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African Art at the Portuguese Court, C. 1450-1521

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African Art at the Portuguese Court, C. 1450-1521 African Art at the Portuguese Court, c. 1450-1521 By Mario Pereira A Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in the Department of History of Art and Architecture at Brown University Providence, Rhode Island May 2010 © Copyright 2010 by Mario Pereira VITA Mario Pereira was born in Boston, Massachusetts in 1973. He received a B.A. in Art History from Oberlin College in 1996 and a M.A. in Art History from the University of Chicago in 1997. His master’s thesis, “The Accademia degli Oziosi: Spanish Power and Neapolitan Culture in Southern Italy, c. 1600-50,” was written under the supervision of Ingrid D. Rowland and Thomas Cummins. Before coming to Brown, Mario worked as a free-lance editor for La Rivista dei Libri and served on the editorial staff of the New York Review of Books. He also worked on the curatorial staff of the Isabella Stewart Gardner Museum where he translated the exhibition catalogue Raphael, Cellini and a Renaissance Banker: The Patronage of Bindo Altoviti (Milan: Electa, 2003) and curated the exhibition Off the Wall: New Perspectives on Early Italian Art in the Gardner Museum (2004). While at Brown, Mario has received financial support from the Graduate School, the Department of History of Art and Architecture, and the Program in Renaissance and Early Modern Studies. From 2005-2006, he worked in the Department of Prints, Drawings and Photographs at the Museum of Art, Rhode Island School of Design. In 2007-2008, he received the J. M. Stuart Fellowship from the John Carter Brown Library and was the recipient of an Andrew W. Mellon Foundation/American Council of Learned Societies, Dissertation Completion Fellowship for the year 2009-2010. iv ACKNOWLEDGEMENTS It is a pleasure to thank Evelyn Lincoln and Jorge Flores. Their advice and expertise have been indispensable to this project. Their patience has endured through every step of this process and their enthusiasm and support have remained steady despite various changes in plan. Jorge Flores guided me through the Portuguese historical tradition, pointed me in many rewarding directions, and introduced me to the riches of the Biblioteca Nacional de Portugal as well as the wonderful city of Lisbon. Evelyn Lincoln generously shared her time, wisdom and myriad critical insights. The lively conversations we have had over the years have enriched every aspect of this project. I was fortunate to have had such an advisor. It has been a privilege to study at Brown University. The faculty in the Department of the History of Art and Architecture has made working on this project an enjoyable experience. Catherine Zerner has been a most gracious reader and loyal supporter. Dian Kriz could be relied on to solve any problem, practical as well as intellectual. Jeff Muller’s passion for art and for debate has provided timely inspiration. I would also like to thank Diana Adamczyk, Chantee Weah and Deenie Pacik for all they have done on a daily basis. I thank my colleagues and friends for their comments and suggestions and for having the strength to endure endless discussions on the Portuguese v court. In particular, I would like to mention Brian Repetto, Suzanne Scanlan, Joseph Silva, and Lisa Tom. With much gratitude I would like to acknowledge the generous support I have consistently received from several sources at Brown University. I would like to thank the Graduate School, the Department of the History of Art and Architecture, and the Program in Renaissance and Early Modern Studies for their kind and always generous financial support of my research and travels to New York, Washington DC, Chicago, Los Angeles, London, Oxford, Lisbon, Madrid, Berlin, Milan and Venice. A well-timed J.M. Stuart Fellowship at the John Carter Brown Library afforded me the opportunity to explore their incomparable collection of fifteenth- and sixteenth- century sources on the Portuguese overseas empire. An Andrew W. Mellon Foundation/ACLS Dissertation Completion Fellowship provided the invaluable time necessary to write. I would also like to thank the curators and staff of the following libraries and museums for allowing me access to their collections: the Biblioteca Nacional de Portugal, the Biblioteca del Monasterio de El Escorial, the Biblioteca Nacional de España, the Department of Africa, Oceania and the Americas at the British Museum, the Pitt Rivers Museum, University of Oxford, and the Department of African Art at the Yale University Art Gallery. In particular, I greatly appreciate the assistance of Claude Ardouin at the British Museum and Frederick Lamp at Yale. I would also like to thank the following museums for use of their resources: the Metropolitan Museum of Art, the National Museum of African Art, the Museu Nacional