Casta Paintings Archives

Mapping the Country of Regions: The Chorographic Commission of Nineteenth-Century Colombia, by Nancy P. Appelbaum (2016)

What occurs when elite driven narratives about national identity dramatically different differ from the realities people experienced? During the nineteenth century throughout Latin America, when national boundaries were just beginning to become coherent, the upper echelons of society constructed tales about their nations that often vastly differed from lived experiences.

Between 1850 and 1859, the Chorographic Commission traveled the territory of present day Colombia in an attempt to map the land and the people who lived there, using chorography, or detailed representations of a particular region. Sponsored by the government of New Granada (an older name for Colombia), the commission produced a wealth of maps, texts, illustrations, as well as travel journals and diaries, in order to construct the image of a unified nation. Implicit in the commission’s initial mandate was the assumption that it would justify the existing administrative order by making that order appear natural.

The visual culture it produced, however, depicted a nation that was far from cohesive, with regional individuality and diversity. Instead of portraying a unified nation, the commission presented the country as fragmented into different, and often opposing regions, inhabited by racially and culturally distinct races, that reinforced assumptions of Andean and white mestizo superiority. In this new book, Nancy Appelbaum expands our understanding of this central paradox, demonstrating that the commission’s materials reveal some of the ways that Colombian elites grappled with the challenges posed by varied topographies and diverse inhabitants.

The leaders of the Chorographic Commission included both foreign members and others who were born and bred in New Granada. Two of the key figures on the commission, whose writings play an important role throughout the book, were Agustín Codazzi and Manuel Ancízar. Born in Italy’s papal states and a Napoleonic war veteran, Codazzi was in fact first contracted to map the Venezuelan provinces, which had seceded from Gran Colombia, in 1830. The secession precipitated Gran Colombia’s dissolution into Venezuela, Ecuador, and New Granada. Manuel Ancízar, a Colombian lawyer, writer, and journalist, joined Codazzi on the Commission in 1850.

Gran Colombia and modern countries (via Wikimedia Commons).

Using personal correspondence between Codazzi and Ancízar, Appelbaum argues that although the creation of the commission reflected nationalist aspirations of the government, it was fundamentally shaped through its leaders’ own exposure to foreign culture. The geographic writings of Prussian Alexander von Humboldt, as well as Italian Adriano Balbi, strongly influenced Codazzi’s and Ancízar’s initial overviews, as they “draped themselves in the ‘mantle of Humboldtianism’ to emphasize their own scientific legitimacy.” Inspired by Humboldt, Codazzi divided the terrain of New Granada according to the differing altitudes, winds, and vegetables that he encountered. The ideological influence of Humboldt, together with Balbi’s schematic list methodology, helped the Commission create a novel and distinct approach to chorography that was more affordable than the fashionable trigonometric survey.

The detailed accounts produced by Codazzi and Ancízar on the commission’s initial expeditions to the highland region of Antioquia and the Pacific lowland, comprised not only field reports, but also included detailed watercolors created by the commission’s first illustrators in order to depict the populations they encountered. Through comparing the perceptions noted in the field reports with the pictorial representations, the tension comes out between the inclination to show these regions as homogenous when the commission clearly experienced great heterogeneity of the people and customs.

William Price, Typical Inhabitants of the Province of Medellín (via World Digital Library).

This visual culture reflected a literary and artistic current in nineteenth-century Latin America called costumbrismo, or using descriptive prose and dialogue to verbally paint a local scene, emphasizing the customs and particularities of that locale. Within these works, tipos “types” that organized the population into component parts defined by race, occupation, and place, were created to provide both a visual and discursive way to manage the heterogeneity that the commission encountered. In William Price’s Tipos de Medellin, the commission’s artists displayed idealized images of people one would encounter when visiting these places. These images of the racial types that the commission produced updated the eighteenth-century genre of casta paintings for the republican era.

As the commission moved into the tropical lowlands and the eastern plains, Appelbaum further elaborates how the illustrations were largely aimed at an external audience in order to attract immigrants and economic investment to the region. The commission’s efforts were not meant to simply represent the landscape, they were also to transform it in the service of economic advancement. Codazzi believed that these areas, rich in agriculture and livestock, could support many more people than their sparse, midcentury population. Elites defined the tropics, for instance, as being filled with disease, poverty, and backwardness, making it a desirable region for colonization and improved methods of production. The commission took on an ethnographic dimension, as studying the population became an integral part in determining the economic capabilities of the land. Reports, maps, and paintings that Codazzi, Ancízar, and others, produced provided abundant information aimed to facilitate the conquest of the regions they mapped and studied.

