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Bindman, David; Gates Jr., Henry Louis

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David Bindman (Editor), Henry Louis Gates Jr. (Editor)

Description: The Image of the Black in Western Art, Volume III: From the “Age of...

The Image of the Black in Western Art, Volume III: From the “Age of Discovery” to the Age of Abolition, Part 1: Artists of the Renaissance and Baroque

Index

Author

David Bindman (Editor), Henry Louis Gates Jr. (Editor)

PublisherHarvard University Press

https://doi.org/10.37862/aaeportal.00140.011

Stable URL: https://aaeportal.com/?id=-17072

Index

Page numbers in italics indicate illustrations. Page numbers in parentheses indicate image details.

abject image: Africans as, 14;

conversion narrative with black image and, 14;

Ethiopian image and, 19, 19–20;

genre scene of sacred subject with black image and, 120–21, 120–21;

Jesus Christ as, 46–47, 68, 81, 246;

Magus narrative and, 81;

slaves’ black image and, 3, 14, 46, 68, 81, 246

Abraham sacrificing Isaac narrative, 68–69

Abyssinia/Abyssinians. See Ethiopia/Ethiopians

Adoration of the Magi. See Magi/Kings narrative; Magus narrative; specific artists

aesthetic beauty, and blacks, 89, 106, 129, 130, 153, 155, 167, 195

aesthetic beauty in artworks: black-white contrast and, 130–31, 130–31, (132), 155, 290–91, 291;

black-white contrast in portraits and, 89, 90–91, (91), 126, 198, 198–99, 200, 217;

Dürer’s portraits and, 85–87, 89–92, 90–91, (91), (185);

Magus narrative with portraits and, 85–87, 89–92, 90–91, (91), 113, 115

aesthetic devices, and Magus black image: Antwerp mannerist style and, 48–49, 51, 52–53;

blackness and, 35–36;

blackness paradoxes and, 46–47;

eccentricity and, 12, 13, 17, 35–36, 38, 45, 48, 54;

motif versus, 35;

paganism/idolatry image and, 47;

placement of black image symbolism and, 35, 36, 36–37, 36–38, (37), 45–46, 112;

placement of white image and, 46. See also aesthetic devices, and skin color

aesthetic devices, and skin color, 14–15, 275, 277. See also aesthetic devices, and Magus black image

Africa/Africans: abject image and, 14;

beard feature in sculpture of, 183, 184;

blacks as metaphor for, xi–xii;

conversion narrative and, 1, 2, 14;

geographic location and, xvii, 13–14, 107;

hell concept and, 14;

Magus narrative, and exploration in, 1;

Old Testament narratives and, xv–xvi;

Ottoman Turks symbolism and, 3, 117, 186, 186, (186);

Portuguese explorations and, 1, 7–8, 10, 55, 80, 107, 308;

trade in precious materials, 1;

use of term, xvii;

white-black binary opposition image and, 245–46. See also central Africa/Africans; west Africa/Africans; specific countries

Agnese, Battista, world map, 121–22, 122–23, 189

Alberti, Giovanni and Cherubino, Baptism of St. Clement, 158, 158–59

Alchitrof (Ethiopian ruler), 149

Alciati, Andrea, Livret des emblems, 19, 19–22, 21

Alfonso I d’Este (duke of Ferrara), 105, 107–8, 110, 134, 177

Alfonso V (king of Aragon), 110

Alfonso X (king of Castile and León, Alfonso the Wise), 191, 192–93

Alvaro I (king of Kongo), 158

Alvaro II (king of Kongo), 160, 162, 167

ambiguity of stereotypic black/moral figure. See blackness paradoxes

America. See New World

Andrea del Sarto, The Journey of the Magi, 113, 113-14, 116

Andromeda (Ethiopian princess), xvi, 200, 309–10, 315–16, 320, 320–21, 324–25, 325

Anne of Denmark (wife of James I, king of England), 3, 240, 242–43, 245, 249

Anonymous, A Jesuit Missionary Baptizing Blacks, 200, 202–3

Anonymous, Kneeling Devotees of the Madonna, 143–44, 144

Anonymous, The life of Sir Henry Unton, 237, 238–39, (238–39)

Anonymous, Portrait of Prince Rupert of the Rhine, 256, 256, 259

Anonymous, Portrait of Sir John Chardin, 269, 270

Anonymous, Venetian Ambassadors in Damascus, 100–101, 101

Antichrist narrative, 65, 78–81, 83

Antonio Manuel, Marquis of Ne Vunda (Kongo ambassador), xviii, 2, 160–65, 160–70, 165, 177, 183

Antwerp mannerist style, and Magus narrative: aesthetic devices and, 48–49, 51, 52–53;

black image and, 60–61, 60–61;

chiaroscuro technique and, 58;

commentator black image and, 61, 63;

diversity image and, 82;

eccentricity and, 48, 54;

exoticism and, 51, 52–53, 54, 60–61, 60–61, 84;

Gentiles as symbol and, 50;

gifts/gifting and, 54–56, 58, 60;

historic context, 55–56, 56–57, 58, 60;

landscape/elsewhere location and, 48, 48–49, 50–51, 53–54;

Others and, 60–61, 60–61;

placement of black image and, 48, 48–49, 50–51;

stereotypic black image and, 48. See also specific artists

aristocratic portraits of whites: allegorical black masquelike character and, 246, 246–49, (247), 249;

blacks as symbol of subjects and, 2, 105–7, 106–7, 139, 141;

eroticism/sexuality and, 266, 268–69, 270;

Magi/Kings narrative with realistic, 34–35, 111, 142, 144;

servant/attendant black image and, 2–3, 108–9, 126, 129, 177;

servant/attendant black image as foil for beauty of subjects and, 1, 250, 252–53, 253;

servant/attendant black image as innocent/astonished observer of aristocrats and, 250, 251, 262, 264, 266, 266, 266–67, 316, 317, 325

armorial bearings, and black image, 92, 110, 121, 258–59, 259

arms/weapons iconography, and black image, 160–62, 160–62, 275, 276–77, 292–93, 293, 328

artist(s): realistic portrait of black, 232–33, (233), 233–34;

realistic portrait of white, 90, 90–91, 92

bandeau/headband iconography, and black image, 105, 171–72

baptism, and black image: blacks and, 200–201, 201;

Moriscos and, 192, 204, 204–5, 218;

papacy in Rome image and, 158, 158–59, 171;

transformation from blackness to light-/“whiteness” and, 193, 194–95, 200–201, 201, 204, 215, 219, 225

Barbara Villiers (Duchess of Cleveland), 262, 266, 270

beard feature: Kongo ambassador and, 160–65, 160–70, 165, 183;

North African ambassador and, 239, 240–41;

portrait of slave and, 3, 183, 225–26, 226–27, 228–29;

sculpture of African figure and, 183, 184

Bellini, Gentile, Miracle at the Bridge of San Lorenzo, 195, 196, (196–97), 197

Benedict the Moor/Benedict of Palermo (saint), 2, 168, 170, 170–71, 209, 212–14, 212–15, 215–16

Bernini, Gian Lorenzo, Fountain of the Four Rivers, 183, (184)

biblical subject matter, and black image: artworks and, 2;

camels with boy image and, 285, 286, 299–300;

divine events and, 2;

earring iconography and, 279;

Gypsy image and, 287;

headdress iconography and, 279;

official/scholar image and, 277, 278–79, 279, 291, 292–93, 293–94;

Ottoman Turkish figure iconography and, 287;

servant image and, 273, 274, 275, 277, 279, 279–82, 284–85, 285, 288, 291, 294, 299–300;

soldier image and, 277, 279, 283, 285, 292–93, 293, 294, 298;

spectator image and, 277, 279, 279–80, 283, 285, 285, 288, 289, 291, 292–93, 293–95, 298;

turbaned iconography and, 279, 285, 288, 289, 291

Bigio, Marco (?), Three Fates, 131, 132–33, 133–34

black color. See blackness

blackface, and whites, 240, 242–43, 245, 293

black image in Western art, ix, xi, xiii–xv

blackness: aesthetic devices for Magus narrative and, 35–36;

black-white contrast and, 19, 19–22, 21;

demons/devil and, 18;

description of, 18–23, 19, 21;

difference image and, 18–21;

Ethiopia/Ethiopians and, 19, 19, 163, 200, 224–25, 235, 287, 308–9;

Heliodorus of Emesa’s story and, 330;

heroic beauty as opposite of, 200;

imperialism/imperial conquest and, 33–34, 63, 110, 153;

Magus narrative and, 14, 18, 64, 83;

Maurice (saint) and, xv, 18, 22, 33–34;

Muslims and, 95;

as negative, 3, 195–96, 198, 207, 209–10, 212;

as official color of court dress, 3, 196, 198;

Sheba (queen) and, xv–xvi, 18, 33;

tormentors of Jesus Christ and, 18;

white-black binary opposition image and, 14–15. See also blackness paradoxes; black-white contrast; Moor, and black image; positive image of blacks; skin color, and black image; stereotypic features, and black image; white-black binary opposition; women, and black image

blackness paradoxes: aesthetic devices for Magus narrative and, 46–47;

Magus narrative and, 1;

Rembrandt and, 271, 272–73, 273;

Shakespeare and, 3, 239;

Spanish artworks and, 208, 210, (210–11), 212

blacks: aesthetic beauty and, 89, 106, 129, 130, 153, 155, 167, 195;

