The Portuguese Restoration of 1640 and Its Global Visualization: Political Iconography and Transcultural Negotiation

Cover
Table of Contents
Acknowledgments
Introduction
	Disciplinary Positions
	The Impact of Images in Revolutions
	Transcontinental Entanglements of Images
	Cultural Translation
	Images of the Portuguese Restoration: The State of Research
	Chapter Organization
1.	Signs, Miracles, and Conspiratorial Images
	Portugal 1640: National Identity, Providentialism
	The Miracle of the Alcobaça Monastery Statue (6 November 1632)
	The Miraculously Discovered Coins near Évora (8 October 1640)
	“Our Lady of the Conspirators”: A Clandestine Image Capsule
	Shift of Perspective: A Portable Oratory from Japan
	Hidden beneath Tortoiseshell: John Twice in Miniature
	Shift of Perspective: An Oratory with Sliding Cover from Japan
	Excursus: Subversive Images and Secret Signs in the European Context
	Flight Images: Aeneas and Other Myths in the Service of the Restoration Project
	Excursus: Portugal as Verus Israel (by Joel Golb)
	Biblical Flight Scenes as a Mirror for the Oppressed Portuguese
2.	The Lisbon Miracle of the Crucifix (1 December 1640)
	Speech Act and Image Act
	Interpretations of the Image Miracle
	Aljubarrota, Madrid, Lisbon: The Crosier as National Relic
	Traditions of Living Images of Christ
	Habsburg Veneration of Christ
	Shift of Perspective: A Living Crucifix in Goa (1636)
	Reception of the Goa Miracle
	The Processional Standard of the Santa Mónica Convent
	The Living Goan Crucifix as a Possible Model for the Lisbon Image Act
	A Cochin Visionary’s Image Worlds in a Broadsheet with the Lisbon Crucifix Miracle (Lisbon 1641)
3. The New King’s Oath (15 December 1640)
4.	Acclamations
	Coimbra (6 December 1640—8 February 1641)
	Braga: The Moon as Image Carrier (29 January 1641)
	Funchal, Madeira (10 January 1641)
	Salvador de Bahia (15 February 1641)
	Rio de Janeiro (31 March–8 April 1641)
	Mazagão and Luanda (14 February 1641 and 25 April 1641)
	Goa (11 September–20 October 1641)
	Cochin (29 September–15 November 1641)
	Macau (Summer 1642)
5.	Lisbon
	The Palace Chapel
	Central-Plan Buildings as a Brigantine Architectural Form
6.	Images in Diplomatic Service
	Portraits
	How Portuguese Ambassadors Deployed Images
	France and Rome
	The Portuguese Restoration in the Theatrum Europaeum (Frankfurt am Main 1643)
	The Lusitania Liberata by António de Sousa de Macedo (1645)
	Conclusion
7.	The Imaculada as Portugal’s Patroness
	John IV’s Oath of Fealty (25 March 1646)
	The Engraving by Lucas Vorsterman II (1648)
	The Minted Tutelaris Regni (1650)
	The Crownless King in a Bengalese Wall Hanging
	Nossa Senhora da Conceição in Ivory
8.	The Funeral Apparatus of John IV (November 1656)
	The Plans for the Castrum Doloris
	Two Canvasses from Vila Viçosa
	Specifics of the Iconographic Program
	Headless Kings: England (1649) and Portugal (1656)
9.	The Drawings in the Treatise of António de São Thiago (Goa 1659)
10.	Ivory Good Shepherds as Visualizations of the Portuguese Restoration
	The Ivory Figures of the Good Shepherd
	The Prophecy of the Fifth Empire
	The Ivory Figures as Proof of the Progress of Universal Conversion
Conclusion
Bibliography
Index
List of Illustrations
	Fig. 1: Mosteiro de Alcobaça, façade of the Dormitório, Sala dos Monges, renewed 1709
	Fig. 2: Statue of Afonso Henriques on top of the façade of the Dormitório of Alcobaça Monastery, 1632.
	Fig. 3: Roman coin (recto) with profile portrait of Theodosius the Great (379-395), inscription: “D N THEOD – SIVS P F AVG,” Aquileia RIC 30d, KHM-Museumsverband, Vienna.
