Seventeenth century (1635–1650) Portuguese faience shallow plateof raised lip, painted in cobalt blue on tin glazed.In the well a central scene is filled by a landscape from whichstands out a majestic nobleman of Chinese appearance, dressed inEuropean contemporary attire. Dressed in a tunic and sleevelessdoublet over shirt, breeches and tied socks with exuberant ribbons,high-heeled shoes — a sign of masculinity and elevated socialstatus — he covers himself with a short, artistically raised capeobscuring part of his face and mouth. Sporting long hair, his headis partially covered by a brimmed hat, and a rapier is at his waist.In the background, a garden is enclosed by a balcony adornedwith an exuberant flowering plant. Positioned to the right of thefigure, a 17th-century Portuguese table, contemporaneous with thePhilippine dynasty — also referred to as the ‘Filipino table’ — featuresa naively designed top, lacking a sense of perspective, and itscharacteristic iron spinners, upon which what appears to be threecandles are illuminated. The surrounding ambiance is punctuatedby various insects. The central scene is surmounted by two draperies — the curtainto the left of the figure culminates in a tassel — that only encircleshalf of the well — certainly an allusion to contemporary interiors.The plate’s lip decoration extends into the well and is segmentedinto eight cartouches — divided by double fillet bandsadorned with hanging seals — alternating stylized daisies’ bouquets,with palm leaves ‘aranhões’ and painting scrolls, with Chinese cordsmodified into spider legs. This decoration draws inspiration fromChinese Kraak porcelain dating back to the Wanli reign (1573–1617).The composition is framed by a blue fillet.The reverse is divided by the same number of cartouchesfeaturing a double semicircle embellished with stylized leaves anddivided by a fillet.The figure’s attire and the ‘Filipino table’ — which reflectsa contemporary model of Iberian furniture — anchor this scenewithin the same historical period as the plate’s manufacture, aligningpolitically with the conclusion of the Dual Monarchy and theRestoration of the Portuguese crown.The dynastic crisis, arisen from the absence of direct heirsto the Portuguese throne, culminated in the Iberian Union, withthe ascension of King Philip II of Spain — Philip I of Portugal, in1580. Over the span of sixty years, the Spanish administration becameincreasingly unpopular, giving rise to a sense of nationalistresistance cutting across all societal classes. The loss of individualitywas felt by the majority of the Portuguese populace, along with aneconomic crisis that gripped the entire Empire, notably, with thedecline of the maritime commercial monopoly, previously held bythe Portuguese. This period culminates in 1640 with a widespreadrevolt, marked by the acclaim of the Duke of Bragança, João IV,as king of Portugal.Throughout the process of regaining independence, Portugalfound itself in a state of heightened war tension with Spain.Within this context we can interpret the imagery depicted by thepotter — the moment in which a nobleman, afraid of exposing hisidentity, hides part of his face having next to him a table of Filipinoorigin1, with three illuminated candles, serving as a beacon of hope.
1 These trestle tables, with uprights connected by rods or iron spinners in the shape of an‘X’ continued within the more affluent interiors of Portugal and Spain. Vd.: Marrocano,João, H., 2021, pp. 47–48.