Africa metaphor and, xi–xii;

artistic production, and effects on, vii–x;

characteristics of, 23;

definition of, xiv–xv;

difference image and, 88–89;

freedom and, viii, xviii, 1, 94–97, 95, (96), 229, 231–33, 293, 306;

history of, xvii–xix;

Levantine cities and, 197, 198–99, 199;

mixed-race children and, xviii, 199;

Muslims/Islam link with, xvii;

Old Testament narratives and, xv–xvi;

Ottoman Turk threat symbolism and, 53, 117;

ruling sovereigns metaphor and, 122, 122–23;

slaves/slavery metaphor and, 230–31;

use of term, xiii–xiv. See also blackness; blackness paradoxes; black-white contrast; black-white relationship; Moor, and black image; positive image of blacks; skin color, and black image; slaves/slavery; stereotypic features, and black image; white-black binary opposition; women, and black image

black-white binary opposition: in images, 14–15, 198–200, 198–200, 202–3, 203–4, 217, 245–46;

in texts, 191, 195, 198, 200, 201–3

black-white contrast: aesthetic beauty in artworks and, 130–31, 130–31, (132), 155, 290–91, 291;

aesthetic beauty in portraits and, 89, 90–91, (91), 126, 198, 198–99, 200, 217;

Bosch Magus narrative and, 64;

cameos and, 151, 153, 154–55, 237, 240;

difference image and, 15, 17, 32;

Ethiopians and, 19, 19–20, 21;

Jesus Christ narrative and, 46, 53, 304–5, 305–6;

livery attire/equestrian black image scenes and, 126, 127–29, 129;

secular black image and, 172, 172–73;

servant/attendant black image and, 126, 127, 129;

social status in image and, 108–9, 109;

transformation/salvation from blackness to light/white skin and, 240, 242–43, 244–45, 245–46, 304–5, 305–6. See also white-black binary opposition; white image; whites

black-white relationship: children’s image and, 253, 254–55, 262, 263–65, 266;

dancers with black image and, 237, 238–39, (238–39);

images and, viii, xv–xvi;

Indian child image and, 262, 264–65, 266;

informal images and, 108–9, 109, 188–90, 189–90;

marital infidelity and, 101, 108–9, 109–10, 177, 199

Bloemaert, Abraham, Chariclea Tending Theagenes, 321, 322–23

blue skin color, and black image, 151, 152–53, 242

Bolswert, Schelte á, after Gerard Seghers, The Denial of St. Peter, 293, 294–95

Bonifazio de’ Pitati, Lazarus and Dives, 123–24, 124–25

Bordone, Paris, Portrait of a Man in Armor with Two Pages, 126, 127, 129

Borghese family, 172–73

Bosch, Hieronymus: Adoration of the Magi, 17, 62–63, 63–66, 68–69, 75, 78–84;

Garden of Earthly Delights, 63–65, 83, 84;

The Temptation of St. Anthony, 69, 70–71, 71, (72–73)

Bosch, Hieronymus (workshop), Nativity, 69, 70–71, 71, 74

British art. See England

brown skin color, xiv, 14–15, 102, 104–5, 145, 146, 298

Cabral, Pedro Alvares, 7–8, 8, 10, 14–16

camels with boy, and black image, 285, 286, 299–300

cameos, and black image, 151, 153, 154–55, 237, 240

Caporale, Francesco, Antonio Manuel, Marquis of Ne Vunda, 160

Carpaccio, Vittore: Hunt in the Lagoon, 1, 95, 96–97;

Miracle of the True Cross, 94–95, 95, (96);

Triumph of St. George, 197, 198–99, 199

Carracci, Annibale, African Youth, 188–89, 189–90

cartography, and world map, 13–14, 121–22, 122–23, 189

Catholic Church. See papacy in Rome

central Africa/Africans: Kongo ambassador and, xviii, 2, 160–65, 160–70, 165, 177, 183;

Kongo kings and, 158, 160, 162, 167;

slave trade and, xii

Charles I (king of England), 3, 240, 246, 246–49, (247), 249, 250–51, 270

Charles II (king of England), 3, 253, 256, 259, 262, 266, 266–69, 270

Charles IV (Holy Roman Emperor), 15, 34

Charles V (Holy Roman Emperor), 121, 122, 145–46

Charles VIII (king of France), 110

Chessbook of Alfonso X the Wise, 191, 192–93

chiaroscuro technique: Antwerp mannerist style and, 58;

black image and, 19, 19–20, 150–51, 285, 295;

description of, 36, 102;

Magus narrative and, 62–63, 63, 75, 89–90, 90–91

children: black-white relationship in images and, 253, 254–55, 262, 263–65, 266;

camels and boy’s black image and, 285, 286, 299–300;

mixed-race type and, xviii, 150, 182, 199

Christian IV (king of Denmark), 322, 325, 327

classical effects, and black image, xvi, xvii, 46, 151, 153–55, 154–57, 171, 182

Clement VIII (pope), 158–60, 177

Closterman, John, and Riley, John, Portrait of Charles Seymour, sixth Duke of Somerset, 256–57, 259

coat of arms. See armorial bearings

collar iconography, xii, xviii, 1, 240, 258–59, 259, 269, 270

comic image: England, and black, 245;

in narrative of Heliodorus of Emesa, 325, 327, 329–30;

Spain, and black, 200, 212–13, 212–14, 215–16;

texts with black, 200, 212–13, 212–14, 215–16, 245

commentator (festaiuolo) black image, 61, 63, 75, 76–77, 178, 178–79

conversion narrative: abject image and, 14;

Africa/Africans and, 1, 2, 14;

black image in artworks as response to, 145–49, 147;

light as symbol in Magus narrative and, 31, 35, 63, 75, 89–92, 90–91, (91);

Magus narrative and, 1, 10, 12, 14, 29, 30–31, 31;

Others and, 35;

placement of black image and, 29;

slave trade and, 1, 2;

visibility/vision symbolism of black image and, 13, 15, 20–21, 29, 30–31, 31–32, 40, 47, 54–55, 60, 63–64, 80, 83. See also papacy in Rome

Coronelli, Vincenzo, Globe Supported by a Black African, 187, 188

court masque narrative, and black image: blackface and, 240, 242–43, 245;

curled/woolly hair and, 242;

earring iconography and, 242;

England and, 240, 242–43, 244–45, 245–46;

Ethiopia/Ethiopians and, 240, 242–43, 245;

headdresses and, 242;

necklace/jewelry and, 242;

Niger aristocrats and, 240, 242–43, 244–45, 245–46;

servant/attendant and, 3

Cranach, Lucas the Elder (workshop), Adoration of the Magi, 27–28

Cristóvão de Moráis, Joanna of Austria with a Black Page, 126, 198, 198–99, 200, 217

curled/woolly hair, and black image, xiv–xv, 102, 113, 115, (116), 116–17, 171, 242

D’Agar, Jacques, Portrait of Louise de Kérouaille, 266, 268–69, 270

dancers, and black image, 237, 238–39, (238–39)

David (biblical king), 78

Dawit II (Ethiopian ruler), 149, 308

demons/devil, and black image: blackness and, 18;

Ethiopia/Ethiopians and, 71, 73–74, 74–75, 81;

in idols, 71, 73–74, 74–75, 81;

Magus narrative and, 1, 14, 66, 69, 70–71, 71, (72–73), 75, 78, 80–81;

Simon and Jude narrative and, 71, 73–74, 74–75;

Spain and, 192

de Passe, Crispin (after), Robbers Approach Chariclea Who Tends Theagenes, 314–15, 315–16

difference image: black image and, 17;

blackness and, 18–21;

blacks and, 88–89;

black-white contrast and, 15, 17, 32;

Bosch Magus narrative and, 83–84;

diversity image and, 81–82;

Dürer and, 82–84, 82–85, 87–90;

Jews and, 12, 82, 83;

Magi/Kings narrative and, 12;

Magus narrative and, 2, 14–17, 23–24, 35–36, 46, 54, 63, 74, 82–84, 82–85, 87–90;

men and, 88;

New World inhabitants and, 10, 15;

otherness and, 32;

Spain and, 191, 192–93;

women with black image and, 88

diversity image: difference image and, 81–82;

Dürer and, 82–84, 86–87, 178–79;

Gentiles, 82;

hell image and, 83;

Magi/Kings narrative and, 82;

Magus narrative and, 2, 17, 23, 63, 82–84, 86–87, 178–79;

New World inhabitants and, 82;

paganism/idolatry, 82;

sculptures with black image and, 103;

universalism, 82;

Venice and, 102–3, 112–13, 139, 140–41, 147–48

Dixon, Nicholas, Portrait of Anne, Countess of Exeter, and her brother the Earl of Devonshire, 262, 264, 266

Dobson, William, Portrait of John, first Lord Byron, 253, 255

Drake Jewel, 237, 240

dress/costumes, and black image: European dress and, 147, 147–48, 162–63, 163–65, 165, 177;

historical pseudo-ancient Roman military dress and, 271, 273, 273, 275;

netted nkutu shirt and, 160–62, 161, 162;

nudity versus dress/clothing and, 10, 14;

servant/attendant and, 288;

theatrical subject matter and, 273, 273–74, 275, 299

Dubois, Ambroise, Chariclea Tending Theagenes, 311, 312–13

Du Mortier, Guillermus, Antonio Manuel, Marquis of Ne Vunda, 162

Dürer, Albrecht: The Adoration of the Kings (1504), 89–92, 90–91, (91);