	Fig. 4: Roman coin (verso) with figure of the ruler, extending a helping hand towards a cowering figure, inscription “REPARATIO – REI PVB; – -: – – // SMAQP,” Aquileia RIC 30d, KHM-Museumsverband, Vienna.
	Fig. 5: Silver cylinder, first half of the seventeenth century, rear view.
	Fig. 6: Silver cylinder, front view with inscription.
	Fig. 7: Ducal Palace of Vila Viçosa, Portugal, façade constructed c. 1532-37.
	Fig. 8: Sculpture of Nossa Senhora Padroeira de Portugal, fourteenth century, highly restored, Santuário de Nossa Senhora da Conceição, Vila Viçosa.
	Fig. 9: Silver cylinder, opened with Madonna visible.
	Fig. 10: Anamorphic portrait of Charles I (1600-1649, king of England, Scotland and Ireland) with skull in center, unknown artist, seventeenth century, oil on wood, Sveriges konst- och designmuseum, Stockholm.
	Fig. 11: Anamorphic portrait of Charles I (1600-1649) with cylindric mirror in center so that the image is visible, unknown artist, seventeenth century, oil on wood, Sveriges konst- och designmuseum, Stockholm.
	Fig. 12: Madonna in portable oratory, opened, ivory, probably seventeenth-century Japan, Museu Municipal Santos Rocha, Figueira da Foz.
	Fig. 13: Madonna in portable oratory, closed, ivory, probably seventeenth-century Japan, Museu Municipal Santos Rocha, Figueira da Foz.
	Fig. 14: Buddhist “travel altar” (zushi), mid-seventeenth century, British Museum, London.
	Fig. 15: Netsuke, woman with child, c. 1700-1759, ivory, Victoria and Albert Museum, London.
	Fig. 16: Netsuke of the Immortal Kasenko in a cloud, eighteenth century, carved and stained ivory, Victoria and Albert Museum, London.
	Fig. 17: Netsuke of Darum inside a cylinder, late nineteenth century, ivory, lot 1061, Kunsthaus Lampertz, Cologne.
	Fig. 18: Figure of Christ Child, later turned into netsuke, early seventeenth century, British Museum, London, Franks Collection.
	Fig. 19: Namban folding screen, first panel from right, around 1600, Fukuoka Art Museum, Kuroda Family Treasures.
	Fig. 20: Detail, namban folding screen, first panel from right, around 1600, Fukuoka Art Museum, Kuroda Family Treasures.
	Fig. 21: Portrait of young John the Baptist, one side of a double-sided miniature, oil on copper, tortoiseshell frame and slide cover, Museu Nacional Frei Manuel do Cenáculo, Évora.
	Fig. 22: Portrait of John IV of Bragança, one side of a double-sided miniature, oil on copper, tortoiseshell frame and slide cover, Museu Nacional Frei Manuel do Cenáculo, Évora.
	Fig. 23: Double-sided miniature of young John the Baptist and portrait of John IV of Bragança, Museu Nacional Frei Manuel do Cenáculo, Évora.
	Fig. 24: Double-sided miniature of young John the Baptist and portrait of John IV of Bragança, Museu Nacional Frei Manuel do Cenáculo, Évora.
	Fig. 25: Double miniature of King Sebastian as young and old man, seventeenth century, Collection Rainer Daenhardt, Lisbon.
	Fig. 26: Double portrait of the old and the young King Sebastian, copper engraving, 1809, Biblioteca Nacional de Portugal, Lisbon.
	Fig. 27: Oratory to hang up, wood, black and gold lacquer, mother of pearl inlays, portrait of Saint Dominicus, oil on copper, late sixteenth century, Porto, private collection.
	Fig. 28: Andrea Alciati, Emblematum liber, Emblem no. 194: Pietas filiorum in parentes, Antwerp: Christoph Plantin 1577, p. 628.
	Fig. 29: Juan de Horozco, Emblemas morales, Emblem no. 11, Segovia: Juan de la Cuesta 1589, 3rd part, 123r.
	Fig. 30: Hernando de Soto, Emblemas moralizadas, Madrid: Juan Iñiguez de Lequerica 1599, 9v.
	Fig. 31: Diego Pereira, Incêndio de Tróia (The Fire of Troy), c. 1640, oil on panel, Museu Nacional Frei Manuel do Cenáculo, Évora.