Manuel María Paz, Provincia del Chocó: Aspecto esterior de las casas de Nóvita (via World Digital Library).

Applebaum goes on to discuss the methods that mid-nineteenth-century intellectuals living in the highlands around Bogotá employed to rationalize their claim over the local populations. By emphasizing the glorious origins and civilization of the Andean region around Bogotá, at the expense of lower “savage” climates, intellectuals reinforced Bogotá’s claim over this topographically disparate territory. Codazzi projected national history into the ancient past by weaving geology, archeology, and history together and referencing the past as “history” rather than prehistory. They placed themselves, not the local indigenous populations, who ultimately were the Commission’s guides, at the top of the intellectual scale to read the cataclysmic past.

Carmelo Fernández, Piedra grabada de Gámesa. Provincia de Tundama (via World Digital Library).

After Codazzi died in 1859, elites left behind tried to make sense of his project and battled each other over meanings and representations of the nation. Although members of the commission had high hopes for the mass reproduction and circulation of the materials they produced, that did not occur. Chorography and the work of the Chorographic Commission died with Codazzi, supplanted later in the nineteenth century by newer forms of mapping which are still common today, such as topography.

Although the work that the Chorographic Commission created between 1850 and 1859 was not as widely received as hoped, the spatialized and racialized regional hierarchy inherent in its visual materials would be reproduced and refined within Colombian scholarly and popular discourse. By no means the originator of this fragmented discourse, the Commission’s cartographic project formed the basis for most maps of Colombia into the early twentieth century.

Gracefully written, integrating over thirty images and maps, Mapping the Country of Regions offers a fascinating window into both the visual culture produced during the nineteenth century in Colombia, and the ways that territories, boundaries, and state-lines are constructed. Appelbaum’s contextualization of her source base that she makes explicit within her analysis heightens her claims about the use of geographic, ethnographic, and visual methods to secure territory. This theme of racialization of geographic hierarchy is not solely limited to Colombia, as ideas about how race and region have historically informed each other throughout Latin America. The blending of analysis with visual representation enables this book to be of use for those interested in not only Latin American nation-state building, but this methodology of combining visual and textual analysis would be of value for anyone incorporating visual culture into their own work.

Nancy P. Appelbaum, Mapping the Country of Regions: The Chorographic Commission of Nineteenth-Century Colombia (Chapel Hill: The University of North Carolina Press, 2016).

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Antonio de Ulloa’s Relación Histórica del Viage a la America Meridional

By Haley Schroer

Nineteen-year-old Antonio de Ulloa set sail for the Americas in the spring of 1735. Ulloa was traveling as one of two assistants to a contingency of French scientists appointed to South America. The observations Ulloa and his counterpart, Jorge Juan, made on the excursion culminated in Relación Histórica del Viage a la America Meridional. The Relación Histórica is a five-volume work published in 1748 that provides in-depth cultural descriptions of the Spanish colonies’ major cities. As a traveler’s account, Relación Histórica made the colonies accessible for the considerable literate Spanish population who knew little of the empire’s overseas territories. For contemporary readers, it proves fundamental to understanding the socio-racial caste hierarchy that defined the colonies.

Antonio de Ulloa y de la Torre-Giral became a general of the navy and a colonial administrator. He was later the first Spanish governor of Louisiana (via Wikimedia Commons).

By the eighteenth century, Spanish colonial society comprised a diverse socio-racial landscape. Intermarriage and sexual unions among Indigenous, African, and Spanish populations produced a society that could not easily be categorized according to conventional European social and economic privileges. Establishing a sociedad de castas (caste society), elite Spaniards recognized upwards of twenty racial castes with behavioral qualities unique to each group. Implementing the hierarchy relied primarily on public forms of social control, such as the prohibition of certain castes from administrative and commercial positions and laws that excluded certain fashions from non-Spanish castes. Colonial elites, however, faced challenges in enforcing strict racial stratification, and, as Ann Twinam has shown, loopholes broke down the efficacy of the racial hierarchy. Traveler’s accounts of the Spanish colonies offer key outside perspectives on these inconsistencies that allow us to evaluate how deeply socio-racial limitations permeated through colonial society.

