![](http://static-cambridge-org.ezproxyberklee.flo.org/content/id/urn:cambridge.org:id:book:9789048551750/resource/name/9789048551750i.jpg)
Book contents
- Frontmatter
- Contents
- List of Illustrations
- Acknowledgments
- Introduction
- 1 Signs, Miracles, and Conspiratorial Images
- 2 The Lisbon Miracle of the Crucifix (1 December 1640)
- 3 The New King’s Oath (15 December 1640)
- 4 Acclamations
- 5 Lisbon
- 6 Images in Diplomatic Service
- 7 The Imaculada as Portugal’s Patroness
- 8 The Funeral Apparatus of John IV (November 1656)
- 9 The Drawings in the Treatise of António de São Thiago (Goa 1659)
- 10 Ivory Good Shepherds as Visualizations of the Portuguese Restoration
- Conclusion
- Bibliography
- Index
8 - The Funeral Apparatus of John IV (November 1656)
Published online by Cambridge University Press: 13 February 2024
- Frontmatter
- Contents
- List of Illustrations
- Acknowledgments
- Introduction
- 1 Signs, Miracles, and Conspiratorial Images
- 2 The Lisbon Miracle of the Crucifix (1 December 1640)
- 3 The New King’s Oath (15 December 1640)
- 4 Acclamations
- 5 Lisbon
- 6 Images in Diplomatic Service
- 7 The Imaculada as Portugal’s Patroness
- 8 The Funeral Apparatus of John IV (November 1656)
- 9 The Drawings in the Treatise of António de São Thiago (Goa 1659)
- 10 Ivory Good Shepherds as Visualizations of the Portuguese Restoration
- Conclusion
- Bibliography
- Index
Summary
Abstract: John IV died on 6 November 1656. A funeral apparatus was planned in the Church of São Vicente de Fora. The planned iconographical program attempted a balance between traditional iconographies and innovative pictorial ideas. One of the paintings described in the source is iconographically unique and deserves an in-depth analysis: it plays on the idea of the headless body of state that John IV had revived, at a time when one of Portugal's most important allies, Charles I of England, had in fact lost his head. This chapter explores the extent to which the beheading of the English king and the images disseminated in its aftermath, the widespread European metaphor of the “body of state,” and the planned painting on the Lisbon castrum doloris may be connected.
Keywords: castrum doloris, ephemeral art, body of the state , decapitation, Charles I of England
The Plans for the Castrum Doloris
On 6 November 1656, sixteen years after his elevation to the throne, John IV of Braganza died, aged fifty-two. He was survived by two sons and two daughters. Dom Theodosio, the crown prince, had died three years before, aged nineteen. On his father's death, John's second oldest son, Afonso, was only thirteen and both physically and intellectually weak due to a childhood illness, so John IV's widow, Luísa de Gusmao, governed in his place. (In 1668, Afonso would be declared incompetent by his younger brother, Pedro, and exiled to the Azores.) The funeral rites for the first Portuguese king after Spanish hegemony—and the first king in the Braganza line—took place in the Church of Sao Vicente de Fora (fig. 105). This choice of location represents a complex decision. For not only St. Vincent of Valencia but also the building dedicated to him was closely tied to the Spanish crown. In 1582, Philip II had arranged for this church's construction on the site of an older building. The older structure had been erected in consequence of a vow made by the first Portuguese king, Afonso Henriques, after taking back Lisbon from the Almoravid Muslims in 1147.
- Type
- Chapter
- Information
- The Portuguese Restoration of 1640 and Its Global VisualizationPolitical Iconography and Transcultural Negotiation, pp. 311 - 342Publisher: Amsterdam University PressPrint publication year: 2023