	Fig. 32: Crucifix miracle, azulejos, end of the eighteenth century, garden of the Palácio dos Condes de Almada, Lisbon.
	Fig. 33: Detail, crucifix miracle, azulejos, end of the eighteenth century, garden of the Palácio dos Condes de Almada, Lisbon.
	Fig. 34: Crucifix miracle from 1640, frontispiece, from Francisco Lopez, Favores do Ceo, Lisbon: António Alvares, 1642.
	Fig. 35: Prodigios miraculosos, Lisbon: António Alvares, 1641, single leaf print, Biblioteca Nacional de Portugal, Lisbon.
	Fig. 36: Christ Blessing Saint Hedwig, 1353, tempera colors, colored washes and ink on parchment, The J. Paul Getty Museum, Los Angeles, ms. Ludwig XI 7 (83.MN.126), fol. 24v.
	Fig. 37: Anton Wiericx, The Blessed John of the Cross in dialogue with Christ, before 1624, Royal Library of Belgium, Brussels, Cabinet des Estampes.
	Fig. 38: El Greco, Christ Carrying the Cross, around 1600, oil on canvas, Museo del Prado, Madrid.
	Fig. 39: Juan de Solórzano Pereira, Emblemata Centum, Madrid 1653, Emblem X: Rudolf  at the Altar, p. 78.
	Fig. 40: Aerial view of the Santa Mónica convent, Old Goa/Velha Goa, India.
	Fig. 41: Miraculous crucifix, convent of Santa Mónica, Old Goa, India.
	Fig. 42: Processional standard (front), embroidery, after 1646, Goa State Museum, Panaji.
	Fig. 43: Processional standard (reverse), embroidery, after 1646, Goa State Museum, Panaji.
	Fig. 44: Processional standard (front), embroidery, after 1646, Goa State Museum, Panaji.
	Fig. 45: Processional standard (reverse), embroidery, after 1646, Goa State Museum, Panaji.
	Fig. 46: Agostinho Soares Floriano, frontispiece, from Applausos da Universidade a Elrey N.S.D. Joao o IIII, Coimbra 1641.
	Fig. 47: Agostinho d’Almeida Gato, Triumfos festivães da insigne e nobre Cidade Santa Crux de Cochim, c. 1641.
	Fig. 48: Processional cross of the Augustinians of Cochin, Indo-Portuguese Museum, Bishop’s House Cochin.
	Fig. 49: João Marques Moreira:, Relação da magestosa, misteriosa, e notável acclamaçam, Lisbon 1644, title page.
	Fig. 50: Façade of the Jesuit Church of S. Paulo, Macau.
	Fig. 51: Madre de Deus, façade figure, Jesuit Church of S. Paulo, Macau.
	Fig. 52: Detail, façade, Jesuit Church of S. Paulo, Macau.
	Fig. 53: Lions at the gate of the A-Ma temple in Macau.
	Fig. 54: City view of Lisbon, detail with coat of arms, early eighteenth century, Museu Nacional do Azulejo, Lisbon.
	Fig. 55: Chapel of São João Baptista da Carrasqueira, Vila Viçosa.
	Fig. 56: Altar retable, ebony, Jesuit Church of S. Paulo, Diu, seventeenth century.
	Fig. 57: José de Avelar Rebelo, Portrait of John IV, 1643, Fundação da Casa de Bragança, Vila Viçosa.
	Fig. 58: José de Avelar Rebelo (attributed), Portrait of John IV, Museu Nacional dos Coches, Lisbon.
	Fig. 59: José de Avelar Rebelo (attributed): Portrait of Luísa de Gusmão, Museu Nacional dos Coches, Lisbon.
	Fig. 60: Frontispiece from Antonio Moniz de Carvalho, Francia interessada con Portugal en la separacion de Castilla, Paris 1644.
	Fig. 61: Frontispiece from Francisco Macedo, Propugnaculum Lusitano Gallicum contra calumnias Hispano-Belgicas, Paris 1647(?).
	Fig. 62: Arbor genealogica Regum Lusitaniae, Biblioteca Apostolica, Rome.
	Fig. 63: La rencontre et combat des ambassadeurs d’Espagne et de Portugal, Paris: Jean Boisseau 1642.