Antonio de Ulloa’s fifth chapter, “Understanding the People of Quito; the Castes Found; Their Customs, and Riches” addresses the realities of implementing the caste system in a complex urban environment. Immediately, Ulloa asserts a high level of stratification found within society, noting that noble families “have kept themselves in their luster, connecting themselves with each other and not mixing with the people of low birth.” Ulloa further defines “low birth,” describing “four classes: that are Spanish, or whites; mestizos; Indians, or Naturals; and Blacks with their descendants” (363). While Ulloa’s racial classification affirms the presence of racial separation, the description of only four racial castes points to larger questions of the racial demography found in Peru. Ulloa presents Africans as a distinct group in society, but they are “not as abundant, as in other places in the Indies,” suggesting that Quito did not rely as heavily on African slave labor as perhaps other colonial cities.

A casta painting from ca. 1770. It depicts a Spanish father and an indigenous mother with their mestizo baby (via Wikimedia Commons).

Ulloa deepens his discussion of the socio-racial dynamic found in Quito by describing stereotypical behavior associated with the most prominent racial groups. Ironically, he condemns Spaniards as “the most unhappy, poor, and miserable; because the men do not apply themselves to any business” due to their superior racial quality (365). He praises mestizos who “work with perfection,” but ultimately fall prey to “the defect of Laziness and sloth, of which dominates them strongly” (365). These observations of work ethic mimic popular conceptions of how race influenced personality and behavior. Finally, Ulloa evaluates the visual appearance of Quito’s inhabitants, claiming, “people dress ostentatiously; and fabrics of gold, silver, fine scarves, and other types of silk and wool are not uncommon” (366).

800px-Paisaje_periferico_de_Lima_en_1744_-_AHG

An illustration from Relación Histórica del Viage a la America Meridional of the peripheral countryside of Peru (via Wikimedia Commons).

Ulloa’s account also addresses larger questions concerning the conceptualization of race in both colonial and peninsular Spanish society. His depiction relies heavily on exterior evaluations of race, such as status, behavior, and appearance, suggesting that society largely defined racial classification through overt visual markers. Ulloa’s description demonstrates that implementation of the racial caste system had some influence in Quito. For example, according to Ulloa, mestizos frequently worked in artisanal occupations such as “painters, sculptors, silversmiths, and others,” demonstrating a sense of racial occupational organization (365). He reinforces ideas being produced within the Spanish colonies by proving that racial stratification was clearly noticeable to foreigners.

Despite confirming widespread stratification in daily society, Ulloa’s account proves even more valuable for the inconsistencies that it records. He writes that, “many mestizos appear to be of the same color as legitimate Spaniards, being white, and blonde; and they are considered as such, even though in reality they are not.” (353) In this one brief sentence, Ulloa recognizes a fundamental weakness in the socio-racial hierarchy. Despite the creation of at least twenty racial castes in society, ambiguous physical markers allowed some social mobility along the racial spectrum. Mestizos with European complexions could sometimes assimilate into the Spanish demographic, which undermined the rigidity of the caste system.

Bust of Antonio de Ulloa in modern day Quito, Ecuador (via Wikimedia Commons).

Traveler accounts such as Ulloa’s are useful to historians in determining how colonial society presented itself to foreigners, but authors of such accounts carried preconceived notions of the Spanish colonies. Ulloa’s account inherently reflects peninsular prejudices and preconceptions of the colonies. Historians must determine to what extent Ulloa imposed peninsular ideologies upon the colonial social structure. As an outsider, for example, since Ulloa most likely only gained access to public society, he can demonstrate the racial stratification seen in public but cannot speak to the intimate realities that occurred in private.

Antonio de Ulloa’s analysis of Quito’s residents exists within a broader attempt to categorize and identify the unique racial make-up of the Spanish colonies. Colonial society continuously tried to grapple with its own racial ambiguity, often relying on public campaigns like casta paintings that depicted mixed race families and the racial variety of the caste society and whitening decrees that attempted to regulated social structures. However, travelers’ accounts like that of Ulloa offer an outsider’s perspective to the multi-colored reality. Answering key historical questions about race in Peruvian society while raising further inquiries into the realistic validity of the caste system, Relación Histórica del Viage a la America Meridional places modern readers in the thick of colonial Quito society.

Sources for this article and for further reading:

Magli M. Carrera, Imagining Identity in New Spain: Race, Lineage, and the Colonial Body in Portraiture and Casta Paintings. Austin: University of Texas Press, 2003.

Jorge Juan and Antonio de Ulloa, Relación Histórica del Viage a la America Meridional. Madrid: 1748. The Nettie Lee Benson Latin American Collection Rare Books and Manuscripts Division, University of Texas Libraries.

Irving A. Leonard, Introduction to A Voyage to South America, by Jorge Juan and Antonio de Ulloa. Translated and Abridged by John Adams. Tempe: Arizona State University, 1975.

