Portrait of Zaga Christ by Giovanni Grazoni. An Ethiopian imposter claiming to be a prince, traveled across the Middle East and Europe. He penned the earliest African autobiography published in Europe. This is earliest portrait miniature of a black sitter in western art [1296×1497]

More about him [https://en.wikipedia.org/wiki/Zaga_Christ](https://en.wikipedia.org/wiki/Zaga_Christ)

Zaga Christ was an Ethiopian imposter who falsely asserted he was the son of Emperor Yaˁəqob I. He traveled extensively, living in Sudan, Egypt, Palestine, Greece, Italy, and France. As part of a vetting process to prove his identity he produced a autobiography detailing his dynastic claim and his travels. This is the earliest known autobiography voluntarily written and published in Europe by an African-born author. Zaga Christ eventually converted to Catholicism, and while residing in Turin, he was immortalized by the accomplished artist Giovanna Garzoni (1600–1670) in what is considered the earliest known European portrait miniature of an African. Zaga Christ died of pleurisy in 1638 while living in France under the patronage of Cardinal Richelieu.

Joanne the Scammer’s ancestor

It is not known why he became an imposter.
He was descrived favourably by several people:
„I saw the youth, nineteen or twenty years old, of a colour between black and olivaster, of very beautiful appearance, with sparse facial hair, with very black and curly hair, and of medium height; I found him to be of good wit, well versed in the holy scriptures, very devout, affable, majestic, and melancholic because of his accidents, he made stunted sighs. “

But then he was „Accused of adultery and potentially attempted murder, he was imprisoned in the Grand Châtelet of Paris.“

Later, his life was used to support racist views for a long time:
„His fortunes took a racially charged and distorted turn after his death, as his life story was reframed to fit negative stereotypes of African men, particularly in relation to sexuality. His controversial relationship and capture were later twisted into a caricature of uncontrolled „African lust“ entertaining French audiences for centuries. He was described in degrading terms, such as a “wonderful negro” who should be crowned by Venus, the Roman goddess of love, and whose body was likened to a „spermatic vessel.“ This portrayal tapped into racially charged depictions of African men as hypersexual and morally unrestrained. „