	Fig. 64: Actus Regius Johannis Sei Portugalliae Regis, from Matthäus Merian, Theatrum Europaeum, vol. 4, Frankfurt am Main 1643.
	Fig. 65: View of Lisbon, from Matthäus Merian, Theatrum Europaeum, vol. 4, Frankfurt am Main. 1643.
	Fig. 66: Portrait of John IV, from Matthäus Merian, Theatrum Europaeum, vol. 4, Frankfurt am Main 1643.
	Fig. 67: Portuguese coat of arms, from Alegações de direito que se offereceram ao muito alto e poderoso Rei Dom Henrique nosso Señor […], Almeirim: Antonio Ribeiro and Francisco Correa 1580.
	Fig. 68: Family tree since King Manuel I, from Alegações de direito que se offereceram ao muito alto e poderoso Rei Dom Henrique nosso Señor […], Almeirim: Antonio Ribeiro and Francisco Correa 1580.
	Fig. 69: Frontispiece, from Alegações de direito que se offereceram ao muito alto e poderoso Rei Dom Henrique nosso Señor […], Almeirim: Antonio Ribeiro and Francisco Correa 1580.
	Fig. 70: Portrait of John IV, from António de Sousa de Macedo, Lusitania Liberata, London 1645.
	Fig. 71: Philip. Lusitan. Leg. Rex Demonstratus, from Juan Caramuel y Lobkovitz: Philippus Prudens, Antwerp 1639.
	Fig. 72: Frontispiece, from António de Sousa de Macedo, Lusitania Liberata, London 1645.
	Fig. 73: Frontispiece, from Juan Caramuel y Lobkovitz, Philippus Prudens, Antwerp 1639.
	Fig. 74: Lusitania, from António de Sousa de Macedo, Lusitania Liberata, London 1645.
	Fig. 75: Lusitania, from Juan Caramuel y Lobkovitz, Philippus Prudens, Antwerp 1639.
	Fig. 76: Afonso Henriques, from António de Sousa de Macedo, Lusitania Liberata, London 1645.
	Fig. 77: Vision of Ourique, from António de Sousa de Macedo, Lusitania Liberata, London 1645.
	Fig. 78: King John I, from António de Sousa de Macedo, Lusitania Liberata, London 1645.
	Fig. 79: Family tree since King Manuel, from António de Sousa de Macedo, Lusitania Liberata, London 1645.
	Fig. 80: Phoenix rising out of the ashes, from António de Sousa de Macedo, Lusitania Liberata, London 1645.
	Fig. 81: Dragon guarding the tree, from António de Sousa de Macedo, Lusitania Liberata, London 1645.
	Fig. 82: Crowning of John IV, from António de Sousa de Macedo, Lusitania Liberata, London 1645.
	Fig. 83: John IV on horseback, from António de Sousa de Macedo, Lusitania Liberata, London 1645.
	Fig. 84: Dragon on armillar sphere, from António de Sousa de Macedo, Lusitania Liberata, London 1645.
	Fig. 85: Portuguese coat of arms, from António de Sousa de Macedo, Lusitania Liberata, London 1645.
	Fig. 86: Restoration monument, from António de Sousa de Macedo, Lusitania Liberata, London 1645.
	Fig. 87: Lucas Vorsterman II, Maria Immaculata, engraving, 1648, Museu Nacional de Arte Antiga, Lisbon.
	Fig. 88: “Tutelaris Regni” medal, cast, gilded silver, 10,4 x 8,5 x 1,1 cm, 175.7 g, 1650.
	Fig. 89: Bengal colcha with restoration iconography, after 1646, 267 x 211 cm, silk chain-stitch embroidered on blue silk with cotton backing, Isabella Stewart Gardner Museum, Boston.
	Fig. 90: Restoration colcha, lost.
	Fig. 91: Detail from the lost Restoration colcha.
	Fig. 92: Detail from the lost Restoration colcha.
	Fig. 93: Detail, Bengal colcha with restoration iconography, after 1646, 267 x 211 cm, silk chain-stitch embroidered on blue silk with cotton backing, Isabella Stewart Gardner Museum, Boston.
	Fig. 94: Cardinal King Henrique, from Bernardo de Brito, Elogios dos Reis de Portugal, Lisbon: Pedro Craesbeeck 1603, fol. 96v.