Ann Twinam, Purchasing Whiteness: Pardos, Mulattos, and the Quest for Social Mobility in the Spanish Indies. Stanford: Stanford University Press, 2015.

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Ann Twinam disucssers her book Purchasing Whiteness: Race and Status in Colonial Latin America.
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The Disappearing Mestizo, by Joanne Rappaport (2014)

By Adrian Masters

From Mexico to Chile, Latin American intellectuals, artists, and activists proudly proclaim that they, their nations, and their cultures were born from a mix of Spanish and Indian heritage. The adjective for this mix is “mestizo;” individuals of Spanish-Indian descent are “mestizos.” These terms, along with the general word for mixing (mestizaje), have become increasingly prominent in North American scholarship in recent years, especially since the 1960s Civil Rights Movement, when many U.S American activists with Latin American heritage sought to explore and embrace their Indian roots.

The category of mestizo first arose in the 16^th century Spanish Empire. In The Disappearing Mestizo, Joanne Rappaport takes readers to 16^th, 17^th, and 18^th-century Colombia, where she questions whether mestizos constituted a real social group. Many scholars have treated colonial mestizos as a sort of ethnicity or collective, a concept frequently influenced by the era’s spectacular paintings of genealogical mixes between Africans, Indians, and Spaniards. These colonial Mexican paintings create the appearance of a hierarchical society, a “caste system,” where a colonist would fall into one of dozens of categories and would live his or her life according to the privileges and limitations of that group. The idea of the caste system has recently come under the scrutiny of contemporary scholars, who argue that the rigid idealized world of caste paintings never materialized in day-to-day life.

Casta painting by Luis de Mena

Rappaport’s book builds on this growing suspicion towards the caste system and colonial-era terms like the mestizo. Whereas Africans, Indians, and Spaniards often had languages, histories, and legal statuses that brought them together, Rappaport argues that mestizos were adrift between colonial ethnicities. This meant that they appeared and disappeared from colonial documents with ease, “becoming” Indians or Spaniards at times and becoming mestizos at other times. If there were no mestizo sociological or ethnic group, Rappaport reasons, we must set out to determine not “Who is a mestizo?” or “What is a mestizo?” but “When and how is someone a mestizo?”

Casta Painting from the end of the 18th century or beginning of 19th century. Author unknown. The caption reads “From a Spanish man and an Amerindian woman, a Mestizo is produced”

This book seeks to answer why colonists called others mestizos, through a handful of fine-grained “ethnographic” vignettes that appear in the archives of Spain and Colombia. The author begins by exploring the importance of markers of difference that go beyond 19^th and 20^th century markers of “race:” religion, appearance, dress, blood, honor, reputation, occupation, and even ideas regarding breast-milk (ideas that colonists summarized as calidad, or “quality”). Readers meet a moreno (dark-skinned man) who seduces a high-born Spanish woman with love letters but shames and threatens the reputation of her family when he reveals his physical appearance to her. A half-Spanish, half-Indian girl brings dishonor upon her father by dressing as an Indian. A distinguished conquistador’s enemies accuse him of being a Moorish slave from Oran, throwing his Christian genealogy and virtue into question. These cases force us to think beyond “race” as a simple category of genetic difference and to focus instead on the cultural reasons why colonists did or did not use so-called caste categories when describing themselves and others.

Casta painting by Miguel Cabrera

Rappaport then turns her attention directly toward mestizos (and occasionally mulattos), presenting various stories in which Crown officials struggled with caste terms. There is Juan de Medina, the self-proclaimed Indian whose enemy, an Indian, insults him as a mestizo after a bloody brawl involving a severed nose. When a tax collector confused Juana Galván for a tribute-paying indigenous woman, she complained that she had a Spanish father and was in reality a mestiza (colonial Iberians and their mestizo children did not normally pay taxes). Rappaport also notes the cases of mulattos Lázaro, who lived and paid taxes as an Indian, and Manuel Rodríguez, who lived among Spaniards and Indians, even as he terrorized them with robberies and rape. There was Ana de Mendoza, an elite mestiza who became “hispanized” by her marriage, and Juan Birvez, a man who witnesses outed as a mestizo as he lay in bed with the daughter of a powerful landowner. Birvez, in turn, revealed that the daughter was a mestiza herself. Rappaport concludes from these episodes that the matter of who was and was not a mestizo was highly contingent on the time, the place, and who was doing the naming. She argues that mestizos and mulatos did not live in a caste system; they moved in and out of their categories with ease.