The Adoration of the Kings (1524), 82–83, 82–83;

aesthetic beauty in portraits and, 85–87, 89–92, 90–91, (91);

armorial bearings with black image and, 92;

commentator black image and, 178, 178–79;

difference imagery and, 82–84, 82–85, 87–90;

diversity image and, 82–84, 86–87, 178–79;

placement of black image and, 89–92, 90–91;

Portrait of Katharina (Katharina, allt 20 jar), xv, 56, 56–57, 89, 110;

Sheet of studies, 84–85, 85–86, 87;

Study for woodcut, 87, 88

earring iconography: biblical subject matter with black servant image and, 279;

black image and, 102, 108–9, 109, 271, 273, 273;

cameos black image using classical effect and, 151, 153, 154–55;

court masque narrative with black image and, 242;

exoticism, 108–9, 109;

livery attire/equestrian black image scenes and, 134, 135, (135), 136, 155;

Magus narrative and, 64, 113, 115, (116), 116–17;

realistic black image and, 149–50, 149–50;

sculpture and, 145, 146–47;

secular black image and, 171–72;

servant/attendant black image and, xviii, 1, 124–25, 126–27, 130–31, 130–31, 256, 256, 259;

tronies of black image and, 275, 276–77;

woman as allegory for black-white binary opposition and, 131, 132–33, 133–34

eccentricity: aesthetic devices for Magus black image and, 12, 13, 17, 35–36, 38, 45, 48, 54;

Antwerp mannerist style in Magus narrative and, 48, 54

Egypt/Egyptians: biblical subject matter with camels and boy’s black image and, 285, 286, 299–300;

Gypsy image and, 311, 312–13;

Heliodorus of Emesa’s story and, 310, 311, 312–13, 314–15, 315–16, 317, 321, 322–24, 325;

history of blacks in, xv

Elizabeth I (queen of England), 236–37, 240

elsewhere/landscape location, and Magus narrative. See landscape/elsewhere location

England: allegorical masquelike character of aristocrats’ portraits with black image and, 3, 246, 246–49, (247), 249;

allegorical masquelike character of aristocrats’ portraits with Gypsy image and, 246, 246–49, (247), 249;

ambassador from North Africa with black image and, 239, 240–41;

blackface in court masque narrative and, 240, 242–43, 245;

black image and, 235–36, 239, 242–43;

black-white relationship with children’s image and, 253, 254–55, 262, 263–65, 266;

cameos black and white image and, 237, 240;

Caroline period black image and, 3, 121, 240, 242, 249–50, 250–53, 253;

comic black image and, 245;

court masque narrative with black image and, 240, 242–43, 244–45, 245–46;

dancers with black image and, 237, 238–39, (238–39);

Elizabethan period black image and, 235–39;

Jacobean period black image and, 3, 237, 239, 240, 245–46, 249–50, 251;

literature with black characters and, 3;

livery attire/equestrian black image scenes and, 3, 249, 250–51, 253, 255, 258–59, 259, 261, 262;

Magi/Kings narrative with black image and, 235;

North African trade and, 239;

Restoration era and, 253, 256, 259, 262, 266, 270;

Scots as Other and, 243;

servant/attendant black image and, 253, 254–57, 259, 260–61;

servant/attendant black image as foil for beauty of aristocrats and, 250, 252–53, 253;

servant/attendant black image as innocent/astonished observer of aristocrats and, 250, 251, 262, 264, 266, 266, 266–67;

servant/attendant black image as symbol of luxury/wealth and, 269, 270;

servant/attendant in courts black image and, 3, 180, 240, 249–50, 251, 256, 259, 262, 270;

servant/attendant treated as pet with black image and, 256, 256, 259;

slaves/slavery and, xix, 3, 236–37, 253, 254–55, 256, 258–59, 259, 269, 270;

texts with black image and, 235–36, 236–37, 239, 240, 242–43, 245, 266;

transatlantic culture and, xiii;

transformation/redemption from blackness to light/white skin and, 240, 242–43, 244–45, 245–46;

white-black binary opposition image and, 245–46. See also specific artists

Epiphany iconography. See Magi/Kings narrative; Magus narrative

Ercole I d’Este (duke of Ferrara), 107, 121

Ercole II d’Este (duke of Ferrara), 134, 145

eroticism/sexuality: aristocratic white image and, 266, 268–69, 270;

black image and, 130–31, 130–31, 327, 329–30

Ethiopia/Ethiopians: abject image and, 19, 19–20;

ambassador to papacy in Rome and, 165, 165–66;

blackness and, 19, 19, 163, 200, 224–25, 235, 287, 308–9;

black-white contrast and, 19, 19–20, 21;

Christian communities and, xvii, 308;

court masque narrative and, 240, 242–43, 245;

demons/devil with black image in idols and, 71, 73–74, 74–75, 81;

diplomatic relations with papacy in Rome and, 34, 308;

eunuch of Candace narrative and, 8, 146, 158, 171, 279, 288, 295, 322;

exoticism and, 307–9, 317, 322, 329–30;

fugitive slave law and, 101;

image representation of, 149;

India and, 107;

naming servants, and use of term, 101;

Old Testament and, xvi, xvii;

pilgrims/pilgrimages to Rome and, 107, 148–49, 149, 158, 168;

positive image of blacks and, 207, 209, 213, 216, 233;

realistic features in black image and, xv, xvi;

Scots as, 243;

sin as black and, 14, 19, 19–20, 21;

texts and, xvi. See also Heliodorus of Emesa, Aethiopikal An Ethiopian Story; specific Ethiopians; specific fictitious Ethiopians

ethnocentrism, 97, 99, 195, 196, 196–97

eunuch of Candace narrative, 8, 146, 158, 171, 279, 288, 295, 322

Europe/Europeans: black Christian converts and, 146–47;

European dress for black image and, 147, 147–48, 162–63, 163–65, 165, 177;

Muslims/Islam, and contact with, xvii;

nudity versus dress/clothing and, 10;

Western, use of term, xii–xiii. See also specific countries

evangelization. See conversion narrative

executioner/torturer as black, 138, 139

exoticism: Antwerp mannerist style for Magus narrative and, 51, 52–53, 54, 60–61, 60–61, 84;

Bosch Magus narrative and, 65;

earring iconography and, 108–9, 109;

Ethiopia/Ethiopians and, 307–9, 317, 322, 329–30;

Italian artworks with black image and, 180–81, 181–82;

Magus narrative and, 1, 43–45, 65, 66–67, (67), 89, 90–91, (91);

Moor as black image and, 108–9, 109;

turbaned iconography and, xviii, 1

eyes feature, and black image, 271, 273, 274, 275, 291, 299, 300

Fabroni, Ignazio, Sleeping back cabin boy, 189, 190

facial features. See beard feature

facial features, and black image. See stereotypic features, and black image

Faithorne, William, Jr., after Peter Lely, Beauty’s Tribute (Elizabeth Cooper), 264–65, 266

Falconetto, Giovanni Maria, Diana of Ephesus (Leo), 103, 104–5, 131, 133

Feast of the Epiphany, 34–35, 41–42, 44–45. See also Magi/Kings narrative; Magus narrative

Ferdinand I (Holy Roman Emperor), 183

Ferdinand II (Holy Roman Emperor), 183

Ferrara court, 102, 105, 107–11, 108–9, 134, 145, 177

festaiuolo (commentator) black image, 61, 63, 75, 76–77, 178, 178–79

Fiorentino, Rosso, Christ in Glory, 119, 120–21, 145

Flanders/Flemish artworks, 3, 253. See also specific artists

Flandes, Juan de, Adoration of the Magi, 27, 28–29

flat/heavy/broad nose, and black image, xiv–xv, 89, 102, 104–5, 149–50, 149–50, 291

Fontana, Lavinia, The Visit of the Queen of Sheba to Solomon, 179, 180

Frederick II (Holy Roman Emperor), 110

Frederik Hendrik (prince of Orange), 321

freedom from slavery, and blacks, viii, xviii, 1, 94–97, 95, (96), 229, 231–33, 293, 306

fugitive slave law, 101

Geertgen tot Sint Jans, The Nativity at Night, 74, 76

Gelder, Aert de, Ecce Homo, 303, 304

genre scene of sacred subject, and black image: abject image and, 120–21, 120–21;

Gypsy image and, 119, 120–21, 145;

Inquisition and, 2, 136–37, 137, (137), 139;

Italy and, 123–25, 124–27, 139, 142;

realistic portrait of artist and, 232–33, (233), 233–34;

reddish brown skin color and, 145, 146;

turbaned iconography and, 145, 146;

women and, 145–46, 147

Gentiles, 11–12, 27, 50, 68–69, 78, 80, 82

Gentileschi, Orazio, and Tassi, Agostino, Musical Concert, 173, 173–75, 175

German art, and aesthetic beauty in portraits, 85–86. See also specific artists

gifts/gifting, 54–56, 58, 60

Gimignani, Giacinto, Adoration of the Magi, 168, 168–69

Giovanni da San Giovanni, Candida Praecordia, 172, 172–73

Girolama da Carpi, Adoration of the Magi, 144–45, 144–45

Gonzaga Mantua court, 102–3, 103–5, 142, 144, 179, 180

Gossaert, Jan, Adoration of the Kings, 65, 66–67, (67)