	Fig. 95: Detail, Bengal colcha with restoration iconography (fig. 89), after 1646, 267 x 211 cm, Isabella Stewart Gardner Museum, Boston.
	Fig. 96: Detail, Bengal colcha with restoration iconography (fig. 89), after 1646, 267 x 211 cm, Isabella Stewart Gardner Museum, Boston.
	Fig. 97: Hans Schorkens, engraving of the arch built by the Dutch for the entry of Philipp III of Spain (=Philipp II of Portugal) 1619 into Lisbon, from João Baptista Lavanha, Viagem da Catholica Real Magestade del Rey D. Filippe II, Madrid 1622.
	Fig. 98: Detail, Hans Schorkens, engraving of the arch built by the Dutch for the entry of Philipp III of Spain (=Philipp II of Portugal) 1619 into Lisbon, from João Baptista Lavanha, Viagem da Catholica Real Magestade del Rey D. Filippe II, Madrid 1622.
	Fig. 99: Detail, Hans Schorkens, engraving of the arch built for the entry of Philipp III of Spain (=Philipp II of Portugal) 1619 into Lisbon, from Lavanha, Viagem da Catholica Real Magestade del Rey D. Filippe II, Madrid 1622.
	Fig. 100: Hans Schorkens, genealogy of the Portuguese kings, part of the arch of the silversmiths from 1619, from João Baptista Lavanha, Viagem da Catholica Real Magestade del Rey D. Filippe II, Madrid 1622.
	Fig. 101: Our Lady of the Immaculate Conception, with knodded coat, ivory with gilding and paint, Indo-Portuguese, 1680-1700, The Walters Art Museum, Baltimore.
	Fig. 102: Our Lady of the Immaculate Conception, ivory sculpture, hair, cloud and hem of robe, silver crown, bracelet and necklace with color stones, 37.5 cm, Indo-Portuguese, seventeenth century.
	Fig. 103: Our Lady of the Immaculate Conception, unknown artist, Ceylon, ivory, seventeenth century, Museu Nacional de Etnologia, Lisbon.
	Fig. 104: Our Lady of he Immaculate Conception, ivory, Ceylon, Sequeira Pinto Collection, Porto.
	Fig. 105: Western façade of São Vicente de Fora, Lisbon.
	Fig. 106: View into the crossing of São Vicente de Fora, Lisbon.
	Fig. 107: The Acclamation of John IV, 1656 (?), oil on canvas, Fundação da Casa de Bragança, Vila Viçosa.
	Fig. 108: Swearing-in of John IV, 1656 (?), oil on canvas, Fundação da Casa de Bragança, Vila Viçosa.
	Fig. 109: Detail, Swearing-in of John IV, oil on canvas, Fundação da Casa de Bragança, Vila Viçosa.
	Fig. 110: Detail, Swearing-in of John IV, oil on canvas, Fundação da Casa de Bragança, Vila Viçosa.
	Fig. 111: Detail, Swearing-in of John IV, oil on canvas, Fundação da Casa de Bragança, Vila Viçosa.
	Fig. 112: Detail, Swearing-in of John IV, oil on canvas, Fundação da Casa de Bragança, Vila Viçosa.
	Fig. 113: Detail, Swearing-in of John IV, oil on canvas, Fundação da Casa de Bragança, Vila Viçosa.
	Fig. 114: The defenestrated governor, detail of The Acclamation of John IV, 1656 (?), oil on canvas, Fundação da Casa de Bragança, Vila Viçosa.
	Fig. 115: Bishop with processional cross carried in front of him, detail of The Acclamation of John IV, 1656 (?), oil on canvas, Fundação da Casa de Bragança, Vila Viçosa.
	Fig. 116: Leaflet The Kingdomes Monster Uncloaked from Heaven: The Popish Conspirators, Malignant Plotters, and cruell Irish, in one Body to destroy Kingdome, Religion and Lawes: But under colour to defend them, especially the Irish, who having destroyed
	Fig. 117: Peter Huybrechts, Projicis inventum caput Angla Ecclesia: Caesum Si caput est, salvum corpus an esse potest?, engraving, Antwerp 1649.
	Fig. 118: Anonymous, Abscheulichste unerhörte Execution, an […] Carl Stuart […] vorgangen, single-leaf print, Germany 1649.
