Conclusion

Abstract

A painting in the Lisbon monastery of Madre de Deus shows how the iconography of the good shepherd on the mountain, which had originated in Goa, had a lasting effect on other pictorial worlds: the figure of Saint Francis becomes a vehicle through which the iconography of the first Portuguese king can be combined in a novel way with the Brigantine iconography of the sleeping ruler of peace on the rock. A summary draws together the book’s different threads and provides an overview of the different functions of the heterogeneous images and visualizations. The global interconnections of the images are outlined and an attempt is made to explain why the most detailed visualizations were created in the regions that were furthest from the site of the coup d’état.