by Mexican artists and artisans in the seventeenth and eighteenth centuries. They were fashionable Mexican elites at the highest level and some were shipped to Europe. Most appear to have been produced locally in Mexico. Juan Correa produced several in the late seventeenth century, one of the 1519 meeting of Hernán Cortés and Moctezuma, which might have depicted more current events of a traditional Indian dance (mitote) performed on feast of Corpus Christi, symbolizing indigenous submission to Spanish rule and Christianity. Cortés is presented as "both a secular and religious hero" while Moctezuma on a ceremonial litter has "the trappings of a Roman emperor," depicting a meeting of equals. Another was allegorical, entitled The Four Continents (ca. 1683), showing Europe, America, Asia and Africa with Europe and Asia at the center, and America and Africa at either end. The earliest of these Mexican made screens had oriental designs but later ones had European and Mexican themes. One example of this is a screen by an anonymous artist with the conquest of Mexico one side and an aerial view of central Mexico City's streets and buildings, but no people, on the other, now at the Franz Mayer Museum. Another is a local scene of an Indian wedding, with voladores ("flyers") suspended by ropes on their feet. Gallery The Academy of San Carlos The last colonial era art institution established was the Academy of San Carlos in 1783. While the depiction of saints consumed most artistic efforts, they were not without political effects. The most important of these was the rise of the cult of the Virgin of Guadalupe as an American rather than European saint, representative of a distinct identity. The Crown promoted the establishment in Mexico of the Neoclassical style of art and architecture, which had become popular in Spain. This style was a reinterpretation of Greco-Roman references and its use was a way to reinforce European dominance in the Spain's colonies. One Neoclassical artist from the Academy at the end of the colonial period was Manuel Tolsá. He first taught sculpture at the Academy of San Carlos and then became its second director. Tolsá designed a number of Neoclassical buildings in Mexico but his best known work is an equestrian status of King Charles IV in bronze cast in 1803 and originally placed in the Zócalo. As