	Fig. 119: Anonymous, Carnifex Maiestatis Regis Anglie. Sir Thomas Fairfax with the head of Charles the 1st, engraving, seventeenth century.
	Fig. 120: Anonymous, ’t Moordadigh Trevrtoneel, Netherlands 1649.
	Fig. 121: Abraham Bosse, frontispiece from Thomas Hobbes, Leviathan, London 1651.
	Fig. 122: Officium Regis, officium Capitis. Emblema XIII, from Juan de Solórzano Pereira, Emblemata centum, regio politica, Madrid 1653.
	Fig. 123: Elisa – Luso – Lisias, from António de São Thiago, Vizão feita por Xpo a el rey Dom Affonso Henriques no Campo de Ourique, 1659, MS Port 4666, Houghton Library, Cambridge (MA), fol. IX.
	Fig. 124: Saint Anthony of Lisbon, from António de São Thiago, Vizão feita por Xpo a el rey Dom Affonso Henriques no Campo de Ourique, 1659, MS Port 4666, Houghton Library, Cambridge (MA), fol. XI.
	Fig. 125: Tortoiseshell chest with silver mountings, Paróquia do Santíssimo Salvador, Ourique.
	Fig. 126: Saint Anthony of Lisbon, from António de São Thiago, Episódios da História de Portugal e várias lendas e profecias com ela relacionadas, 1652-1660, ANTT, Lisbon, MSLIV no. 2056 (1), fol. VIr.
	Fig. 127: Vision of Ourique, from António de São Thiago, Vizão feita por Xpo a el rey Dom Affonso Henriques no Campo de Ourique, 1659, MS Port 4666, Houghton Library, Cambridge (MA), fol. 3.
	Fig. 128: Vision of Ourique, from Iuramento com que ElRey Dom Afonso Henriquez, Lisbon 1641.
	Fig. 129: Vision of Ourique, from António Soares de Albergaria, Tropheos Lusitanos, Lisbon 1632.
	Fig. 130: Vision of Ourique, from António de São Thiago, Episódios da História de Portugal e várias lendas e profecias com ela relacionadas, ANTT, Lisbon, MSLIV no. 2056 (1), fol. 3r.
	Fig. 131: King Afonso Henriques with shield showing the events of 1640, from António de São Thiago, Vizão feita por Xpo a el rey Dom Affonso Henriques no Campo de Ourique, MS Port 4666, Houghton Library, Cambridge (MA), fol. 12.
	Fig. 132: Silver shrine of Saint Francis Xavier, Goa, Bom Jesus, relief plate with depiction of the baptism in Travancore, 1637.
	Fig. 133: Theodor Galle, Saint Francis Xavier, from Orazio Torsellino, De vita Francisci Xaverii, Antwerp 1594.
	Fig. 134: Detail of foreboding shield (fig. 131), from António de São Thiago, Vizão feita por Xpo a el rey Dom Affonso Henriques no Campo de Ourique, MS Port 4666, Houghton Library, Cambridge (MA), fol. 12.
	Fig. 135: King Afonso Henriques, from António de São Thiago, Vizão feita por Xpo a el rey Dom Affonso Henriques no Campo de Ourique, MS Port 4666, Houghton Library, Cambridge (MA), fol. 18.
	Fig. 136: King Afonso Henriques, from António de São Thiago, Episódios da História de Portugal e várias lendas e profecias com ela relacionadas, ANTT, Lisbon, MSLIV no. 2056 (1), fol. 17r.
	Fig. 137: King John I, from António de São Thiago, Vizão feita por Xpo a el rey Dom Affonso Henriques no Campo de Ourique, MS Port 4666, Houghton Library, Cambridge (MA), fol. 29.
	Fig. 138: Brahma, c. 1700, probably Nurpur, Punjab Hills, Northern India, watercolor on paper.
	Fig. 139: King John I, from António de São Thiago, Episódios da História de Portugal e várias lendas e profecias com ela relacionadas, ANTT, Lisbon, MSLIV no. 2056 (1), fol. 42r.
	Fig. 140: King Manuel I, from António de São Thiago, Vizão feita por Xpo a el rey Dom Affonso Henriques no Campo de Ourique, MS Port 4666, Houghton Library, Cambridge (MA), fol. 38.
