Download Lidded Saltcellar and Royal Exhibition Building

Sapi-Portuguese; 15 th – 16 th century
 Produced by an African artist
 Purchased by a Portuguese visitor in the 15th or 16th cent.
 Represents engagement between indigenous Africans and
European explorers during early period of contact.
 The saltcellar was designed not for indigenous use, but
specifically to appeal to foreign visitors.
 Portuguese explorers bought the ivory carvings to present
to wealthy patrons who financed their voyages.
 The Sapi, ancestors to contemporary Temne, Kissi, and
Bolum in Sierra Leone, were the ones who created this
particular saltcellar.
 Portuguese often described the Sapi with admiration.
 During the 15th cent., Portuguese visitors collected
ivory objects produced by Sapi carvers.
 Political conflict ended this trade, and Portuguese
began acquiring ivory from the Benin Kingdom to the
south.
 A piece of ivory is delicately carved to form a lidded
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bowl supported by a conical base and topped with a
finial.
Half the piece consists of the elaborate base on which
the bowl is positioned.
Highly refined carving of finial on top gives the piece a
sense of lightness.
The base is covered with abstract, decorative carvings
in low relief as well as figures in medium and high
relief.
The use of snakes and dogs in decorating saltcellars is
very typical of the Sapi, causing one to believe they
were important.
 The frozen facial expressions, stiff formality of the
figures, and abstracted presentation of the dogs is
common within stylistic ideals found throughout West
Africa.
 But the above characteristics were also common in
Medieval European figurative sculpture as well,
indicating dual influence.
 Most of the motifs on the saltcellar are entirely
abstract and decorative.
 Interlocking ribbons near the bottom recall Celtic
manuscripts; abstracted floral designs such as those
on the lid of the bowl are reminiscent of Medieval
stained glass.
 This saltcellar provides evidence o the masterful
carving of Sapi artists working with ivory.
 Ivory was highly coveted, and it was associated with
prestige and wealth in both Africa and Europe.
 The form of this type of saltcellar is similar to
European cups cast in metal.
 There is a common misconception that African artists
were anonymous. This is because the names were not
recorded by Western collectors.
 Successful African artists were probably well-known
amongst their contemporaries.
 More elite art in Africa was produced on commission.
 Artists were probably organized in workshops which
focused on meeting demands of patrons.
 It is likely that this patron-client structure was already
present when the Portuguese arrived.
Melbourne, Designed by Joseph Reed; 1880
 Completed in 1880
 Designed by Joseph Reed and his architectural firm
 Located in Melbourne, Australia: Melbourne is the
capital city of the state of Victoria and is one of
Australia’s largest cities.
 Melbourne was a wealthy city of international
commercial importance when the Royal Exhibition
Building was constructed.
 Originally constructed for the Melbourne
International Exhibition of 1880-81
 1880 International Exhibition – October 1880-May
1881; about 1.5 million visitors
 Was later the site of the Melbourne Centennial
Exhibition (1888) and the first opening of the
Parliament of Australia (1901).
 Also used for Olympic competitions, car shows, school
exams, and graduation ceremonies.
 Still used as an exhibition site.
 The main section is still in existence; the side wings
have been demolished.
 Throughout many additions/changes, the central core
of the building has remained the same.
 Constructed with exterior walls made of brick and a
roof made of timber, slate, and steel.
 The building has a cruciform plan, take from church
architecture; Reed combined both Gothic and
Classical influences.
 Plan: a long central space (like a church’s nave) and
shorter spaces set crosswise to the central area (like
church transepts) flanked by aisles.
 The central crossing of the building has a large dome
mounted on an octagonal drum (inspired by the
Florentine Cathedral).
 Central entryway – like a Romanesque portal
 Situated in Carleton Gardens (parts of which were
designed by Reed)
 Interior – open; has many galleries for viewing the
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main areas of the exhibition space.
Continuous galleries overlook the space below with
many windows.
Interior columns, floors, ceiling, dome made of timber.
Timber was much cheaper than masonry when the
building was being built and allowed the building to
be constructed faster.
Exterior walls made of masonry.
 The building and exhibition were intended to
highlight European ideas about progress.
 Size - monumental scale
 During its time, was the largest building in Australia.
 Allowed visitors a view of the city’s impressive skyline.