1. Sapi-Portuguese; 15 th – 16 th century

3. Produced by an African artist Purchased by a Portuguese visitor in the 15 th or 16 th 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.

4. Portuguese often described the Sapi with admiration. During the 15 th 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.

5. A piece of ivory is delicately carved to form a lidded 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.

6. 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.

7. 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.

8. 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.

9. Melbourne, Designed by Joseph Reed; 1880

11. 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

12. 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.

13. 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.

14. 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)

15. Interior – open; has many galleries for viewing the 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.

16. 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.