Gregory XI (pope), 168

Gypsy image: allegorical masquelike character of aristocrats’ portraits and, 246, 246–49, (247), 249;

biblical subject matter and, 287;

Egyptians and, 311, 312–13;

genre scene of sacred subject and, 119, 120–21, 145;

Jesus Christ narrative and, 119, 120–21;

secular black image and, 173

hair feature, and black image, xiv–xv, 102, 113, 115, (116), 116–17, 171, 242

headdresses, and black image: biblical subject matter with servant image and, 279;

black image and, 134, 135, (135), 136, 155, 271, 273, 273;

court masque narrative and, 242;

jewelry/string of pearls around head and, 256, 256, 259;

realistic portraits and, 149–50, 149–50

Heliodorus of Emesa, AethiopikalAn Ethiopian Story: Andromeda (Ethiopian princess) as white, 309–10, 315–16, 320, 320–21, 324–25, 325;

artworks and influences of, 307, 330–35;

avoidance strategies/difference recognized and disavowed and, 4, 315, 330;

blackness and, 330;

Chariclea as white/not black and, 309, 311, 315, 316, 317, 317, 318;

Chariclea with black birthmark and, 310, 315, 325, 327;

Chariclea with feminine virtues and, 311, 312–15, 316, 318, 322, 324, 330;

Chariclea with royal lineage and, 317, 320, 320–21, 325, 327;

comic image in narrative of, 325, 327, 329–30;

Dutch representations of narrative and, 321–22, 322–23, 325–30;

Egyptians as black image and, 311, 312–13;

erotic/sexual black image in narrative of, 327, 329–30;

exoticism of Ethiopia/Ethiopians and, 307–8, 307–9, 317, 322, 329–30;

French artwork representations of narrative and, 311, 312–15, 315–17, 317–21, 320–21;

headdress in black image and, 324–27, 328;

human/humanity image in narrative of, 326–27, 329–30;

Hydaspes (king of Ethiopia) with black image and, 275, 276–77, 309–10, 316, 317, 320–21, 321, 324–25, 325–26, 327, 328;

Hydaspes (king of Ethiopia) with white image and, 316;

India/Indian image and, 315;

Italian coastline image for narrative and, 321–22, 322–23;

Persina (queen of Ethiopia) as black and, 309–10, 315–16, 317, 320, 320–21, 324–25, 325–26, 327;

Persina (queen of Ethiopia) as white, 316, 320–21, 321;

robbers as Egyptian with black image and, 310, 314–15, 315–16, 317, 321, 322–24, 325;

servant/attendant black image as innocent/astonished observer of aristocrats and, 316, 317, 325;

shepherds as black Ethiopians and, 310, 317, 320, 320–21;

summary of narrative, 307, 309–10;

Sysimeter with black image and, 310, 315, 316, 320, 320–21;

texts and influences of, 309;

Theagenes as defeating his dark side in narrative of, 310, 326, 328–29;

Theagenes as manly in narrative of, 310, 321–22, 322–24, 324, 325;

translations of, 307–8;

turbaned iconography for black royalty and, 275, 276–77, 316, 317, 324–25, 325, 328;

valorization of history and, 322, 324, 325;

wrestler with black Ethiopian image and, 310, 326, 328–29;

wrestler with white image and, 316. See also Ethiopia/Ethiopians

hell concept, 14, 66, 83, 148

Hellenistic period, xv, xvi, xvii, 46, 171

Henrietta Maria (queen consort of England), 246, 246–49, (247), 249, 250–51, 253

Henry VIII (king of England), 236, 245

heroic beauty as opposite of blackness, 200

Honthorst, Gerrit van: Chariclea Tending Theagenes, 324, 325;

King Charles I of England and His Wife Queen Henrietta Maria as Apollo and Diana, 246, 246–49, (247), 249

human/humanity, and black image, ix, 3, (196–97), 199, 326–27, 329–30

imperialism/imperial conquest, and black image, 33–34, 63, 110, 153

India/Indians: black image and, 315;

black-white relationship with children’s image and, 262, 264–65, 266;

geography of Africa and, xvii, 107;

Magi/Kings narrative and, 171;

Portuguese trade routes and, 7, 308;

Prester John narrative and, 34, 308;

realistic features in black image and; xv, xvi;

skin color and, 18;

slave trade and, xvi–xvii;

universalism/salvation iconography and, 285, 286–87, 294

informal black-white relationship, and black image, 108–9, 109, 188–90, 189–90

Innocent III (pope), 168, 170, 170–71

Innocent X (pope), 226, 228–29

Inquisition, 2, 136–37, 137, (137), 139, 147, 192

“interracial” relationships. See black-white relationship

Isabella d’Este (marquise of Mantua), 2, 93, 95, 102–3

Italy: 1490–1530, 93–121;

1530–1590, 121–58;

1590–1700, 158–90;

abject image and, 120–21, 120–21;

aesthetic beauty of blacks and, 106, 129, 130, 153, 155, 167;

bandeau/headband iconography with black image and, 105, 171–72;

black image in artworks as response to conversion narrative and, 145–49, 147;

blacks as symbol of aristocrats who owned them and, 2, 105–7, 106–7;

blacks as symbol of Ottoman Turks and, 117;

cameos black image and, 151, 153, 154–55;

central, 113, 116;

conversion narrative and, 1, 2;

erotic/sexual black image and, 130–31, 130–31;

exotic black image and, 180–81, 181–82;

Ferrara court and, 102, 105, 107–11, 108–9, 134, 145, 177;

formal black image in artworks and, 1–3;

genre scene of sacred subject with black image and, 123–25, 124–27, 139, 142;

Gonzaga Mantua court and, 102–3, 103–5, 142, 144, 179, 180;

Gypsy image and, 119, 120–21, 121;

heraldic image of blacks and, 121;

informal black-white relationship with black image and, 108–9, 109, 188–90, 189–90;

livery attire/equestrian black image scenes and, 126, 127–29, 129, 134, (135), 135–37, 136–37, (137), 155;

Magi/Kings narrative and, 111–12, 112, 113, 113–15, 116;

marital infidelity with blacks and, 108–9, 109, 199;

mocking black image and, 180–81, 181–82;

monuments with black image and, 182, (182), 182–83;

musical courtly activities with black image and, 122–23, 124–25, 173, 173–75, 175;

musicians black image and, 122, 124;

nature allegory with black image and, 131, 132–33, 133–34;

parody of ancient history theme with black image and, 153–55, 156–57, 182;

public pageantry with black image and, 1, 103, 105, 142, 144;

putti black image and, 122, 122–23;

racial prejudice and, 125–26, 148, 155, 156–57, 158, 182;

realistic portraits with black image and, 149–51, 150–51;

secular black image and, 171–73, 172–73;

servant/attendant black image and, 103, 105, 107–8, 108–9, 110, 121, 126, 127–30, 129–31, 142, 144;

servant/attendant black Image as symbol of luxury/wealth and, 123–24, 124–25, 130, 134, 135, (135), 136, 155;

servant/attendant in courts black image and, 176, (176), 176–77, 180–81, 180–82;

Sforza Milan court and, 103, 105–7;

slaves/slavery and, 1, 110, 120–21, 120–21, 186–87, 188–90;

slave trade and, 197, 199;

Southern Italy, 110, 129, 130;

summary, 93, 121–22;

texts with black image and, 101, 103, 105;

tombs with black image and, 183, 186, (186), 188, 292–93. See also papacy in Rome; Venice; specific artists

Jackson, Gilbert (attrib.), Portrait of a young girl (possibly Florence Smyth) with a black page, 253, 254–55

James I (king of England), 3, 236–37, 240, 243, 270

Jesus Christ: as abject image, 46–47, 68, 81, 246;

black image in narratives of, 18, 119, 120–21;

black-white contrast and, 46, 53, 304–5, 305–6;

Gypsy image and, 119, 120–21;

light as symbol and, 11–13, 22, 24, 36, 41, 43–44, 65, 71, 74

jewelry/string of pearls around head, and black image: servant/attendant black image and, 256, 256, 259. See also earring iconography; necklace/jewelry, and black image

Jews, xvii, 11–12, 69, 78, 82–83, 117–19

Jones, Inigo, Costume design for The Masque of Blackness by Ben Jonson, 242, 244–45

Jones, Inigo, and Jonson, Ben: Masque of Beautie, 242;

Masque of Blackness, 3, 242, 243–46

Jonson, Ben, and Jones, Inigo: Masque of Beautie, 242;

Masque of Blackness, 3, 242, 243–46

Juan de Roelas, Allegory of the Immaculate Conception, 196, 196–97

Juan Latino (black Spanish scholar and poet), 3, 216–25, 226, 228

Kneller, Godfrey: A black youth in the attitude of a groom, 261, 262;

Portrait of Frederick Herman, Duke of Schomberg, 259, 261, 262;

Portrait of Louise de Kérouaille, 266, 266–67, 270;

Portrait of Sir Thomas Lucy, 258–59, 259

Kongo: ambassador from, xviii, 2, 160–65, 160–70, 165, 177, 183;

kings and, 158, 160, 162, 167. See also Africa/Africans; Antonio Manuel, Marquis of Ne Vunda (Kongo ambassador)

landscape/elsewhere location: Antwerp mannerist style in Magus narrative and, 48, 48–49, 50–51, 53–54;