de Arte Antiga, Lisbon, and the Deutsches Historisches Museum, Berlin. vi My wife, Paige Reynolds, made too many sacrifices for too long, so that I could return to graduate school. It would not have been possible without her. She is more special than she knows. Our son, Asher Pereira, provided an infinite number of smiles and boundless amounts of joy. His happiness and excitement were essential. Throughout the process, Zampa Pereira remained a mischievous, genial companion. Though they deserve so much more, I humbly dedicate this project to them. vii TABLE OF CONTENTS Vita iv Acknowledgements v List of Illustrations ix Introduction 1 Chapter 1 Trophies of the Hunt: African Elephants and the Portuguese Court 24 Chapter 2 Courtly Gifts, Conversion, and War: Royal Art from the Kongo at the Portuguese Court 79 Chapter 3 Courtly Virtues and Fatal Deceit: Bemoim, prince of the Jolof, at the Portuguese Court, 1488-89 172 Chapter 4 Luso-African Ivories at the Portuguese Court of D. Manuel I (1469-1521) 271 Illustrations 404 Bibliography 483 viii LIST OF ILLUSTRATIONS 1.1 Elephant tusk measuring 12 feet in length, Photograph from 1908. Reproduced from Ross 1992, Fig. 17-5. 2.1 Map showing area of the Kingdom of Kongo. Reproduced from Bridges, Nichole N. “Kongo Ivories”. In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000–. http://www.metmuseum.org/toah/hd/kong/hd_kong.htm (March 2009) 2.2 Oliphant, Kongo, Musée national de la Renaissance, Ecouen, inv. no. E.CL.428 2. 3 Raffia pile cloth, Kongo, Nationalmuseet, Copenhagen Reproduced in Bassani and Fagg, 1988, pl. 14. 2.4 Oliphant, Kongo, Museo Nazionale del Bargello, Florence, inv. no. 2 Reproduced in Bassani and Fagg, 1988, pl. 269. 2.5 Oliphant, Kongo, Museo Nazionale del Bargello, Florence, inv. no. 3 Reproduced in Bassani and Fagg, 1988, pl. 13. 2.6 Oliphant (Detail), Kongo, Museo Nazionale del Bargello, Florence, inv. no. 3 Reproduced in Bassani and Fagg, 1988, pl. 276. 2.7 Wove raffia hat (mpu), Kongo, Nationalmuseet, Copenhagen 3.1 Coat of Arms of Bemoim. Reproduced from Teixeira da Mota, 1971, fig. 9. 4. 1 Map show area of Sierra Leone. Reproduced from Disney, v. 2, 2009, p. xxv. 4.2 Saltcellar, Sierra Leone, The British Museum, Af1867,0325.1.a-b. © The Trustees of the British Museum 4.3 Saltcellar, Sierra Leone, Museo Preistorico e Etnografico, Rome. Reproduced in Bassani and Fagg 1988, pl. 135. 4.4 Saltcellar, Sierra Leone, The British Museum, Af1981,35.1.a-b. © The Trustees of the British Museum 4.5 The Conquest of Arzila in 1471 (Detail), Museo de Tapices de la Colegiata, Pastrana, Spain. ix 4.6 Attributed to Nuno Gonçalves (active 1450-before 1491), Painéis de São Vicente, 1470-80, Museu Nacional de Arte Antiga, Lisbon, inv. 1363, 1366, 1361, 1364, 1365, 1362 Pint. 4.7 Ermida de São Brás, Évora, Portugal. 4.8 Convento da Conceição, Beja, Portugal. 4.9 Spoon, Sierra Leone, The British Museum, Af1856,0623.163. © The Trustees of the British Museum 4.10 Feather headdress, Mexico, c. 1520, Museum für Völkerkunde, Vienna, Inv. No. VO_10402. 4.11 Seated figure (nomoli), Sierra Leone, Francesco Pellizzi Collection Reproduced in Bassani and Fagg 1988, pl. 18. 4.12 Figure (pomdo), Sierra Leone, Carlo Monzino Collection Reproduced in Bassani and Fagg 1988, pl. 19 4.13 Head (mahai-yafei), Sierra Leone, Metropolitan Museum of Art, Acc. 1978.412.375. 4.14 Male figure (nomoli), Sierra Leone, National Museum of African Art, 85-1-3 4.15 Seated figure (nomoli), Sierra Leone, Mangió Collection Reproduced in Bassani and Fagg 1988, pl. 89. 4.16 Male figure (nomoli), Sierra Leone, National Museum of African Art, 85-1-2 4. 17 Head (mahai-yafei), Sierra Leone, National Museum of African Art, 2005-6-56 4.18 Saltcellar, Sierra Leone, Museum für Völkerkunde, Vienna, Inv. no. 118.609 Reproduced in Bassani and Fagg 1988, pl. 67 4.19 Seated Figure (Saltcellar lid), Sierra Leone, formerly Peter Schnell Collection, Zurich. Reproduced in Sotheby’s Paris: African and Oceanic Art: Collection Veena et Peter Schnell, Collection Baudouin de Grunne, Sale PF4011, Lot 125 http://www.sothebys.com/app/live/lot/LotDetail.jsp?sale_number=PF4011&live_l ot_id=125 4.20 Saltcellar, Sierra Leone, The British Museum, Af1867,0325.1.a-b. © The Trustees of the British Museum 4.21 Dagger hilt, Sierra Leone, Seattle Art Museum, Inv. no. 68.28 x Reproduced in Bassani and Fagg 1988, pl. 92. 4.22 Dagger hilt, Sierra Leone, The British Museum, Af.9037 © The Trustees of the British Museum 4.23 Saltcellar (fragment of base), Sierra Leone, Museum für Völkerkunde, Munich, Inv. no. 5380 Reproduced in Bassani and Fagg 1988, pl. 172. 4.24 Saltcellar Lid, Sierra Leone, Nationalmuseet, Copenhagen, Inv. no. EDc66 Reproduced in Bassani and Fagg 1988, pl. 171. 4.25 Saltcellar (fragment), Sierra Leone, The British Museum, Af.7398.a-b. © The Trustees of the British Museum 4.26 Wood figure, Sierra Leone, Baltimore Museum of Art.
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