A Horse of a Different Color: Nation and Race in Early Modern Horsemanship Treatises

The Armadillo: Spain Creates a Curious Horse to Belittle America

“…Indeed, early modern England took the notion of the Spanish horse breed and its domestication in order to provide a sense of English identity. 68 Moreover, the logic spread on both sides of the Atlantic when, in the seventeenth and eighteenth century, racial mixes of people on caste paintings (which were collected by elite Europeans just like armour and armadillo carapaces) were defined through lesser horse types such as the albarazado, barcino and cambujo. 69 By way of conclusion, let us witness a moment at a museum in Seville that occurred about a hundred years before the Gresham College museum opened.…”

Horses, Curiosities, and the Culture of Collection at Early Modern Germanic Courts

“…10 Bepler;Jobst;Kirch;Smart and Wade;Watanabe-O'Kelly, 1992. 11 For exotica, see Swan, 2015;Lawrence;Schmidt. On horses, see Cuneo, 2000Cuneo, , 2007Cuneo, , and 2008Animals and Early Modern Identity;Edwards et al;Kirch;Raber;Roche. 12 On the complex relationship between animals and humans in this period, see, for instance, Cuneo, 2007;Fudge;Maxwell. It is not a coincidence that the earliest Kunstkammern were often located in the stables where the sovereign's priceless horses were kept. In Munich, the Kunstkammer of Duke Albrecht V (1528-79), arguably the earliest such collection north of the Alps, was established on the third floor of the newly built royal stables in the 1560s, a stone's throw from what would become the Residenz, the main palatial complex.…”