7th Governor and
9th in the ruling chronology
1547 First Series
Overview
7th Governor and 9th in the ruling chronology
Nuno da Cunha’s government is marked by important milestones for the Portuguese Administration, namely the construction of Chale fortress in Calicut and the conquest of Vasai, Daman and later Diu, after which a peace treaty was signed with the King of Gujerat. It was during his tenure that the Official residence was transferred from Kochi to Goa, to Sabaio Palace.
Justification for the study
Just by visualizing this portrait by naked eye it is very clear the existence of outlines and textures from a former composition under the surface paint layer and in good preservation condition. It was also important to confirm if this portrait belonged to the 1st series of 13 portraits (from 1547) and which technical, material or iconographic elements could still be identified from this series.
Important conclusions from the study:
The imaging techniques revealed a few remains from the 1547 composition, but mostly the result from the interventions made in 1581, still in good condition and matching the reproduction from 1646. An interesting feature captured by the techniques was a closed eye. In fact, the sitter was depicted with a blind eye, which refers to a true episode where the governor lost his eye during a calvary game. This layer from 1581 is overlaped with repaints from the 19th century and a full overpaint from 1893. In total, the original compostion is covered by 3 paint layers.
7th Governor and
9th in the ruling chronology
1547 First Series
NEXT
Portrait
During Nuno da Cunha’s government the administration was centralized in the city of Goa and marked by new military advances in the Gujarati region, favored by the celebration of a peace treaty with the King of Gujarat. Under the naked eye observation of his portrait, it was very clear the existence of outlines and textures from a former composition under the surface paint layer and in good preservation condition. The imaging techniques revealed a few remains from the 1547 composition, but mostly the result from the interventions made in 1581, still in good condition and matching the reproduction from 1646. An interesting feature captured by the techniques was a closed eye in his face, referring to an historical fact when the governor lost his eye during a game. This means the depictions are true to these sitters morphology.
The Blind Eye
According to chronicler João de Barros (1496-1570), Nuno da Cunha had a blind eye due to an accident occurred during a calvary game.
…foi homem grande de corpo, bem apessoado, e tendo hum olho quebrado, que lhe quebrarão em hum jogo de cannas, em que el rei Dom João III jugava, não era nelle fealdade (in Decadas da Asia, Quarta Década, livro X, cap. XXII.,1778, p.750)
…he was a big man, with a fair appearance, despite having a broken eye, which was broken during a game of canes in which the King John the 3rd was playing, it didn’t make him ugly
Using imaging techniques, it was possible to reveal that in Nuno da Cunha’s portrait he was originally depicted with the blind eye, respecting the historical fact and the real appearance from this Governor. It is a proof that the primitive compositions were true to these personalities physical characteristics and have a high historical value.
Infrared reflectography
The Blind Eye
According to chronicler João de Barros (1496-1570), Nuno da Cunha had a blind eye due to an accident occurred during a calvary game.
…foi homem grande de corpo, bem apessoado, e tendo hum olho quebrado, que lhe quebrarão em hum jogo de cannas, em que el rei Dom João III jugava, não era nelle fealdade (in Decadas da Asia, Quarta Década, livro X, cap. XXII.,1778, p.750)
…he was a big man, with a fair appearance, despite having a broken eye, which was broken during a game of canes in which the King John the 3rd was playing, it didn’t make him ugly
Using imaging techniques, it was possible to reveal that in Nuno da Cunha’s portrait he was originally depicted with the blind eye, respecting the historical fact and the real appearance from this Governor. It is a proof that the primitive compositions were true to these personalities physical characteristics and have a high historical value.
Raking light photography
Engraving from 1646
X-Ray Radiography
Infrared reflectography
coat of arms
2D XRF Mapping
Complementarity of surface examination with elemental analysis.
Exposure to raking light and XR radiography identified another coat of arm underneath the repaint. It is cut on the side, which means the painting was originaly larger.
It was possible to detect a highest content of mercuride in the area of the backgroung of the coat of arms, suggesting the use of red pigment vermillion. The área of the cross has a high concentration of lead (Pb) and iron (Fe). This suggests a mixture of lead White and ochre pigments. Nevertheless, these results may also report to an intermediate layer made in the 19th century and not the original layer.
Raking light photography
X-Ray Radiography
coat of arms
Raking light photography
X-Ray Radiography
Complementarity of surface examination with elemental analysis.
Exposure to raking light and XR radiography identified another coat of arm underneath the repaint. It is cut on the side, which means the painting was originaly larger.
It was possible to detect a highest content of mercuride in the area of the backgroung of the coat of arms, suggesting the use of red pigment vermillion. The área of the cross has a high concentration of lead (Pb) and iron (Fe). This suggests a mixture of lead White and ochre pigments. Nevertheless, these results may also report to an
2D XRF Mapping
coat of arms
2D XRF Mapping
Complementarity of surface examination with elemental analysis.
Exposure to raking light and XR radiography identified another coat of arm underneath the repaint. It is cut on the side, which means the painting was originaly larger.
It was possible to detect a highest content of mercuride in the area of the backgroung of the coat of arms, suggesting the use of red pigment vermillion. The área of the cross has a high concentration of lead (Pb) and iron (Fe). This suggests a mixture of lead White and ochre pigments. Nevertheless, these results may also report to an intermediate layer made in the 19th century and not the original layer.
reproductions
According to the scientific data available and the several reproductions of this collection made in the 16th, 17th and 19th centuries, we suspect this portrait was repainted in 3 different interventions. To the primitive composition made in 1547 (Figure 1), it was added a paint layer from the renovation of 1581 (fig. 2); and then other full layers from the restoration campaigns of 1825 and 1839 (fig. 3). Lastly, one last layers applied during the restoration signed by Manuel Gomes da Costa, in 1894 (fig. 4).
Figure 1
Drawing by Gaspar Correia in Lendas da India, 1548
Figure 2
Engraving by Pedro Barreto Resende, in Estado da India Oriental, 1646. @British Library
Figure 3
Drawing by Roncón, in Álbum dos Vice-Reis, 1890. @Pangim Central Library
Figure 4
Watercolour by Manuel Gomes da Costa, in O Livro dos Vice-Reis da Índia, 1894. @Fundação Cidade de Lisboa
X-Ray radiography of the portrait of Nuno da Cunha. ASI Museum.
XR Radiography vs Reproduction
We can still observe remains from the 1547 original composition, which are still preserved under the other 3 paint layers and proove this portrait is from the original series. The most relevant details are of the left knee and the lenght of the cloak. This suggest that in 1581, the original composition was fully overpainted, probably due to the poor conservation of the surface, but also to update the costumes to a modern court fashion.