A painting of a Spanish man and a Peruvian indigenous woman with Mestizo child, 1770

Some mestizos, however, experienced very tangible discrimination at the hands of Crown officials and clergymen. One was the famous Gonzalo García Zorro, who became a cathedral canon in spite of stiff resistance from members of the Church. His brother Diego was less fortunate. He had close ties to Indians and found that townspeople disdained him and his pretensions to public offices due to his mixed lineage. A similar case, well known among historians of colonial Colombia, was the struggle of two mestizo “caciques” – Indian chiefs – to win the recognition of the Crown for their position. Both Alonso de Silva and Diego de Torres were sons of conquistadors and Indian women, and both lost their rights to act as caciques when their enemies raised questions about their eligibility. Mestizos in colonial Colombia were often either too Spanish or not Spanish enough, depending on the position they sought to achieve.

Casta Painting from Peru, 1770.

Rappaport’s book does admirable work at dismantling the myth of the caste system, showing that colonists hardly ordered themselves into clean-cut categories. This observation brings up a mystery that the author does not answer, however. Why did Crown officials and clergymen frequently describe individuals as mestizos to begin with?

Rappaport all but ignores the problem of mestizo laws – the Crown decrees that insisted that mestizos not enter the priesthood, not live in Indian towns, not act as caciques, and so forth. This is a critical weakness in a work that pivots around the reasons colonists categorized one another.

Mestizo laws are difficult to understand at first glance. My research into the sixteenth-century creation of the term reveals more chaos than clarity. For every law forbidding mestizos’ entry into the priesthood, for example, there are two allowing it. The same follows for many similar decrees regarding mestizos’ rights to carry arms, inherit land, and so forth.

also known as the New Laws of the Indies for the Good Treatment and Preservation of the Indians, were issued on November 20, 1542, by King Charles I of Spain and regard the Spanish colonization of the Americas.

Front cover of the New Laws of the Indies for the Good Treatment and Preservation of the Indians. The New Laws were issued on November 20, 1542, by King Charles I of Spain and regard the Spanish colonization of the Americas.

The solution to this mystery lies in the nature of Spanish imperial law, and has important consequences for the practices of naming mestizos. The King desired close contact with his colonists – from the humblest Indian to the richest Spaniard. He also desired to resolve conflicts and avoid bloodshed. The Monarch and his Council thus oversaw all sorts of legal disputes, simultaneously providing colonists with mediation and collecting hordes of information on the New World all at once. It was in this flurry of colonial petitions to the Crown that the meaning of the term mestizo arose. Countless petitioners thus created different meanings for the term mestizo from below, in the process sowing legal chaos on a grand scale.

Emblem of the Council of the Indies from the frontispiece of the ‘Recopilacion de leyes de los Reynos de Las Indias’, Madrid, 1681.

The archives reveal that the true question baffling colonists and officials alike was how to deal with the petitioner-driven, ever-evolving world of mestizo law. The true “disappearing” or ‘”floating” aspect of mestizos was their shifting and contradictory legal status. Thus to understand why mestizos seem to disappear, we must open a new inquiry into the nature of Spanish imperial law. We need a case-by-case account into each specific petition and counter-petition that shaped this category.

The Disappearing Mestizo suffers from this inattention to legislation on mestizos. For one, it often sinks into an “ethnographic present” – the illusion among many anthropological writings that cultures remain stable over time – because it does not recognize how decrees on mestizos could abruptly reshape ideas about mixture. A second problem is Rappaport’s overstatement of Crown officials’ difficulty in properly identifying mestizos. In reality, most Crown functionaries could determine a person’s part-Indian, part-Spanish genealogy simply by requesting an individual provide it. Mestizo laws had little to say about more extreme cases, where a colonist was an orphan, illiterate, or too marginal in Spanish society to merit official interest. This is not a reflection of difficulty so much as indifference on the part of bureaucrats and secretaries.

Many of the concepts about race that emerged during European colonialism remain with us (in different ways) in the 21^st century. Virtually all Latin American countries point to the contributions of both Spanish and indigenous peoples in shaping what they call their “mestizo nations.” Some scholars today go so far as to argue that immigration and intermarriage are returning North America to colonial times, back to the era of the mestizo. Rappaport’s book will therefore be valuable not only to historians of colonial Colombia and scholars of race, but also to a reading public from Chile to Canada that is increasingly interested in the “mixing” of peoples who created their countries. As more and more authors assert that the future itself is mestizo, the next step for scholars – a step already taken by Rappaport – will be to think deeply about that category, its history, and its hidden baggage and complexities.

Joanne Rappaport, The Disappearing Mestizo: Configuring Difference in the Colonial New Kingdom of Granada (Duke University Press, 2014)

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