John V of Portugal

This article focus on the relationship between John V of Portugal and Philipp V of Spain in a comparative approach and how they envisaged their self-representation before the Holy See during the Spanish Succession War. The article aims to explain the particular relationship the young Portuguese King had with his neighbour king, in whom he mirrored himself, and also the way he decided to orchestrate his diplomatic missions to Rome in a particularly difficult time for the Spanish diplomacy.
Teniendo la Guerra de Sucesión española como telón de fondo, este artículo aborda desde una punto de vista comparativo la forma en que Juan V de Portugal y Felipe V de España concibieron su representación ante la Santa Sede. Se pretende explicar la particular relación que el joven rey portugués establece con su vecino y homólogo, así como la forma en la que orquestó sus misiones diplomáticas en Roma en un momento particularmente complicado para la diplomacia española.

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This paper deals with the arrival in Rome of the Portuguese special envoy D. André de Melo e Castro in 1707. It considers the circumstances surrounding the selection of his palace and the training of the members of his household, by means of examination of the account books that are preserved in the archives of the Palacio Nacional de Ajuda (Lisbon). Until recently, historiography had only cited two palaces as residences of the diplomat during his long stay in Rome, (1707 - 1728): the Cavallerini and the Cesarini palaces. However, this study brings to light an earlier residence, the Buratti palace, and looks at the problems associated with the move, the sumptuary costs, and the creation of a first group of artisans and artists of Melo’s trust.

The Prado Museum holds three small red chalk drawings that depict the obverse of three commemorative medals. None of them has a known author, and they are kept as part of the Prado’s eighteenth-century drawing collection. This article aims to establish the authorship of these drawings through analysis and comparison with other works in Portuguese
museums, as well as through an investigatinon of the artist’s early training in the drawing of Roman stone carvings. Further, these drawings are studied and dated in the context of the artistic production of their author as both draughtsman and engraver: he was none other than Francisco de Matos (1699-1783), better known as Vieira Lusitano.

«Spero che non fra molto, a Lisbona le spalle a Roma il volto», said the young Francisco de Matos, aka Vieira Lusitano (Lisbon, 1699-1783) to his friend and colleague Agostino Ratti (Savona, 1699- Genoa, 1775). He put into words his wish to returning to Rome the city where he has studied. That quote comes from a letter part of the rich epistoclar exchange over the years between both friends. The aforementioned correspondence is known to us through Bottari's Raccolta. It allows us to understand the professional and friendship network built by Vieira during his stay in Rome.

«Spero che non fra molto, a Lisbona le spalle a Roma il volto». Con estas palabras trasladaba el joven Francisco de Matos, más conocido como Vieira Lusitano (Lisboa, 1699-1783), a su amigo y compañero de fatigas Agostino Ratti (Savona, 1699- Génova, 1775) su deseo de regresar a la ciudad en la que se había formado. Esa carta es el inicio de un conspicuo intercambio epistolar enriquecido con dibujos y grabados que a lo largo de los años compartirían y del que se tiene constancia gracias a la Raccolta de Bottari . Esta fuente permite reconstruir parcialmente las relaciones profesionales y amistosas que Vieira desarrolló en su estancia en Roma y que habrían de servirle en su exordio en el panorama internacional.

In 1729 a double Luso-Spanish wedding marked a turning point in the relations between the two Iberian monarchies, which had deteriorated after the Portuguese sided with the Archduke Charles during the Spanish War of Succession, one of the last “disagreements” since the Restauration in 1640.  Although peace between Spain and Portugal was re-established when the Treaties of Utrecht were signed, the two countries remained wary of each other, and the double betrothal, or “the exchange of princesses” as it was known, was a means to heal old wounds. María Bárbara de Braganza was to become queen of Spain through her marriage to the future king Fernando VI, and Mariana Victoria de Bourbon would become the Portuguese counterpart through her betrothal to José I. Even though these royal weddings came after a failed engagement between the Spanish princess and the French king, Louis XV, the Spanish initiative was highly acclaimed in Lisbon.
Among the various written and figurative manifestations proclaiming this important celebration are two drawings for a commemorative medal designed by Francisco Vieira de Matos (1699-1783), aka Vieira Lusitano, one in the Museu Nacional de Arte Antiga and the other in the Museu de Évora.  Until now it has not been possible to determine whether the medal was ever minted, but the drawing has gone largely unnoticed by scholars,  who never associated it to the double wedding, even though historiography specialized in numismatics suggested it as such.

Nicolas Vleughels was a French painter, best known for his pivotal role as director of the Académie de France in Rome (1725-1737). His particular choices as head of that institution, and his way of encouraging his pensionnaires had a tremendous impact on the production of those young artists. However that impact is usually measured within the frame of French and Roman art but not in a broader perspective more in consonance with the international status of the institution. Through the analysis of the correspondence between Vleughels and the Public Works Minister in Paris, this article addresses the relationship of that charismatic man with the two Iberian crowns. On one hand, the article deals with the rather unknown and short-lived Portuguese Academy in Rome, whose connexion with the French Institution was more about rivalry and strategic positioning than a proper institutional relationship. On the other hand, the article also tackles the turbulent relationship between Vleughels and the Spanish pensionnaires, which almost resulted in a diplomatic crisis, even if the Spaniards were supposed to enjoy a particular status at the French Academy thanks to the political alliances between
the Spanish and French monarchs.

Any researcher interested in this work please contact me. This article deals with the brief existence of the Royal Academy of Portugal in Rome and with the several misunderstandings that have grown around this legendary institution in the Portuguese historiography. This study is supported by new documentary evidence, which provides a deeper understanding of the academy within the Roman context of national academies and artistic training, as well as its meaning in John V’s cultural and diplomatic policy.

