Angelo Soliman | |
|---|---|
 Angelo Soliman in 1750 | |
| Grand Master of True Concord (Given name of Massinissa) | |
| Personal details | |
| Born | Mmadi Make c. 1721 (1721) present dayNigeria orCameroon |
| Died | 21 November 1796(1796-11-21) (aged 74–75) Vienna |
| Spouse | Magdalena Christiani (née de Kellermann) |
| Occupation | Freemason |
| Nickname | Massinissa |
Angelo Soliman, bornMmadi Make, (c. 1721 – 1796) was an African-born Austrian Freemason andcourtier. He achieved prominence in Viennese society andFreemasonry.
His original name, Mmadi Make,[1] is linked to aprincely class[citation needed] of theBornu Empire (centred inBorno State, modern-dayNigeria). He was taken captive as a child and arrived inMarseilles as a slave. He was sold into the household of aMessinan marchioness, who oversaw his education. Out of affection for another servant in the household, Angelina, he adopted the name 'Angelo', and he chose to recognize September 11, his baptismal day, as his birthday. After repeated requests, he was given as a gift in 1734 to PrinceGeorg Christian, Prince von Lobkowitz, the imperial governor of Sicily. He became the Prince's valet and traveling companion, accompanying him on military campaigns throughout Europe and reportedly saving his life on one occasion, a pivotal event responsible for his social ascension. After the death of Prince Lobkowitz, Soliman was taken into theVienna household ofJoseph Wenzel I, Prince of Liechtenstein, eventually rising to chief servant. Later, he became royal tutor of the heir to the Prince,Aloys I.[2][3] On February 6, 1768, he married thenoblewoman Magdalena Christiani, a young widow and sister of the French generalFrançois Christophe de Kellermann, Duke of Valmy, a marshal ofNapoleon Bonaparte.[4]
A cultured man, Soliman was highly respected in the intellectual circles of Vienna and counted as a valued friend byAustrian Emperor Joseph II andCount Franz Moritz von Lacy as well asPrince Gian Gastone de' Medici. Soliman attended the wedding ofEmperor Joseph II andPrincess Isabella of Parma as a guest of the Emperor.[5] Aside from his nativeKanuri, he spoke six languages fluently: Latin, English, French, German, Italian and Czech.[6]
In 1783, he joined theMasonic lodge "True Concord" (Zur Wahren Eintracht), whose membership included many of Vienna's influential artists and scholars of the time, among them the musiciansWolfgang Amadeus Mozart andJoseph Haydn as well the Hungarian poetFerenc Kazinczy. Lodge records indicate that Soliman and Mozart met on several occasions. Eventually becoming theGrand Master of that lodge, Soliman helped change its ritual to include scholarly elements. This new Masonic direction rapidly influenced Freemasonic practice throughout Europe.[7]Soliman is still celebrated in Masonic rites as "Father of Pure Masonic Thought", with his name usually transliterated as "Angelus Solimanus".[8]
During his lifetime Soliman was regarded as a model to the "potential for assimilation" of Africans in Europe, but after his death his image was subject todefamation andvulgarization throughscientific racism, and his body was physicallyrendered into a specimen, as if an animal or for experimentation. Wigger and Klein distinguish four aspects of Soliman – the "royalMoor", the "noble Moor", the "physiognomic Moor" and the "mummified Moor".[9] The first two designations refer to the years prior to his death. The term "royal Moor" designates Soliman in the context of enslaved Moors at European courts, where their skin color marked their inferiority and they figured as status symbols betokening the power and wealth of their owners. Bereft of his ancestry and original culture, Soliman was degraded to an "exotic-oriental sign of his lord's standing" who was not allowed to live a self-determined existence. The designation "noble Moor" describes Soliman as a former court Moor whose ascent up the social ladder due to his marriage with an aristocratic woman made his emancipation possible. During this time Soliman became a member of the Freemasons and as lodge Grand Master was certainly considered equal to his fellow Masons even though he continued to face a thicket of race and class prejudices.
At the end of his life, after the death of his European wife, the old man led an austere life that resembled very closely that of a practicing Muslim: “He no longer invited friends to dine with him. He never drank anything except water.” Angelo Solimann, his youth notwithstanding, had rebelled against conversion but then likely found it easier to accept with seeming sincerity, out of commodity or gratitude. Nevertheless, he seems to have gone back to his original faith in his old age.[10]
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Beneath the surface appearance of integration lurked Soliman's remarkable destiny. Though he moved smoothly in high society, the exotic quality ascribed to him was never lost and over the course of his lifetime was transformed into a racial characteristic. The qualities used to categorize Soliman as a "physiognomic Moor" were set forth by pioneering Vienneseethnologists during his lifetime, framed by theories and assumptions concerning the "African race". He could not escape the taxonomic view that focused on typical racial characteristics, i.e., skin color, hair texture, lip size and nose shape.
Instead of receiving a Christian burial, Soliman was – at the request of the director of the Imperial Natural History Collection – skinned, stuffed and made into an exhibit within theircabinet of curiosities.[11][12] Decked out in ostrich feathers and glass beads, this mummy was on display until 1806 alongside stuffed animals, transformed from a reputable member of intellectual Viennese society into an exotic specimen. By stripping Soliman of the insignia of his lifetime achievements, ethnologistsinstrumentalized him as what they imagined to be an exemplary African "savage". Soliman's daughter Josefine sought to have his remains returned to the family, but her petitions were in vain. During theOctober revolution of 1848, the mummy burned. A plaster cast of Soliman's head made shortly after his death of a stroke in 1796 is still on display in the Rollett Museum inBaden. His grandson was the Austrian writerEduard von Feuchtersleben.[13]
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