Uma Tiara Com 4000 Diamantes

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Uma Tiara Com 4000 Diamantes Uma tiara com 4000 diamantes A tiara with 4000 diamonds História e paradeiro da tiara de D. Estefânia, reconvertida por D. Maria Pia e vendida após a implantação da República. 1858-1912 João Júlio Rumsey Teixeira João Júlio Rumsey Teixeira Uma tiara com 4000 diamantes História e paradeiro da tiara de D. Estefânia, reconvertida por D. Maria Pia e vendida após a implantação da República. 1858-1912 João Júlio Rumsey Teixeira Uma tiara com 4000 diamantes João Júlio Rumsey Teixeira Título: Uma tiara com 4000 diamantes. História e paradeiro da tiara de D. Estefânia, reconvertida por D. Maria Pia e vendida após a implantação da República. 1858-1912 Aos meus pais, por me ensinarem a ver. Autor: João Júlio Rumsey Teixeira [email protected] Prefácio: Teresa Maranhas, PNA, DGPC Revisão: Teresa Maranhas, PNA, DGPC Hugo Xavier, PNP, PSML Capa, design e paginação: Nicolás Fabian nfabian.pt Imagem da capa: Desenho do diadema de D. Estefânia, Nicolás Fabian, técnica mista sobre papel, col. autor. Tradução: Autor Revisão da tradução: Catarina Alcântara Luz Abril 2020, Todos os direitos reservados Uma tiara com 4000 diamantes João Júlio Rumsey Teixeira Índice 7 9 15 Prefácio Introdução Identificação e Análise Pericial 21 37 39 História, Conclusão Apêndice Proveniência Documental e Autorias Abreviaturas ANTT - Arquivo Nacional da Torre do Tombo APNA - Arquivo do Palácio Nacional da Ajuda Col. - Coleção 55 57 58 Cx. - Caixa DGFP - Direção Geral da Fazenda Pública Preface Introduction Identification Doc. - Documento and expert Doc. cit. - Documento citado analysis ELI - Espólio Leitão & Irmão FCG - Fundação Calouste Gulbenkian Fig. - Figura 60 67 68 Inv. - Inventário N. - Número History, Conclusion Considerations P. - Página Provenance and about the PNA - Palácio Nacional da Ajuda Authorship 1873 Jewelry PNP - Palácio Nacional da Pena Appraisal PSML - Parques de Sintra - Monte da Lua, S.A. Vol. - Volume Uma tiara com 4000 diamantes João Júlio Rumsey Teixeira Prefácio A colaboração de João Júlio Rumsey Teixeira com o Palácio Nacional da Ajuda remonta a 2006 quando ingressou no museu como voluntário, tendo depois prosseguido com o seu estágio curricular de final da licenciatura em História da Arte pela Faculdade de Ciências Sociais e Humanas da Universidade Nova de Lisboa. Da sua formação e percurso profissional destacam-se a peritagem em diamantes pelo Gemological Institute of America (GIA), a especialização em antiguidades no Sotheby’s Institute of Art, em Londres, e a experiência no mercado leiloeiro em Lisboa, na área da ourivesaria e joalharia, nos últimos dez anos. Foi ainda autor do blog Arte em Números, redator da extinta revista L+arte e lecionou a cadeira de Mercados de Arte e Avaliação na Escola Superior de Artes Decorativas da Fundação Ricardo do Espírito Santo Silva. 7 O estudo inédito da sua autoria que agora se publica resulta do convite que o diretor do palácio lhe dirigiu para integrar a equipa de investigação do projeto do futuro museu do Tesouro Real do Palácio Nacional da Ajuda. A reconstituição formal de uma importante estrutura de diadema do século XIX, cujos diversos elementos se encontravam dispersos e, por consequência, por identificar, é devida à expertise de João Júlio que, para o efeito, habilmente interligou a pesquisa arquivística com a leitura estética e artística daqueles elementos, restituindo-lhes o seu verdadeiro sentido, uso e valor. O presente trabalho constitui pois um novo e brilhante contributo não apenas para a narrativa do Tesouro Real, mas também para a história da joalharia portuguesa. Lisboa, 9 de Abril de 2020 Teresa Maranhas conservadora das coleções de ourivesaria e joalharia do Palácio Nacional da Ajuda João Júlio Rumsey Teixeira Introdução Na investigação que decorre no âmbito da abertura do museu do Tesouro Real do Palácio Nacional da Ajuda tem sido possível fazer importantes descobertas sobre as peças que serão exibidas no novo espaço expositivo, atualmente em construção. A identificação que me foi possível fazer, a partir de diversos 9 elementos soltos e à primeira vista desconexos, da estrutura descravada de um grande diadema romântico que originalmente estava cravejado com diamantes reveste-se de especial importância, não só pela descoberta de uma nova joia mas também porque o seu estudo ofereceu respostas às questões em aberto1 sobre a tiara que D. Pedro V ofereceu a D. Estefânia no casamento. Antes de desenvolver este tema parece-me pertinente esclarecer duas questões que permanecem algo dúbias na literatura sobre história da joalharia em Portugal. A primeira, essencial para este texto, é a definição dos termos, hoje sinónimos2, “tiara” e “diadema”. A correta utilização das duas palavras permanece uma questão, apesar de atualmente serem entendidas como sinónimos em diversos dicionários. 