	Fig. 141: King Manuel I, from António de São Thiago, Episódios da História de Portugal e várias lendas e profecias com ela relacionadas, ANTT, Lisbon, MSLIV no. 2056 (1), fol. 52r.
	Fig. 142: Elephant Hanno, from António de São Thiago, Vizão feita por Xpo a el rey Dom Affonso Henriques no Campo de Ourique, MS Port 4666, Houghton Library, Cambridge (MA), fol. 40.
	Fig. 143: Raffaello Sanzio: Creation of the Animals, fresco, 1518-19, Apostolic Palace, Rome.
	Fig. 144: Elephant next to palm tree, from Cristóbal Acosta (Cristóvão da Costa), Tractado de las drogas, y medicinas de las Indias Orientales, Burgos 1578.
	Fig. 145: Portuguese coat of arms, from António de São Thiago, Vizão feita por Xpo a el rey Dom Affonso Henriques no Campo de Ourique, MS Port 4666, Houghton Library, Cambridge (MA), fol. 48.
	Fig. 146: Portuguese coat of arms, from António Soares de Albergaria, Tropheos Lusitanos, Lisbon: Jorge Rodriquez 1632.
	Fig. 147: Wounds of Christ, woodcut, southern Germany, 1472, Kupferstichkabinett Berlin.
	Fig. 148: Portuguese-Franciscan coat of arms, from António de São Thiago, Vizão feita por Xpo a el rey Dom Affonso Henriques no Campo de Ourique, MS Port 4666, Houghton Library, Cambridge (MA), fol. 50.
	Fig. 149: Coat of arms of Pope Innocent X, from António de São Thiago, Vizão feita por Xpo a el rey Dom Affonso Henriques no Campo de Ourique, MS Port 4666, Houghton Library, Cambridge (MA), fol. 76.
	Fig. 150: Portrait of Pope Alexander VII, from António de São Thiago, Vizão feita por Xpo a el rey Dom Affonso Henriques no Campo de Ourique, MS Port 4666, Houghton Library, Cambridge (MA), fol. 76v.
	Fig. 151: Portrait of Pope Alexander VII, from António de São Thiago, Episódios da História de Portugal e várias lendas e profecias com ela relacionadas, ANTT, Lisbon, MSLIV no. 2056 (1), fol. Vr.
	Fig. 152: Portrait of Pope Alexander VII, engraving, 1655, Westfälisches Landesmuseum, Münster.
	Fig. 153: Detail of the portrait of Pope Alexander VII (fig. 151), from António de São Thiago, Episódios da História de Portugal e várias lendas e profecias com ela relacionadas, ANTT, Lisbon, MSLIV no. 2056 (1), fol. Vr.
	Fig. 154: Detail of the portrait of Pope Alexander VII (fig. 152), engraving, 1655, Westfälisches Landesmuseum, Münster.
	Fig. 155: Ports (I), from António de São Thiago, Vizão feita por Xpo a el rey Dom Affonso Henriques no Campo de Ourique, MS Port 4666, Houghton Library, Cambridge (MA), fol. 79.
	Fig. 156: Ports (II), from António de São Thiago, Vizão feita por Xpo a el rey Dom Affonso Henriques no Campo de Ourique, MS Port 4666, Houghton Library, Cambridge (MA), fol. 79v.
	Fig. 157: Ports (I), from António de São Thiago, Episódios da História de Portugal e várias lendas e profecias com ela relacionadas, ANTT, Lisbon, MSLIV no. 2056 (1), fol. IIIr.
	Fig. 158: Ports (II), from António de São Thiago, Episódios da História de Portugal e várias lendas e profecias com ela relacionadas, ANTT, Lisbon, MSLIV no. 2056 (1), fol. IVr.
	Fig. 159: Coat of arms of Prester John, from António de São Thiago, Vizão feita por Xpo a el rey Dom Affonso Henriques no Campo de Ourique, MS Port 4666, Houghton Library, Cambridge (MA), fol. 82.
	Fig. 160: King John IV, from António de São Thiago, Vizão feita por Xpo a el rey Dom Affonso Henriques no Campo de Ourique, MS Port 4666, Houghton Library, Cambridge (MA), fol. 117.
	Fig. 161: King John IV, from António de São Thiago, Episódios da História de Portugal e várias lendas e profecias com ela relacionadas, ANTT, Lisbon, MSLIV no. 2056 (1), fol. 79r.
