American Counterpoint: New Approaches to Slavery and Abolition in Brazil Gilder Lehrman Center's 12th Annual International Conference Yale University, October 29-30, 2010 Building the Nation, Selecting Memories: Vitor Meireles, the Christie Affair and Brazilian Slavery in the 1860s. Beatriz Gallotti Mamigonian (Universidade Federal de Santa Catarina)
[email protected] There is a little-known painting, by Brazilian academic artist Victor Meireles that depicts Emperor Pedro II in a street scene, surrounded by a crowd who cheers him. It is given in the catalogue of the National Museum of Arts in Rio de Janeiro as “Study for the Christie Affair” (“Estudo para Questão Christie),” circa 1864. It shows the square in front of the Paço Imperial filled with people of both sexes and all classes, ages and colors. The eye is guided to observe the acclamation of the Emperor by just about everyone: those raising their swords and their hats from afar, and those standing close to him such as the well-dressed black man with a goatee who hails the Emperor with his hat. For the second scan, Meireles calls attention to a secondary scene: mounted police tramps over a person in the crowd who seems to be black, before the startled eyes of two young men, one white, one black. On the opposite side, in the shadow, a group of black men identified by their baskets as carriers and probably “ganhadores” sit still and observe, without taking part in the action depicted. 1 According to the brief passages in the specialized literature, the Marquis of Abrantes, the Minister