Magus narrative and, 1, 7, 8–9, 38, (38–39), 39–43, 44–46

La Planche, François, 316, 318

Lastman, Pieter, The Adoration of the Magi, 287–88, 288–89

Lely, Peter: Portrait of Elizabeth Murray, Countess of Dysart, 262, 262–63;

Portrait of Lady Charlotte Fitzroy, 262, 264

Leyden, Lucas van, Adoration of the Magi, 31, 37

Lievens, Jan, The Resurrection of Lazarus, 304–5, 305–6

light as symbol: artworks and qualities of light, 74–75, 76;

Jesus Christ and, 11–13, 22, 24, 36, 41, 43–44, 65, 71, 74;

in Magus narrative and, 31, 35, 63, 75, 89–92, 90–91, (91)

lips feature, and black image: as black feature, xiv–xv, 89, 102, 237, 239;

Magus narrative and, 113, 115, (116), 116–17;

puffing/blowing and, 122, 122–23;

realistic portraits and, 149–50, 149–50;

texts and, 237, 239;

Venice and, 102, 104–5

literature, and black characters, 3. See also Heliodorus of Emesa, Aethiopika/An Ethiopian Story

livery attire/equestrian black image scenes: black image and, 1, 2;

black-white contrast and, 126, 127–29, 129;

earring iconography and, 134, 135, (135), 136, 155;

Italy and, 126, 127–29, 129, 134, (135), 135–37, 136–37, (137), 155

Lochner, Stephen (school of), Martyrdom of Saints Simon and Jude, 74–75

Locke, Alain LeRoy, viii–ix

Lombardi, Alfonso, Head of a Black African, 145, 146–47

Lotto, Lorenzo, St. Lucy Before the Magistrate, 124–25, 126–27

Louise de Kérouaille (Duchess of Portsmouth), 266, 266–67, 268–69, 270

Louis XIII (king of France), 311, 315, 316–17

Louis XIV (king of France), 266

Ludovico Sforza (Il Moro), 2, 105, 106–7

luxury/wealth symbolism, and black image: England and, 269, 270;

Italy and, 107, 108, 108–9, 123–24, 124–25;

Rembrandt artworks and, 271, 278–79, 279, 295;

Spain and, 206

Magdeburg, Cathedral of St. Maurice and St. Catherine, xv, 33–34

Magi/Kings narrative: black image and, ix, xvii;

difference image and, 12;

diversity image and, 82;

Gentiles as symbol and, 11–12, 27, 68, 78, 80, 82;

India/Indians and, 171;

Italy and, 111–12, 112, 113, 113–15, 116;

Magus narrative compared with, 10–17;

realistic portrait of aristocrats in, 142, 144;

Rembrandt and, 277;

servant/attendant black image and, 142, 144, 287–88, 288–89. See also Magus narrative; specific artists

Magus narrative: abject black figure and, 81;

Abraham sacrificing Isaac narrative and, 68–69;

aesthetic beauty in portraits and, 85–87, 89–92, 90–91, (91), 113, 115;

Antichrist as enigmatic/unidentified image and, 65, 78–81, 83;

black image and, 111–12, 112;

blackness and, 14, 18, 64, 83;

blackness paradoxes and, 1;

black-white contrast and, 64;

chiaroscuro technique and, 62–63, 63, 75, 89–90, 90–91;

commentator black image and, 61, 63, 75, 76–77;

conversion narrative and, 1, 10, 12, 14, 29, 30–31, 31;

curled/woolly hair with black image and, 113, 115, (116), 116–17;

demons/devil black image and, 69, 70–71, 71, (72–73), 75;

demons/devil with black image and, 1, 14, 66, 75, 78, 80–81;

difference image and, 2, 14–17, 23–24, 35–36, 46, 54, 63, 74, 82–84, 82–85, 87–90;

diversity image and, 2, 17, 23, 63, 82–84, 86–87, 178–79;

earring iconography and, 64;

exoticism and, 1, 43–45, 65, 66–67, (67);

exploration in Africa and, 1;

foreigners trained for missionary priesthood and, 168, 168–69;

Gentiles and, 68–69;

hell image and, 66, 82;

historical context, 32–35;

illustration, 62–63;

inclusiveness/naturalism/exoticism, 89, 90–91, (91);

India/Indians and, 171;

Italy and, 112–13, 113;

Jerusalem image and, 13, 14, 16, 38, 38–39, 40, 44–45, 69, 75;

landscape/elsewhere location and, 1, 7, 8–9, 38–39, 39–43, 44–46;

light/dark image and, 14–16, 32, 36, 63–64, 65;

Magi/Kings narrative compared with, 10–17;

New World image and, 7–8, 8, (8–9), 10, 12–16, 82;

nudity versus dress/clothing and, 10;

otherness and, 63–66, 80–81, 91–92;

Ottoman Turk image and, 45, 53, 69, 80, 83, 90;

paganism and, 68–69;

paganism/idolatry image and, 68–69, 78, 80–81;

past/future time context and, 68–69, 75, 78;

placement of black image closest to Madonna and, 144–45, 144–45;

placement of black image furthest from Madonna and, 12–13, 23–25, 24, 26–31, 27, 29, 38, 38–39, (42), 43, 89–92, 90–91, 111–12, 112;

placement of white king image and, 23–24, 24;

realistic black image and, 17, 62–63, 63, 80, 89–92, 90–91, (91);

realistic portrait of aristocrats and, 34–35, 111;

shadow image and, 35–36, 75, 76–77, 78–79, 81;

stereotypic black image and, 1, 29, 30–31, 31;

visibility/vision symbolism of black image and, 13, 15, 20–21, 29, 30–31, 3H-32, 40, 47, 54–55, 60, 63–64, 80, 83. See also aesthetic devices, and Magus black image; Antwerp mannerist style, and Magus narrative; Bosch, Hieronymus, Adoration of the Magi

Maino, Juan Bautista, Adoration of the Magi, 208, 210, (210–11)

Malaquais, Jean, ix–x

Mantegna, Andrea: Adoration of the Magi, 111;

Judith with the Head of Holofernes, 102, 108

manuscripts, ancient. See Heliodorus of Emesa, Aethiopika/An Ethiopian Story; New Testament narratives; Old Testament narratives; Solomon (king) narratives; texts, and black image

marital infidelity with blacks, 101, 108–9, 109–10, 177, 199

Master of Antwerp, 5, 6

Master of the Morrison Triptych, Adoration of the Magi, 58, 58–59

Maurice (saint), black image of, xv, 18, 22, 33–34, 63

Medici family, 149–50, 181–83

Memling, Hans: Adoration of the Magi (1470), 36–37, 36–39, (37);

The Seven Joys of the Virgin, 38–39, 39–43, (42–43), 43, 45–48, 61

Menil Collection of photographs, vii–x, 4–5

mezzotint technique, 259, 259, 261, 262

mixed-race type, xviii, 150, 182, 199

mocking black image, 180–81, 181–82

Moisè dal Castellazzo and daughters, The Drunkenness of Noah, 118–19, 118–19

Mongol threat of invasion, 34, 81; 83

Monier, Jean, 320, 320–21

monuments, and black image, 182, (182), 182–83

Moor, and black image: armorial bearings and, 92;

black-white contrast and, 20–21, 53, 88;

exoticism and, 108–9, 109;

heraldic image and, 18, 20–21, 139, 141;

Moriscos and, 192, 204, 204–5, 218;

Ottoman Turk threat symbolism and, 53;

Sforza Milan court and, 105;

Shakespeare and, xiv, 237;

stereotypic features and, 89;

use of term, xiv. See also blackness; blacks

moral black figure/stereotypic black image ambiguity. See blackness paradoxes

Moriscos, 192, 204, 204–5, 218

Morosini, Tomasso, Ducale commissione, 139, 141

Muller, Jan Harmensz., Adoration of the Magi, 292–93, 293

musicians: black image and, 1–2, 122, 124, 236, (236–37);

musical courtly activities with black image and, 122–23, 124–25, 173, 173–75, 175, 271, 273, 273

Muslims/Islam: artistic iconography and, 51;

blackness and, 95;

blacks’ link with, xvii;

Europe/Europeans, and contact with, xvii;

Noah’s sons narrative and, 119;

North Africa and, xiv, 34, 121, 237, 316, 325;

as Other, 117;

papacy in Rome’s crusade against, 308, 311;

slaves/slavery and, 35, 189;

terms for Muslims, xiv; trade and, 101;

turbaned iconography and, 316, 325;

universalism and, 2, 139, 146

Mytens, Daniel, Charles I and Henrietta Maria Departing for the Chase, 249, 250–51

mythological themes in artworks: black image and, 2;

Charles I (king of England) and, 246, 246–49, (247), 249;

Falconetto and, 103, 104–5, 131, 133;

putti black image and, 122, 122–23;

Titian mid, 130–31, 130–31, (132), 155, 291

nature allegory, and black image, 131, 132–33, 133–34

necklace/jewelry, and black image: court masque narrative and, 242;

realistic portraits and, 149–50, 149–50;

woman as allegory for white-black binary opposition and, 132–33, 133–34

negative image of blacks, 3, 195–96, 198, 207, 209–10, 212. See also positive image of blacks

Netherlands/Dutch (Holland): artworks with English associations by artists from, 3, 250, 251–52, 253;

blackface theatrical performances and, 293;

freed black slaves and, 293, 306;

slaves/slavery and, 306;

universalism and, 322. See also Antwerp mannerist style, and Magus narrative; specific artists

