[284] The vignette is given in colored fac-simile in Major’s Select Letters of Columbus, 2d edition. Herrera’s picture was reproduced in the English translation by Stevens, and has been accepted in so late a publication as Gay’s Popular History of the United States, i. 99. Cf. also the portrait in the 1727-1730 edition of Herrera, and its equivalent in Montanus, as shown on a later page. There is a vignette portrait on the titlepage of the 1601 edition of Herrera.
[285] The edition of Florence, 1551, has no engravings, but gives the account of Columbus on p. 171.
[286] Magazine of American History, June, 1884, p. 554.
[287] Cf. Boletin de la Sociedad geográfica de Madrid, vol. vi. A portrait in the collection of the Marquis de Malpica is said closely to resemble it. One belonging to the Duke of Veraguas is also thought to be related to it, and is engraved in the French edition of Navarrete. It is thought Antonio del Rincon, a painter well known in Columbus’ day, may have painted this Yanez canvas, on the discoverer’s return from his second voyage. Carderera believed in it, and Banchero, in his edition of the Codice Colombo Americano, adopted it (Magazine of American History, i. 511). The picture now in the Wisconsin Historical Society’s Rooms is copied directly from the Yanez portrait.
[288] This Capriolo cut is engraved and accepted in Carderera’s Informe. Löwenstern fails to see how it corresponds to the written descriptions of Columbus’ person. It is changed somewhat from the 1575 cut; cf. Magasin pittoresque, troisième année, p. 316. The two cuts, one or the other, and a mingling of the two, have given rise apparently to a variety of imitations. The head on panel preserved now, or lately, at Cuccaro, and belonging to Fidele Guglielmo Colombo, is of this type. It was engraved in Napione’s Della patria di Colombo, Florence, 1808. The head by Crispin de Pas, in the Effigies regum ac principum, of an early year in the seventeenth century, is also traced to these cuts, as well as the engraving by Pieter van Opmeer in his Opus chronographicum, 1611. Landon’s Galerie historique (Paris, 1805-1809), also shows an imitation; and another is that on the title of Cancellieri’s Notizia di Colombo. Navarrete published a lithograph of the 1575 cut. Cf. Irving’s letter. A likeness of this type is reproduced in colors, in a very pleasing way, in Roselly de Lorgues’ Christophe Colomb, 1879, and in woodcut, equally well done, in the same work; also in J. J. Barry’s adaptation of De Lorgues, New York, 1869. Another good woodcut of it is given in Harpers’ Monthly (October, 1882), p. 729. It is also accepted in Torre’s Scritti di Colombo.
[289] See 3 Mass. Hist. Soc. Coll., vii. 285; Proc., vol. ii. pp. 23, 25, 289.
[290] There are two portraits thought to have some relation with this Florentine likeness. One was formerly in the Collection d’Ambras, in the Tyrol, which was formed by a nephew of Charles V., but was in 1805 removed to the museum in Vienna. It is on panel, of small size, and has been engraved in Frankl’s German poem on Columbus. The other is one whose history Isnardi, in his Sulla patria di Colombo, 1838, traces back for three centuries. It is now, or was lately, in the common council hall at Cogoleto.
[291] What is known as the Venetian mosaic portrait of Columbus, resembling the De Bry in the head, the hands holding a map, is engraved in Harpers’ Monthly, liv. 1.
[292] A proof-copy of this engraving is among the Tosti Engravings in the Boston Public Library.
[293] Engravings from De Bry’s burin also appeared, in 1597, in Boissard’s Icones quinquaginta virorum ad vivum effictæ; again, in the Bibliotheca sive thesaurus virtutis et gloriæ (Frankfort, 1628-1634), in four volumes, usually ascribed jointly to De Bry and Boissard; and, finally, in the Bibliotheca chalcographica (Frankfort, 1650-1664), ascribed to Boissard; but the plates are marked Jean Théodore de Bry. The De Bry type was apparent in the print in Isaac Bullart’s Académie des Sciences et des Arts, Paris, 1682; and a few years later (1688), an aquaforte engraving by Rosaspina came out in Paul Freherus’ Théâtre des hommes célèbres. For the later use made of this De Bry likeness, reference may be made, among others, to the works of Napione and Bossi, Durazzo’s Eulogium, the Historia de Mexico by Francisco Carbajal Espinosa, published at Mexico, in 1862, tome i, J. J. Smith’s American Historical and Literary Curiosities, sundry editions of Irving’s Life of Columbus, and the London (1867) edition of Ferdinand Columbus’ Life of his father. There is a photograph of it in Harrisse’s Notes on Columbus. De Bry engraved various other pictures of Columbus, mostly of small size,—a full-length in the corner of a half-globe (part vi.); a full-length on the deck of a caravel (in part iv., re-engraved in Bossi, Charton, etc.); a small vignette portrait, together with one of Vespucius, in the Latin and German edition of part iv. (1594); the well-known picture illustrating the anecdote of the egg (part iv.). Not one of these has any claim to be other than imaginative. His larger likeness he reproduced in a small medallion as the title of the Herrera narrative (part xii., German and Latin, 1623-1624), together with likenesses of Vespucius, Pizarro, and Magellan. Another reminiscence of the apocryphal egg story is found in a painting, representing a man in a fur cap, holding up an egg, the face wearing a grin, which was brought forward a few years ago by Mr. Rinck, of New York, and which is described and engraved in the Compte rendu of the Congrès des Américanistes, 1877, ii. 375.