Despuces de haber andado en su camino
Cuanto del mar se halla descubierto,
En una nave dicha la Victoria:
Hazaña digna de inmortal memoria.
Mosquera.
This volume contains six contemporary accounts of Magellan’s voyage for the circumnavigation of the globe: one was written by a Genoese pilot of the fleet; the second by a Portuguese companion of Duarte Barbosa, which has been preserved by Ramusio; the third by Antonio Pigafetta of Vicenza; and the fourth is a letter of Maximilian Transylvanus, a Secretary of the Emperor Charles V; the fifth a log book of a pilot named Francisco Albo or Alvaro; the sixth is taken from Gaspar Correa’s Lendas da India.
Of Pigafetta’s account, four manuscripts are known, three of them are in French, and one in Italian. Two of the French manuscripts are in the Bibliothèque Impériale of Paris; one of these, numbered 5,650, is on paper; the other, numbered 68, of the Lavallière collection, is on vellum, and is richly illuminated; it does not contain the Brazilian and Patagonian vocabularies given in No. 5,650, and some rather indecent details are omitted or softened down, which leads to the conclusion that this copy was the one presented by Pigafetta to the Regent, Louise of Savoy. The third French manuscript, and the most complete, was in the possession of M. Beaupré of Nancy till 1855, it then passed into the Solar collection, and in 1861 was sold for 1,650 francs to a London book-seller, and, later, was bought by Sir Thomas Phillipps at Libri’s sale.
M. Rd. Thomassy published a memoir in the Bulletin de la Société de Géographie of Paris, September 1843, in which he examines the question whether Pigafetta composed his account of his voyage in French. He has come to a conclusion (which M. Ferdinand Denis has also adopted) in favour of the French manuscript having been originally composed by Pigafetta, and not translated from the Italian, on the grounds of its being addressed to the grand master of Rhodes, Villiers de l’Ile-Adam, who was himself a Frenchman, and that Pigafetta had recently been made a Knight of Rhodes; and that Pigafetta used the French language for the device which he set up over his paternal house in the street of la Luna in Vicenza, “Il n’y a pas de roses sans épines”; that other Italians of the time had written in French; that the Italian MS. of the Ambrosian Library of Milan, published in 1800 by Amoretti, is in bad Italian, mixed with Venetian and Spanish, so that M. Amoretti saw in it rather a copy than the original of the relation presented to the Pope or to the Grand Master; these defects M. Amoretti removed by translating them into good Italian: also that the French edition of Fabre, though stated to be a translation from the Italian, was used in 1536 to publish an Italian edition; whereas if an Italian edition had existed before, that of Fabre would not have been required. Fabre’s edition, moreover, is very imperfect; and he puts what Pigafetta says in the third person. M. Thomassy concludes, therefore, that the version of Fabre was made from some Italian resumé.
In addition to the motives urged by M. Thomassy for believing that Pigafetta himself composed the French manuscripts, there is evidence of it in the phraseology of the MSS.; had these been translations from the Italian, every word would have been translated into French, whereas, instead of that, we find a great many Italian words used, especially in the vocabularies, also some Italian idioms. It was natural that Pigafetta, if he had not the French word at command, should write down an Italian one, such as “calcagno” for “talon”.
For the same reason, I should be inclined to believe that the Ambrosian MS., with its mixture of Spanish words, was composed by Pigafetta himself, in whom such a mixture of words would be more natural after so long a voyage in a Spanish ship, than in an Italian scribe.