New Testament narratives, ix, xv, xvii. See also biblical subject matter, and black image; genre scene of sacred subject, and black image

New World: black skin of inhabitants of, 14;

difference image of inhabitants of, 10, 15;

diversity image of inhabitants of, 82;

explorations and, 7–8, 8, 10, 14–16;

Magi/Kings narrative and inhabitants of, 12–13;

Magus narrative and inhabitants of, 7–8, 8, (8–9), 10, 12–16, 82;

nudity versus dress/clothing; and inhabitants of, 10, 14;

persons, places, and things image and, 10;

savage/unruly nature of inhabitants of, 7–8, 14;

slave trade and, 125

Niger aristocrats in court masque narrative with black image, 240, 242–43, 244–45, 245–46

Noah’s sons narrative, 11, 12, 33, 118–19, 118–19

North Africa/North Africans: ambassador to England with black image from, 239, 240–41;

beard feature and, 239, 240–41;

biblical subject matter with camels and boy’s black image and, 285, 286, 299–300;

British trade with, 239;

Muslims/Islam and, xiv, 34, 121, 237, 316, 325;

racism and, xv; slaves/slavery and, xvii;

Spanish expeditions to, 121;

terms for blacks in, xiv;

turbaned iconography in ambassador with black image from, 239, 240–41. See also Africa/Africans

nose feature, and black image, xiv–xv, 89, 102, 104–5, 149–50, 149–50, 291

Novelli, Pietro (“il Monrealese”), 168, 170–71

nudity versus dress/clothing, 10, 14

official/scholar black image, and biblical subject matter, 277, 278–79, 279, 291, 292–93, 293–94

Old Testament narratives: blacks and, xv–xvi, 288, 295;

historical narratives and, 69;

Magi narratives and, 32–33;

paganism/idolatry image and, 69, 70–71, 71, (72–73), 74;

prophets and, 78, 111. See also biblical subject matter, and black image; genre scene of sacred subject, and black image; specific characters in narratives; specific narratives

Other/Others/otherness: Antwerp mannerist style in Magus narrative and, 60–61, 60–61;

in artworks, xi;

conversion narrative with black image and, 35;

description of, 18;

difference image and, 32;

Jews as, 11, 12;

Magi/Kings narrative and, 11, 12–13, 63–66, 80–81;

Magus narrative and, 16–17, 32, 35, 61, 63–66, 80–81, 91–92;

Muslims/Islam as, 117;

Scots as, 243;

Simon and Jude narrative and, 71, 73–74, 74–75

Ottoman Turks: Antichrist narrative and, 81, 83;

biblical subject matter and, 287;

blacks as symbol of threat of, 53, 117;

Magus narrative and, 45, 53, 69, 80, 83, 90;

slaves with black image as symbol of defeat over, 3, 117, 182, (182), 182–83, 186, 186, (186);

tomb of Doge Giovanni Pesaro with black image symbols and, 3, 117, 184–85, 186, (186);

tronies with Turkish costume iconography and, 275, 276–77, 328

paganism/idolatry: aesthetic devices for Magus black image and, 47;

dark/light contrast and, 73;

demons/devil black image in idols and, 71, 73–74, 74–75, 81;

diversity image and, 82;

Magus, narrative and, 68–69, 78, 80–81;

Old Testament narratives and, 69, 70–71, 71, (72–73), 74

pageantry, and black image, 1, 103, 105, 142, 144

papacy in Rome: black image as symbol of supremacy of, 183, 184;

conversion narrative/expansionist ambitions and, 2, 158–63, 165–66, 165–71;

Ethiopian diplomatic relations with, 34, 308;

Ethiopian pilgrims/pilgrimages and, 107, 148–49, 149, 158, 168;

foreigners trained for missionary priesthood and, 168, 168–69;

Kongo kingdom as symbol of conversion narrative/expansionist ambitions and, xviii, 2, 160–65, 160–70, 165, 177, 183;

Muslims/Islam and, 308, 311;

New World conversion narrative/expansionist ambitions and, 170–71. See also conversion narrative; specific popes

Pareja, Juan de: The Calling of St. Matthew, 232–33, (233), 233–34;

as freedman, 229, 231–33;

genre scene of sacred subject with black realistic portrait of artist and, 232–33, (233), 233–34;

slave portrait and, 3, 183, 225–26, 226–27, 228–29

parody of ancient history theme, and black image, 153–55, 156–57, 158, 182

Passarotti, Bartolomeo: Homer and the Fishermen, 154–55, 156–57;

The Merry Company, 155, 156–57, 158, 182

Passarotti, Bartolomeo (circle), Portrait of a Man and His Servant, 129, 130

past/future time context, and Magus narrative, 68–69, 75, 78

Paul III (pope), 148–49

Paul V (pope), 160, 161, 161, 162, 166, 167

Peacham, Henry, Illustration for Titus Andronicus, 239, 242–43

Peranda, Sante, Giulia d’Este, 177, 178–79

pet relationship between black servant and master/mistress, 256, 256, 259

Philip (saint), 146, 158, 171, 279

Philip I (king of Spain, Philip the Fair), 80, 19–74

Philip II (king of Spain), 121, 122, 130, 142, 159

Philip III (king of Spain), 291

Philip IV (king of Spain), 3, 226

Philip III (duke of Burgundy; Philip the Good), 34–35

Picard, Jean, after Crispin de Passe, Chariclea Recognized by Her Parents, 316, 317

Pius II (pope), 35

placement of black image: Antwerp mannerist style in Magus narrative and, 48, 48–49, 50–51;

closest to Madonna in Magus narrative, 144–45, 144–45;

conversion narrative and, 29;

Dürer and, 89–92, 90–91;

furthest from Madonna in Magus narrative, 12–13, 23–25, 24, 26–31, 27, 29, 38, 38–39, (42), 43, 89–92, 90–91, 111–12, 112;

Magus narrative and, 35, 36, 36–37, 36–38, (37), 45–46, 112

placement of white image, 46

portraits: of black artist, 232–33, (233), 233–34;

of slave, 3, 183, 225–26, 226–27, 228–29;

of white artist, 90, 90–91, 92. See also aristocratic portraits of whites

Portugal/Portuguese: Africa explorations and, 1, 7–8, 10, 55, 80, 107, 308;

India trade routes and, 7, 308;

slave trade and, 1, 192. See also specific artists and artworks

positive image of blacks: Ethiopia/Ethiopians and, 207, 209, 213, 216, 233;

history of, vii;

Sandoval on, 195–96, 198, 207, 209–10, 212;

Spain and, 3, 195;

women and, 200

Poussin, Nicolas, Self-portrait, 229, 230–31

Prester John (legendary king of Ethiopia), xv, 34, 35, 45, 308, 328

printmaking, and black image, 291, 291, 299–300, 300–1, 302

Protestant Reformation, 158, 235, 239–40

Pseudo-Bles, Adoration of the Magi, 48, 48–49, 50–51, 53–54

putti black image, 122, 122–23

Pynas, Jacob, 288, 288–289, 291

racial prejudice, and black image, 17, 125–26, 148, 155, 156–57, 158, 182

realistic features, and black image: about, vii, xv, xvi;

artworks and, 2, 149–51, 150–51;

black artists and, 232–33, (233), 233–34;

earring iconography and, 149–50, 149–50;

Ethiopians and, xv;

India/Indians and, xv, xvi;

Magus narrative and, 17, 62–63, 63, 80;

Maurice (saint) and, xv;

nose features and, 149–50, 149–50;

portraits and, 149–50, 149–50

realistic features, and white image, 90, 90–91, 92

reddish brown skin color, and black image, xiv, 14–15, 102, 145, 146, 298

Reformation. See Protestant Reformation

rehabilitation of blackness: baptism and, 193, 194–95, 200–201, 201, 204, 215, 219, 225;

black-white contrast and, 240, 242–43, 244–45, 245–46, 304–5, 30–56;

England and, 240, 242–43, 244–45, 245–46;

Sandoval on, 193, 194–95, 200–201, 204, 215, 219, 225;

slaves/slavery and, 3, 216–20;

Spain and, 3, 201, 201, 216–25, 232–33, 232–34, (233); texts and, 3, 216–25, 232

Rembrandt van Rijn: The Abduction of Europa, 275, 277, 296;

The Baptism of the Chamberlain, 271, 278–79, 279, 300;

Bathsheba, 279, 282, 291;

The Beheading of St. John the Baptist, 284–85, 285, 300;

biblical subject matter with black official/scholar image and, 277, 278–79, 279, 291, 292–93, 293–94;

biblical subject matter with black servant image and, 273, 274, 275, 277, 279, 279–82, 284–85, 285, 288, 291, 294–95, 299–300;

biblical subject matter with black soldier image and, 277, 279, 283, 285, 293–95, 298;

biblical subject matter with black spectator image and, 277, 279, 279–80, 283, 285, 285, 288, 291, 292–93, 293–95, 298;

biblical subject matter with camels and boy’s black image and, 285, 286, 299–300;

black image as models for artworks by contemporaries of, 302–3, 304–5, 305–6;

black image in artworks by, 2, 3–4, 271, 273;

blackness paradoxes and, 271, 272–73, 273;

Bust of an African Woman, 271, 273, 274, 275, 299, 300;

Christ Healing the Sick, 285, 286, 293–94, 299–300, 303;

classical stories with black image and, 275, 277, 277;