Joao V (1689-1750) propelled Portugal into the arena of international politics and raised the country’s prestige to new and unprecedented levels. His imperial policies affected vast swathes of territory in Africa, Asia and Latin America.  With his huge spending on art, music and luxury items – intended to strengthen his position within European – he can be seen as a second Sun King. It is surprising, therefore, that relatively little interest has been shown in his kingship by non-Portuguese historians.

This panel will be devoted to analyzing Joao’s V artistic policy in Europe after the Treaty of Utrecht. One example of this was his massive print collection, intended to cover all areas of knowledge in a kind of Encyclopédie avant la lettre. The king used diplomatic channels to gather this, putting some of his best ambassadors and diplomats in Rome, Paris, London and The Hague in charge. He was also extremely interested in developing strong ties with the Church in Rome. He supported lavish ambassadorial entrées, made substantial donations to the Pope and became (in absentia) one of the most generous patrons of art in Rome. He commissioned hundreds of masterpieces, namely the magnificent sculptures for his palace in Mafra and the sumptuous chapel of San Rocco in Lisbon, and he and his courtiers became some of the most influential collectors in the new Grand Tour.

Topics might include (but are not restricted to):

- The cultural milieu and artistic trade involving the embassies.
- The print collection and the Mariettes.
- The Boendermaker Atlas.
- The art markets in Rome, Paris and The Hague.
- Collectors and diplomats as trading agents for the king.

Proposals due by 12 January 2015 (though earlier submissions are very much encouraged)
Organiser: Dr. Pilar Diez del Corral Corredoira, Art History Institute, New University of Lisbon: pilarddcc_gmail.com; pcorral_fcsh.unl.pt

Tres días después de su primera audiencia papal (14 de abril de 1709) y como parte de la afirmación pública del papel del enviado especial Andrea de Melo e Castro, se celebra solemnemente la fiesta por las bodas de Juan V con Mariana de Austria en la iglesia nacional de Sant’Antonio dei Portoghesi. Esta comunicación pretende abordar la concatenación de ambas celebraciones en el contexto de la Guerra de Sucesión española y a la luz de la particular coyuntura en la que comienza la misión de Andrea de Melo, que llevaba en Roma desde otoño de 1707 a la espera de que se estableciese un ceremonial apropiado a su rango para poder proceder a la audiencia papal. Los conflictos de precedencia y la meticulosidad que se esperaba en la redacción de un ceremonial ad hoc no eran otra cosa que el reflejo de las tensiones y dificultades que vivía entonces Clemente XI ante el problema sucesorio español y su complicada e infructuosa vía del medio que trató de explorar. Con este telón de fondo se abordarán las ya citadas celebraciones romanas como testimonios para entender y dirimir las fidelidades y estrategias del rey portugués en la ciudad pontificia.

Political, diplomatic, cultural and artistic relations (including music and the visual arts) between Rome and Lisbon in the 18th century have, at different times, aroused the interest of several scholars. However, these research fields have often been approached in parallel paths within the traditions of each of the disciplines, without establishing in most cases a true dialogue between the different areas of knowledge and disregarding cross-cutting issues. On the other hand, the study of artistic relations and cultural transfers presupposes an in-depth and up-to-date view of the historical and social context of each city in their own peculiarities. This international conference intends to promote new approaches to the history of music and the arts through multidisciplinary dialogue that involves different points of view.

This article deals with the genesis, development and failure of the ambitious project usually understood as a Grand Tour, that John V planned in the earlier years of his reign. That journey caused strong divisions in his court and had an impact in his own role’s vision and in Portugal’s one in the European arena. A new hypothesis will be presented regarding the nature of that journey and its links with the European tradition that partially refutes the current historiographical approach of the topic. Furthermore this paper will deal with to the date unnoticed documents that shed some light on the topic from the French point of view and which also reveals new particulars about the royal stay in Rome.

Seminario de Investigación "Vencer a Cronos: Espacios, textos y formas del poder (Siglos XVI-XVIII)". Universidad de Valladolid. 23 de junio de 2021

Se abordarán los primeros pasos de André de Melo e Castro, conde das Galveias, como enviado especial del rey portugués en Roma con especial atención a los problemas para encontrar un palacio que cumpliese con los requisitos mínimos de representación deseables, así como la formación de la "casa" y su puesta en funcionamiento para responder a las necesidades del ceremonial.

«Spero che non fra molto, a Lisbona le spalle a Roma il volto», said the young Francisco de Matos, aka Vieira Lusitano (Lisbon, 1699-1783) to his friend and colleague Agostino Ratti (Savona, 1699- Genoa, 1775). He put into words his wish to returning to Rome the city where he has studied. That quote comes from a letter part of the rich epistoclar exchange over the years between both friends. The aforementioned correspondence is known to us through Bottari's Raccolta. It allows us to understand the professional and friendship network built by Vieira during his stay in Rome. «Spero che non fra molto, a Lisbona le spalle a Roma il volto». Con estas palabras trasladaba el joven Francisco de Matos, más conocido como Vieira Lusitano (Lisboa, 1699-1783), a su amigo y compañero de fatigas Agostino Ratti (Savona, 1699- Génova, 1775) su deseo de regresar a la ciudad en la que se había formado. Esa carta es el inicio de un conspicuo intercambio epistolar enriquecido con dibujos y grabados que a lo largo de los años compartirían y del que se tiene constancia gracias a la Raccolta de Bottari . Esta fuente permite reconstruir parcialmente las relaciones profesionales y amistosas que Vieira desarrolló en su estancia en Roma y que habrían de servirle en su exordio en el panorama internacional.