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The Metropolitan Museum’s  Portrait of a Man in Armour with Two Pages , painted a sixteenth-century portrait by the Venetian artist Paris Bordone, has been of great interest to art and cultural historians studying the depiction of Black subjects in early modern portrait art, because it is the earliest known work to depict a Black page attending a White male subject. It influenced the development of a distinct European portrait type in which aristocratic white sitters were represented with enslaved Black attendants in which their unequal power relations underscored by the rigid hierarchies of their proximities. Lugo-Ortiz and Rosenthal observe that the result of this motif is ‘the paradoxical presence and erasure of the enslaved subject in portraiture’ as material subjects that are seen but not acknowledged. Such a voluntary ‘erasure’ of what is clearly present also applies to the ways we have read archival documents about enslaved people from the point of view of the colonizer. Here, I re-read both the painting and the documents to restore the identities of both the main soldier subject and his Black slave, Francisco of Ethiopia, by drawing attention to our encoded methods of reading racialized subjects in the gallery and in the archive.

For the Record: Muzio Costanzo, ‘Franciscus Etiopem’, and Paris Bordon’s Portrait of a Man in Armour with Two Pages