1 MARQUES, Eduardo Alves; Se as Jóias Falassem, Esfera dos Livros, 2009; SOUSA, Gonçalo de Vasconcelos e; “Aspetos da Ourivesaria portuguesa na revista “O Ocidente”, 1878-1915”, ARTIS, revista de História da Arte e Ciências do Património (dir. Vítor Serrão), n. 4, Caleidos- cópio, 2016, p. 92; e FRANCO, Anísio; Lisboa Desconhecida e Insólita, Porto Editora, 2017. 2 Por exemplo: Dicionário Porto Editora. Disponível em: https://www.infopedia.pt/diciona- rios/linguaportuguesa/ João Júlio Rumsey Teixeira Em 1869, no Diccionario dos Synonimos Poetico e de Epithetos da Lingua Portugueza3 o termo diadema é sinónimo de coroa. Ou seja, referiam-se ambos a uma peça de adorno que cingia por inteiro o perímetro da cabeça e que era igualmente símbolo e sinónimo4 de soberania. Já o termo tiara é referido apenas como sinónimo de trirregno; ou seja, a tiara Papal, do latim Triregnum. O termo é etimologicamente relacionado como o número três porque a chamada tiara papal é a sobreposição de três coroas numa estrutura em colmeia que termina numa cruz latina. Já em inglês5 uma tiara é, desde o século XIX, o que em português se chamava apenas diadema; sendo o termo diadem pouco habitual e referente a pequenos adornos de cabeça sem qualquer associação de poder. O processo de anglicização da língua portuguesa das últimas décadas acabou por tornar as duas palavras sinónimas e, como tal, serão utilizadas neste texto. O segundo ponto prende-se com a leitura de valores monetários nas antigas moedas portuguesas: Réis e, depois de 1911, Escudos. A 11 confusão e leituras deturpadas são por demais frequentes em textos sobre joalharia antiga onde são mencionados valores. Em 1911 a primeira república substituiu a designação da moeda. O Real, moeda portuguesa desde o século XV, foi substituído pelo Escudo mas o sistema permaneceu praticamente inalterado desde 1837, aquando da introdução do sistema decimal. Em Réis e desde essa altura, as somas escreviam-se da seguinte forma: até novecentos e noventa e nove réis o valor era expresso pelo numeral cardinal: 999 réis. A partir de mil réis introduzia-se o cifrão; ou seja, dois mil e quinhentos réis seriam expressos como 2$500 réis, apenas 2$500, ou substituindo o cifrão por alguma abreviatura como um apóstrofe, aspas ou até duas vírgulas. Podem assim surgir variantes como: 2”500, 2’500 ou 2,,500. A unidade de contagem era o Conto e equivalia a um milhão de Réis: 1:000$000. Assim expresso, separando os milhões por dois 3 ROQUETTE e FONSECA, J.-I e José; Diccionario dos Synonimos Poetico e de Epithetos da Lingua Portugueza, Aillaud, Guillard e Cª, Paris, 1869. 4 Segundo o mesmo dicionário de sinónimos. 5 Disponível em: https://dictionary.cambridge.org/dictionary/english Uma tiara com 4000 diamantes João Júlio Rumsey Teixeira pontos, ou por um ponto apenas: 1.000$000. Pode naturalmente surgir com as abreviaturas anteriormente vistas para a separação dos milhares: 1:000,,000, etc. A partir de 1911 um Escudo vai equivaler a mil réis: 1$000, sendo as frações de escudo denominadas Centavos. Por tradição e utilidade, a unidade de contagem, o conto, permaneceu inalterada. Assim se explica como um conto designa, a partir de 1911, mil escudos. Quem se lembra da circulação de escudos recorda-se naturalmente que foram expressos até 2002 com o cifrão separando os centavos, nessa altura já apenas com duas casas decimais e sem utilidade prática. Assim e resumindo, um conto de réis designa um milhão de réis e expressa-se da seguinte forma: 1:000$000. Este valor equivale a mil escudos: 1000$000, ou mais recentemente: 1000$00. 12 Figura 1 Alguns elementos identificados como pertencentes a uma mesma peça reunidos pela primeira vez. Nesta altura permaneciam dispersos e por identificar inúmeros fragmentos de pequena dimensão, incluindo a grinalda da base. Só depois da identificação desses elementos foi possível a reconstrução da joia. Some elements, already identified as part of the same jewel, reunited for the first time at the same box. At this stage most of the smaller fragments were not yet identified, neither the garland of the base. Only after that identification it was possible to reconstruct the jewel’s structure. Foto: autor Uma tiara com 4000 diamantes João Júlio Rumsey Teixeira 1. Identificação e Análise Pericial Na observação que fui fazendo de peças descravadas distribuídas por diferentes caixas detetei uma consistência formal e técnica em muitos elementos (Fig. 1). Alguns eram claramente idênticos entre si, apesar de variarem em tamanho. Outros, dentro da mesma estética, apresentavam exatamente as mesmas técnicas de execução e “a mesma mão”. Vários apresentavam encaixes complementares revelando, inequivocamente, que faziam parte do mesmo conjunto. Assim formei, mentalmente, a ideia de que poderiam fazer parte de uma única peça. Entre estes elementos existiam fragmentos de uma barra curva que calculei ser a base estrutural de uma tiara. Ao concluir que os encaixes que subsistem nesses fragmentos são iguais aos existentes nalguns dos restantes elementos, a peça foi ganhando corpo. Ao longo de vários dias fui-lhe dando forma até se tornar evidente a composição original (Figs. 5 e 6).
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