The Denial of St. Peter, 279, 283, 285, 293–94, 299;

Ecce Homo, 285, 285, 294–96, 300, 303;

figure studies and, 273, 274, 275;

genre scene with black image and, 275;

historical pseudo-ancient Roman military dress for black image and, 271, 273, 273, 275;

Judas Repentant, 291, 292–93, 293–94;

Magi narrative and, 277;

musical courtly activities with black image and, 271, 273, 273;

Ottoman Turkish costume iconography and, 291, 292–93, 293–94;

The Preaching of St. John, 285, 286–87, 294, 296;

printmaking technique for black image and, 299–300, 302;

proto-ethnographic black image in texts and, 275;

Reclining Negress/Reclining Nude, 271, 302, 302–3;

Samson Threatening His Father-in-Law, 279, 279–80, 288, 295;

scholarship on blacks in artworks by, 271;

shadows/shadow image and, 271, 302, 302–3;

skin color as lifelike in painting of black image and, 271, 272–73, 297–99;

Standing servant, 273, 274;

stereotypic features in black image and, 295–96;

textual sources for black image and, 287, 293;

theatrical subject matter with black image and, 273, 273–74, 275, 299;

tronies of black image and, 272–74, 275, 293, 295–96;

Two Africans, 271, 272–73, 297–99;

Two Drummers, 271, 273, 273;

universalism/salvation with black image and, 279, 279, 281, 283, 285, 285–86, 291, 292–93, 293–95, 298–300, 303, 306;

variety and historical accuracy aims of, 296–97;

The Visitation, 279, 279, 281, 294, 296, 299;

visual sources for black image and, 287–288, 288–89, 291, 293–94

Restoration era, 253, 256, 259, 262, 266, 270

Ricci, Giovanni Battista, Pope Paul V and Antonio Manuel, Marquis of Ne Vunda, 160–61

Riley, John, and Closterman, John, Portrait of Charles Seymour, sixth Duke of Somerset, 256–57, 259

Roman classical effects, and black image, xvi, xvii, 46, 151, 153–55, 154–57, 171, 182

Rome. See papacy in Rome

Rubens, Peter Paul, Venus of the Night, 2, 290–91, 291

Rudolf II (Holy Roman Emperor), 153

sainthood for blacks: Benedict the Moor/Benedict of Palermo (saint), 2, 168, 170, 170–71, 209, 212–14, 212–15, 215–16;

Maurice (saint), xv, 18, 22, 33–34

Sandoval, Alonso de: baptism/salvation/transformation from blackness to light-/“whiteness” and, 193, 194–95, 200–201, 204, 215, 219, 225;

on blackness, 195–96, 198, 207, 209–10, 212;

ethnocentrism and, 195;

slaves/slavery and, 192–93;

texts with black discussion and, 3;

white-black metaphor as variety in life and, 193, 194–95, 195. See also Spain

Scarsellino, A Friar Approaches the Black Boy and His Guardians, 190, 190

Scotland/Scots, 235, 236, 243

sculptures, and black image: black image and, 3;

blue skin color and, 151, 152–53;

diversity image and, 103;

Kongo ambassador image in dark stone and, 160–61, 160–61;

Moro Borghese, 172–73

secular black image, 171–73, 172–73

servant/attendant, and black image: biblical subject matter and, 273, 274, 275, 277, 279, 279–82, 284–85, 285, 288, 291, 294, 299–300;

black-white contrast and, 126, 127, 129;

brown skin color and, 288, 291;

dress/costumes and, 288;

earring iconography and, xviii, 1, 124–25, 126–27, 130–31, 130–31, 256, 256, 259;

flat nose and, 291;

as foil for beauty of aristocrats, 1, 250, 252–53, 253;

history of, ix, xi–xii;

Italy and, 103, 105, 107–8, 108–9, 110, 121, 126, 127–30, 129–31, 142, 144;

jewelry/string of pearls around head and, 256, 256, 259;

lips feature and, 291;

paintings and, 2–3;

Portuguese artworks and, 126, 198, 199–200, 200, 217;

Rembrandt and, 279, 279–80, 288, 295;

Sheba (queen) and, 179, 180;

turbaned iconography and, xviii, 291, See also luxury/wealth symbolism, and black image

servant/attendant in courts, and black image: British courts and, 3, 180, 240, 249–50, 251, 256, 259, 262, 270;

Italy and, 105, 176, (176), 176–77, 180–81, 180–82;

musical courtly activities and, 122–23, 124–25, 173, 173–75, 175, 271, 273, 273

Sforza Milan court, 103, 105–7

shadows/shadow image: black image and, 19–20, 22, 24, 36, 302;

Bosch Magus narrative and, 75, 78–79, 81;

portraits and, 229, 230–31;

Rembrandt and, 271, 302, 302–3;

Spain and, 204, 207;

texts with black image and, 204, 207

Shakespeare, William: black image, and influence of, 107;

Othello, xiv, 3, 101, 107, 109–10, 177, 237, 239;

Twelfth Night, 245

Sheba (queen), xv–xvi, 18, 32, 33, 65, 179, 180

Simon and Jude narrative, 71, 73–74, 74–75

sin as black, 14, 19, 19–20, 21

Sixtus IV (pope), 148, 159

Sixtus V (pope), 158–59

skin color, and black image: aesthetic devices in artworks and, 14–15, 275, 277;

blue, 151, 152–53, 242;

brown, xiv, 14–15, 102, 104–5, 145, 146, 298;

“false black” image and, 206–7, (207), 207–8;

India/Indians and, 18;

as lifelike in painting of black image, 271, 272–73, 297–99;

mezzotint technique and, 259, 259, 261, 262;

reddish brown, xiv, 14–15, 102, 145, 146, 298;

social status in image and, 108–9, 109;

yellow, 14–15

slaves/slavery: abject black image and, 3, 14, 46, 68, 81, 246;

abolitionism and, xix;

art of painting and, 231–32;

central Africa and, xii;

collar and, xii, xviii;

conversion narrative and, 1, 2;

description of, xvi–xix;

England and, xix, 3, 236–37, 253, 254–55, 256, 258–59, 259, 269, 270;

freed black, viii, xviii, 1, 94–97, 95, (96), 229, 231–33, 293, 306;

fugitive slave law and, 101;

master/slave relationship and, ix, xviii;

as metaphor for blacks, 230–31;

Muslims and, 35, 189;

Ottoman Turk defeat as symbolized with black images of, 3, 117, 182, (182), 182–83, 186, 186, (186);

portraits of, 3, 183, 225–26, 226–27, 228–29, 231–32;

rehabilitation of blackness in texts and, 3, 216–20;

slave trade and, xii, xvi–xvii, xvi–xviii, 1, 93, 95, 107, 125, 197, 199;

texts with black image and, 236–37

social status: artwork creation and, ix;

black-white contrast and, 108–9, 109;

servant/attendant black image as innocent/astonished observer of aristocrats and, 250, 251, 262, 264, 266, 266, 266–67, 316, 317, 325;

skin color and, 108–9, 109

Soest, Gerard, Portrait of Cecil Calvert with his grandson and houseboy, 259, 260–61

soldier/man of arms, and black image: biblical subject matter and, 277, 279, 283, 285, 292–93, 293, 294, 298;

historical pseudo-ancient Roman military dress and, 271, 273, 273, 275;

Spain and, 2, 220–25;

texts and, 2, 101, 103, 220–25

Solomon (king) narratives, xv–xvi, 32, 33, 65, 179, 180

Song of Songs (The Song of Solomon), xv–xvi, 33

Spain: aesthetic beauty of blacks and, 195;

baptism/salvation of blacks and, 200–201, 201;

black image and, 198–204, 207–9;

blackness paradoxes and, 208, 210, (210–11), 212;

black skin color/“false black” image and, 206–7, (207), 207–8;

comic black image and, 200, 212–13, 212–16;

demons/devil with black image and, 192;

difference image and, 191, 192–93;

ethnocentrism and, 196, 196–97;

expeditions to North Africa and, 121;

heroic beauty as opposite of blackness and, 200;

Inquisition list of offenses of blacks and, 192;

Magus narrative image and, 206–7, (207), 207–8, 210, (210–11), 212;

Magus narrative in text and, 207;

Moriscos and, 192, 204, 204–5, 218;

positive and negative image of blacks and, 3, 195, 200;

realistic portrait of artist in genre scene of sacred subject with black image and, 232–33, (233), 233–34;

rehabilitation of blackness and, 3, 209, 216–25, 232, 232–33, 232–34, (233);

shadows/shadow image and, 204, 207;

slaves/slavery and, 192;

soldier/man of arras black image and, 2, 220–25;

texts with black image and, 2, 3, 191–98, 200–201, 204, 207, 209–10, 212–13, 212–25, 232;

transformation from blackness to light-/“whiteness” and, 201, 201;

white-black binary opposition image and, 198–200, 198–200, 202–3, 203–4, 217. See also Sandoval, Alonso de; specific artists

spectacle/fantasy, and black image, 240

spectator black image, 277, 279, 279–80, 283, 285, 285, 288, 289, 291, 292–93, 293–95, 298

stereotypic black/moral figure ambiguity. See blackness paradoxes

stereotypic features, and black image: about, ix, xi–xiii, xix;

climate theory of complexion and, 122;

curled/woolly hair, xiv–xv, 102, 113, 115, (116), 116–17, 171, 242;

eyes feature and, 271, 273, 274, 275, 291, 299, 300;

in Magus narrative and, 17;

nose feature and, xiv–xv, 89, 102, 104–5, 149–50, 149–50, 291;

printmaking techniques, 300, 300–301;