	Fig. 162: Saint Queen Isabella, from António de São Thiago, Vizão feita por Xpo a el rey Dom Affonso Henriques no Campo de Ourique, MS Port 4666, Houghton Library, Cambridge (MA), fol. 127.
	Fig. 163: Accession to the throne of Afonso VI, from António de São Thiago, Vizão feita por Xpo a el rey Dom Affonso Henriques no Campo de Ourique, MS Port 4666, Houghton Library, Cambridge (MA), fol. 145.
	Fig. 164: Chitarman, Shah Jahan on a terrace, folio from the Shah Jahan Album, 1627-28, Metropolitan Museum of Art, New York.
	Fig. 165: Robert Vaughan, Jahangir’s coat of arms, from Edward Terry, Voyage to East India, London 1655.
	Fig. 166: Conde Henriques, from António de São Thiago, Vizão feita por Xpo a el rey Dom Affonso Henriques no Campo de Ourique, MS Port 4666, Houghton Library, Cambridge (MA), fol. 148.
	Fig. 167: Christ medal, from António de São Thiago, Vizão feita por Xpo a el rey Dom Affonso Henriques no Campo de Ourique, MS Port 4666, Houghton Library, Cambridge (MA), fol. 156v.
	Fig. 168: Heraldic horses, from António de São Thiago, Vizão feita por Xpo a el rey Dom Affonso Henriques no Campo de Ourique, MS Port 4666, Houghton Library, Cambridge (MA), fol. 160.
	Fig. 169: Armas antiguas da Casa de Bragança, from António Soares de Albergaria, Tropheos Lusitanos, Lisbon: Jorge Rodriquez 1632.
	Fig. 170: Armas antigas de Portugal / Armas do Conde Henrique, from António de São Thiago, Episódios da História de Portugal e várias lendas e profecias com ela relacionadas, ANTT, Lisbon, MSLIV no. 2056 (1), fol. Ir.
	Fig. 171: Armas antigas de Portugal / Armas do Conde Henrique, from António de São Thiago, Episódios da História de Portugal e várias lendas e profecias com ela relacionadas, ANTT, Lisbon, MSLIV no. 2056 (1), fol. IIr.
	Fig. 172: Dona Luísa de Gusmão, from António de São Thiago, Vizão feita por Xpo a el rey Dom Affonso Henriques no Campo de Ourique, MS Port 4666, Houghton Library, Cambridge (MA), fol. 170.
	Fig. 173: The Good Shepherd, ivory sculptures, Museu Histórico Nacional, Rio de Janeiro.
	Fig. 174: The Christ child as Good Shepherd, ivory sculpture, Fundação da Casa de Bragança, Vila Viçosa.
	Fig. 175: Detail of fig. 174, Fundação da Casa de Bragança, Vila Viçosa.
	Fig. 176: Christ child as Good Shepherd, Museu Histórico Nacional, Rio de Janeiro.
	Fig. 177: Christ child as Good Shepherd, The Walters Art Museum, Baltimore.
	Fig. 178: Hieronymus Wiericx, Christ Child, dwelling within the heart, engraving, 1619, The British Museum, London.
	Fig. 179: Hendrick Goltzius, Exemplar virtutum, engraving, undated, from the Allegorical Scenes from the Life of Christ, The Metropolitan Museum of Art, New York.
	Fig. 180: Thomas Dudley, John IV as a Six-year Old, engraving, from Antonio Ardizzone Spinola, Cordel triplicado de amor a Christo Jesu sacramentado, ao encuberto de Portugal nacido […], Lisbon 1680, fol. 582.
	Fig. 181: Francisco Leitão da Silva, Relaçam da morte, e enterro da magestade Serenissima Delrey D. Ioam o. IV. de glorioza memoria, Lisbon: Domingos Lopes Rosa 1656.
	Fig. 182: The Good Shepherd, ceiling painting of a burial chamber in the Catacomb of Saints Peter and Marcellinus, Rome, early fourth century.
	Fig. 183: The Good Shepherd, mosaic, Mausoleum of Galla Placidia, Ravenna, c. 425.
	Fig. 184: Bento Coelho da Silveira, The Dream of Saint Francis, 1650, Madre de Deus Church.