[Illustration: FIGURE 28. SNARE DRUM (_tambor_). SIZE: 58.4 centimeters long. DATE: 19th century. ORIGIN: Imported to New Mexico. LOCATION: South _morada_, center room. MANUFACTURE: Commercially made, military type, reddish stain, rope tension lines with rope and leather drum ears [tighteners].] Before describing religious objects in the west end rooms of Abiquiú _moradas_, a list of similar items in Santo Tomás Mission at an earlier date (1776) is of interest: a medium-sized bell ... altar table ... gradin ... altar cloth ... a banner ... candleholders ... processional cross ... a painted wooden cross ... ordinary single-leaved door ... image in the round of Our Lady of the [Immaculate] Conception ... a wig ... silver crown ... string of fine seed pearls ... ordinary bouquet ... painting on copper of Our Lady of Sorrows (_Dolores_) in a black frame ... _Via Crucis_ in small paper prints on their little boards ... a print of the Guadalupe.[58] Comparable versions of each of these objects occur in Abiquiú's _moradas_. In fact, virtually all objects found in the _penitente moradas_ of Abiquiú are recorded as typical artifacts by church inventories and house wills of 18th- and 19th-century Spanish New Mexico.[59] ORATORY IN THE EAST MORADA.--In the rear of the oratory of the older east _morada_ (Figure 12), one sees a stove and lantern on the right. Both are imported, extracultural items. The pierced, tin candle-lantern (Figure 29) is a common artifact found throughout Europe and America.[60] [Illustration: FIGURE 29. CANDLE LANTERN. SIZE: 30.5 centimeters high. DATE: 19th century. ORIGIN: Imported to New Mexico. LOCATION: East _morada_, chapel. MANUFACTURE: Pierced tinwork.] Along the walls of the oratory hang imported religious prints framed in local punch-decorated tinwork. Tin handicraft became more widespread after 1850 when metal U.S. Army containers became available to the _Hispanos_. Designs seen on three tin frames (Figure 30) include twisted columns, crests, scallops, corner blocks, wings, and a variety of simple repoussé patterns. Paper prints in the tin frame suggest midcentury trade contacts between northern Mexico and the Atlantic Coast. Even the Mexican War (1846-1848) did not discourage American publishers such as Currier from appealing to Mexican religious and national loyalties with lithographs of Our Lady of Guadalupe (much in the same manner as the British, after the Revolution and War of 1812, profited by selling Americans objects that bore images of Yankee ships, eagles, and likenesses of Franklin and Washington). A fourth piece of local tinwork (Figure 31) in the east _morada_ oratory is a niche for a small figure of the Holy Child of Atocha, _Santo Niño de Atocha_. This advocation of Jesus, like that of His mother in the Guadalupe image, further indicates Mexican influence.[61] The image of the _Atocha_ is a product of local craftsmanship.