In Navarre's house, Osifekunde became one of the enslaved people owned by a small group of French expatriates in Recife and Rio de Janeiro. While members of the community all traced their ancestry to France, not all came directly from Europe. A section consisted of descendants of French citizens who had emigrated to Brazil in the sixteenth century, while others were first- or second-generation French refugees from St. Domingue, later Haiti, who had fled the Caribbean island in the wake of the revolution of 1791-1804. Many had lost their property and investments and had family members that had been killed by the revolutionaries. Whatever their origins, the French diaspora in Brazil was dominant in two types of vocations. One consisted of artists, architects, craftsmen, tourists and explorers, and the other, traders seeking to make profit. The former became more visible after 1808, when the Portuguese crown relocated to Rio de Janeiro in the wake of the Napoleonic wars. One of the most popular Frenchmen in this category was Jean-Baptiste Debret, a painter who was active in Brazil in the early nineteenth century, and started off painting portraits of members of the Brazilian aristocracy but soon became concerned with the enslavement of both blacks and the Indigenous people. While residing in Brazil from 1816-1831, Debret documented court rituals and the everyday lives of enslaved people. ${ }^{21}$  
17 Discussions with Dr Alberto da Silva at the Enslaving Connections Conference, York University, Toronto, 12-15 October 2000 and Olabiyi Yai, Porto Novo, November and December 2001. Yai establishes connections between Da Costa families in Brazil and Benin Republic. For details, see Silke Strickrodt, Afro-European Trade in the Atlantic World: the Western Slave Coast c.1550-c. 1885 (Woodbridge: James Currey, 2015). Santana has since confirmed the name, see "Extraordinaria," p. 39.
18 Navarre might have been chosen because of his work as a ship consignee with deep contacts inside the French mercantile network. See below.