Rembrandt and, 295–96;

savage/unruly nature, xii, xix, 105;

Shakespeare and, 237, 239. See also lips feature, and black image

Stetter, Wilhelm, Adoration of the Magi, 1, 29, 30–31

Suttermans, Giusto, The blind woman of Pratolino, 180–81, 181–82

Swart van Groningen, Jan, Adoration of the Magi, 60–61, 60–61

Tacca, Pietro, Monument of the Four Moors, 3, 182, (182), 182–83

Tasnière, Georges, Black atlantes, 186–87, 188

Tassi, Agostino, Antonio Manuel, Marquis of Ne Vunda, 84–86, 85–86

Tassi, Agostino, and Gentileschi, Orazio, Musical Concert, 173, 173–75, 175

texts, and black image: ancient, xvi;

black-white binary opposition in, 191, 195, 198, 200, 201–3;

black-white relationship with children’s image and, 266;

collar iconography and, 240;

comic black image and, 200, 212–13, 212–216, 245;

comic image in narrative of Heliodorus of Emesa, 325, 327, 329–30;

England and, 235–36, 236–37, 239, 240, 242–43, 245, 266;

Heliodorus of Emesa’s story, and influences on, 309;

heroic beauty as opposite of blackness and, 200;

Italy and, 103, 105;

lips feature and, 237, 239;

positive image of black woman and, 200;

rehabilitation of blackness and, 3, 216–25, 232;

servant/attendant in courts and, 240;

shadows/shadow image and, 204, 207;

slaves/slavery and, 236–37;

soldier/man of arms image and, 2, 101, 103, 220–25;

spectacle/fantasy and, 240. See also New Testament narratives; Old Testament narratives

theatrical subject matter, and black image, 273, 273–74, 275, 293, 299

thick lips, and black image. See lips feature, and black image

Thomas (saint), 171

Tibaldi, Pellegrino, Preaching of St. John the Baptist, 145–46, 147

time context, and Magus narrative, 68–69, 75, 78

Titian: Diana and Actaeon, 130–31, 130–31, (132), 155, 291;

Fabricio Salvaressa, 126, 128–29;

Laura Dianti, 2, 107–8, 108–9, 126, 129, 177;

Ottoman Turks symbols with black image and, 117;

Pesaro Altarpiece, 113, 115, (116), 116–17, 131, 136, 186;

servant/attendant black image and, 2–3, 107–8, 108–9, 126, 129, 177

tomb of Doge Giovanni Pesaro, and black image, 3, 117, 186, 186, (186)

torturer/executioner as black, 138, 139

transformation from blackness to light-/“whiteness.” See rehabilitation of blackness

tronies, and black image, 272–74, 275, 276–77, 292–93, 293, 295–96, 328

turbaned iconography, and black image: ambassador from North Africa and, 239, 240–41;

biblical subject matter and, 279, 285, 288, 289, 291;

black image and, 2, 134, (135), 135–37, 136–37, (137), 155;

exoticism and, xviii, 1;

genre scene of sacred subject and, 145, 146;

Magus narrative and, 112, 113, 115, (116), 116–17;

Muslims and, 316, 325;

sculpture and, 145, 146–47;

servant/attendant image and, xviii, 1

Turks. See Ottoman Turks

universalism: black image and, ix, 2, 136–37, 137, (137), 139, 183, 184;

diversity image and, 82;

India/Indians and, 285, 286–87, 294;

Magi/Kings narrative and, 10–12, 16–17;

Magus narrative and, 47, 113, 113, 115, 115, (116), 116–17;

Muslim image and, 2, 139, 146;

Rembrandt and, 279, 279, 281, 283, 285, 285–86, 291, 292–93, 293–95, 298–300, 303, 306

Urban VII (pope), 161, 167

Van Deynen, Guillem, Group Portrait of Doge Agostino Doria with His Family and Servants, 176, (176), 176–77

Van Dyck, Anthony: Henriette of Lorraine, 250, 252–53, 253;

Portrait of George Gage with two attendants, 180, 250, 251;

servant/attendant black image and, 2–3, 180, 250, 251, 252–53, 253;

Venetia, Lady Digby, 246, 248–49

Van Mander, Karel, III, 275, 276–77, 324–29, 325–29

Van Vliet, Johannes, after Rembrandt, The Baptism of the Chamberlain, 275, 277, 303

Vasco, Fernandes (attrib.), Adoration of the Magi, 7–8, 8, (9), 10, 12–16, 82

Velázquez, Diego: Adoration of the Magi, 206–7, (207), 207–8, 212;

black image in artworks, 2, 3;

Juan de Parega portrait, 3, 183, 225–26, 226–27, 228–29;

The Mulattress, 202–3, 203–4

Venice: ambiguous attitudes to non-Christian world and, 117–18;

black Christian converts and, 147;

blacks as symbol of aristocrats who owned them and, 139, 141;

diversity image and, 102–3, 112–13, 139, 140–41, 147–48;

divine selection of whites and, 97, 99;

free laborer black image and (canal oarsmen), 1, 94–97, 95, (96), 97, 148;

fugitive slave law and, 101;

Ghetto, 117–18;

Levantine cities compared with, 197, 198–99, 199;

Magus narrative and, 111–12, 112, 113, 115, (116), 116–17;

man of arms black image and, 103, 105;

mixed-race children and, 150, 182, 199;

Ottoman Turk multi-ethnicity and, 2, 113, 115, (116), 116–17, 130–31, 130–31, (132), 134, (135), 135–37, 136–37, (137), 155;

sculptures with black image and, 103;

servant/attendant black image and, 197;

slaves/slavery and, 93, 95, 102, 126, 128–29, 129;

slave trade and, 93, 95, 107;

social status of blacks and, 97, 99, 109;

soldier/man of arms black image in texts and, 101, 103;

stereotypic features in black image and, 102, 104–5. See also Italy

Veronese, Paolo: Adoration of the Magi, 142, 142–43;

black image in artworks and, 2;

Feast in the House of Levi/Last Supper, 2, 136–37, 137, (137), 139;

Marriage at Cana, 134, 135, (135), 136, 142, 150, 155;

Martyrdom of St. Justine, 138, 139;

Triumph of Venice, 139, 140–41

Veronese, Paolo, and workshop, La Madonna del Rosario (Madonna of the Rosary), 147, 148–49

Viseu cathedral, and black image, 7–8, 8, (8–9), 10, 12–16, 82

visibility/vision symbolism of black image, 13, 15, 20–21, 29, 30–31, 31–32, 40, 47, 54–55, 60, 63–64, 80, 83

Vouet, Simon, 317, 319

Vorsterman, Lucas, after Peter Paul Rubens, Adoration of the Magi, 291, 291, 299

weapons/arms iconography, and black image, 160–62, 160–62, 275, 276–77, 292–93, 293, 328

W. E. B. Du Bois Institute for African and African American Research, vii, x, xxi, 17–18

west Africa/Africans: court masque narrative with black image, 240, 242–43, 244–45, 245–46;

Kongo ambassador and, xviii, 2, 160–65, 160–70, 165, 177, 183;

Kongo kings and, 158, 160, 162, 167;

slave trade and, xii, xvii. See also Africa/Africans

Western art, and black image, ix, xi, xiii–xv

western Europe. See specific countries

white-black binary opposition: in images, 14–15, 198–200, 198–200, 202–3, 203–4, 217, 245–46;

in texts, 191, 195, 198, 200, 201–3. See also black-white contrast; white image; whites

white image: aesthetic devices, and placement of, 46;

black-white relationship and, viii, xv–xvi;

cameos with black and, 237, 240;

children and, 253, 254–255, 262, 263–65, 266;

climate theory of complexion and, 122;

dancers and, 237, 238–39, (238–39);

earring iconography and, 108–9, 109;

eroticism/sexuality and, 266, 268–69, 270;

exoticism and, 108–9, 109;

idealization of king image and, 90, 90–91;

light and, 11–13, 22, 24, 36, 41, 43–44, 65, 71, 74;

realistic features in portrait of artist and, 90, 90–91, 92;

royalty and, 3, 196, 198, 316, 320–21, 321;

shadows/shadow image and, 302, 302–3;

wrestler in Heliodorus of Emesas story and, 316. See also black-white contrast; white-black binary opposition; whites

whites: blackface and, 240, 242–43, 245, 293;

divine selection of, 97, 99;

ethnocentrism and, 97, 99, 195, 196, 196–97;

mixed-race children and, xviii, 150, 182, 199;

monogenesis and, xviii–xix;

pet relationship between black servant and, 256, 256, 259;

racial prejudice and, 17, 125–26, 148, 155, 156–57, 158, 182;

use of term, xiv. See also aristocratic portraits of whites; black-white contrast; white-black binary opposition; white image

women, and black image: as allegory for black-white binary opposition, 131, 132–33, 133–34;

breast milk discourse and, 131, 132–33, 133–34;

difference image and, 88;

genre scene of sacred subject and, 145–46, 147;

positive image and, 200. See also specific women

world map, 13–14, 121–22, 122–23, 189

yellow skin color, 14–15

Zar’a Yaqob (Ethiopian ruler), 110

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