Cut From The Earth

Chapter 5

Cut From The Earth is based on extensive research with multiple experts in Lisbon within the tile trade, art historians, and historical records, yet it is a work of fiction. Any oversights within these pages are mine alone. I have attempted to flesh out the lost and obscured voices of those creating the grand tile works during the tail end of the artistic period of the “Great Joanine Production” (1725-1750) on the cusp of the Great Lisbon Earthquake of 1755.

Cut From The Earth I’d like to share some known historical details and clarify some facts from fiction. Character Pêro Manuel Pires was inspired by a famous tile master who signed works with the monogram PMP. It’s thought that these initials may have belonged to historical figure Padre Manuel Pereira, a priest and patron to a large tile making shop in Lisbon during the 1700’s, but whose factory name is lost to history. It’s thought that Padre Manuel Pereira passed away in the 1730’s. So, I created Pêro Manuel Pires to be the original PMP’s grandson born of his illegitimate son who was given his mother’s maiden surname of “Pires” to attempt to conceal his connection back to Padre Manuel Pereira. Thus creating a storyline pathway to carry on the PMP monogram after his late grandfather’s death. For true to this type of work of art there are multiple creative hands and hearts involved, and the craft carried on from one generation to the next. It was also common during this time period the birth of illegitimate children born out of wedlock to men and women of the Church. The scandal of Padre Manuel Pereira breaking his vows of celibacy is a story for a prequel novel of this series.

The attributing of Paulinha as the designer who continued to mastermind new creations of the figura de convite and as the inventor of the mimicking of gold thread details in these figures is fictional. But historically, tile maker PMP is credited for the original conception of the figura de convite. The time period of these two tile design advancements is thought to have been around 1720 for the figure de convite and 1730 for the gold details, inspired by the vast amounts of gold extracted from the colony of Brazil at this time.

figura de convitefigura de convite figure de convite There are gray zones of unrecorded history, specifically around the artistic contributions of Africans and their descendants and women’s roles in the production of tile during this period. But many of Lisbon’s tile factories were located in the Mocambo, the first predominately black barrio in a European city. As I wrote the story locating the Fabrica Santa Maria in this neighborhood it became clear the local populace would have been integral in creating tile works, perhaps as overseeing and carrying out different aspect of production, firing kilns, delivery and management of supplies, and influencing designs.

There is no written historical record of a person of Rafa’s character nor attribution to my knowledge to a single designer behind the inception of what would one day be called Pombalinos tiles. But there is a historical photograph of workers at the Fabrica Sant’Anna of mixed ancestry who inspired the creation of Rafa’s character. Throughout Lisbon there are still existent tile works depicting the diversity of Portugal’s population. They can be found at the Fundação das Casas de Fronteira e Aloma, Museu da Cidade, and National Tile Museum.

PombalinosAccording to historical accounts, women healers and astrologers of African origin were prevalent in Lisbon in the eighteenth century. But these women, while sought after by the local populace for their abilities were also the target of accusations by the Church for practicing witchcraft and superstitious cures. Characters Gogo and Conga Carlota the Astrologer both were inspired by these facts, as was the mention of the medicine woman Doroteiada Rosa.

Moors from North Africa controlled parts of what is now today Portugal from the eighth to twelfth century. This history partly explains how some people of African origin may have been free while others were not during this time period of the story. I lived in Niger, West Africa from 1994 to 1997 with a little-known tribe the Fulmangani and Gulmancema people, along with the nomadic Fulani and Tuaregs. It is from this time in the scrub brush of the Sahel which informed aspects of the African and African descendant voices in the novel. During my time there, locals shared stories of people being forced across the Sahara into s*****y, which is not a prevalently known route of the slave trade of Africans. The village I stayed in was the region’s hamlet for healing exorcisms. Calabash drumming upon holes in the earth and dance while trying to revive character Diogo was inspired by real ritual practices.

Historically and even today, women’s artistic contributions are co-oped by organizations and those in positions of authority and power. Paulinha’s character represents all women of all time who’ve burned with the passion to create, but had to do so in secrecy and often forgo credit for their accomplishments, along with minority populations. I thank these voices that channeled through me. To be able to shine light on your forgotten and untold contributions to the enduring art and beauty of tile.

Many of the places and tile works mentioned throughout the story can be visited today in Lisbon and in outlying areas. Some of my intentions for this novel were to celebrate Portuguese tile making, its innovators and innovations and those who’ve gone unrecognized in its creation. To honor all women and disadvantaged people of all time whose art works have either been claimed or accredited to others, while giving thanks to those who’ve supported and valued creatives of all walks of life.

In addition, to commemorating the fortitude of the people of Lisbon when struck with such a life-altering and devastating disaster as the Great Lisbon Earthquake. It was one of the eighteenth century’s most important historical events in all of Europe, affecting the whole of the Continent from writers, to artists and philosophers, architecture and theology alike. And most importantly to pay homage to all those who were fighting for their freedom and that of others, and to all those lost to the Great Lisbon Earthquake and everyone who carried on thereafter.