[294] There was a movement at this time (1845) to erect a monument in Genoa.
[295] Ticknor Catalogue, p. 95. The medallion on the tomb in the cathedral at Havana is usually said to have been copied from this picture; but the picture sent to Havana to be used as a model is said, on better authority, to have been one belonging to the Duke of Veraguas,—perhaps the one said to be in the Consistorial Hall at Havana, which has the garb of a familiar of the Inquisition; and this is represented as the gift of that Duke (Magazine of American History, i. 510).
[296] It is re-engraved in the English and German translations. Carderera rejects it; but the portrait in the Archives of the Indies at Seville is said to be a copy of it; and a copy is in the Pennsylvania Academy of Arts in Philadelphia. A three-quarters length of Columbus, representing him in ruff and armor, full face, mustache and imperial, right hand on a globe, left hand holding a truncheon, called “Cristoval Colon: copiado de un Quadro origl. que se conserva en la familia,” was engraved, and marked “Bart. Vazque. la Grabo, 1791.”
[297] It is still unaccountably retained in the revised 1873 edition.
[298] Cf. their Proceedings, April, 1853.
[299] It was restored in 1850 (Magazine of American History, v. 446).
[300] Such are the following: (1) In full dress, with ruff and rings, said to have been painted by Sir Anthony More for Margaret of the Netherlands, and taken to England in 1590,—engraved in one of the English editions of Irving, where also has appeared an engraving of a picture by Juan de Borgoña, painted in 1519 for the Chapter-room of the Cathedral of Toledo. (2) A full-length in mail, with ruff, in the Longa or Exchange at Seville, showing a man of thirty or thirty-five years, which Irving thinks may have been taken for Diego Columbus. (3) An engraving in Fuchsius’ Metoposcopia et ophthalmoscopia, Strasburg, 1610 (Sabin’s Dictionary, vii. 89). (4) An engraving in N. De Clerck’s Tooneel der beroemder hertogen, etc., Delft, 1615,—a collection of portraits, including also Cortes, Pizarro, Magellan, Montezuma, etc. (5) A full-length, engraved in Philoponus, 1621. (6) An old engraving, with pointed beard and ruff, preserved in the National Library at Paris. (7) The engraving in the Nieuwe en onbekende Weereld of Montanus, 1671-1673, repeated in Ogilby’s America, and reproduced in Bos’s Leven en Daden, and in Herrera, edition 1728. A fac-simile of it is given herewith. Cf. Ruyter’s See-Helden, Nuremberg, 1661. (8) A copper plate, showing a man with a beard, with fur trimmings to a close-fitting vestment, one hand holding an astrolabe, the other pointing upward,—which accompanies a translation of Thevet’s account of Columbus in the appendix to the Cambridge, 1676, edition of North’s Plutarch. (9) An old woodcut in the Neueröffnetes Amphitheatrum, published at Erfurt in 1723-1724 (Brinley Catalogue, no. 48). (10) A man with curly hair, mustache and imperial, ruff and armor, with a finger on a globe,—engraved in Cristóbal Cladera’s Investigaciones históricas, sobre los principales descubrimientos de los Españoles en el mar Oceano en el siglo XV. y principios del XVI., Madrid, 1794. (11) Columbus and his sons, Diego and Ferdinand, engraved in Bryan Edwards’ The History, civil and commercial, of the British Colonies in the West Indies, 1794; again, 1801. Feuillet de Conches in his essay on the portraits calls it a pure fantasy.
[301] A view of this receptacle of the papers, with the bust and the portfolio, is given in Harpers’ Monthly, vol. liv., December, 1876.
[302] It is engraved in the first edition of the Codice diplomatico Colombo-Americano, and in the English translation of that book. It is also re-engraved in the Lenox edition of Scyllacius. Another bust in Genoa is given in the French edition of Navarrete. Of the bust in the Capitoline Museum at Rome—purely ideal—there is a copy in the New York Historical Society’s Gallery, no. 134. The effigies on the monument at Seville, and the bust at Havana, with their costume of the latter part of the sixteenth century, present no claims for fidelity. Cf. Magazine of American History, i. 510.
[303] There is a model of it in the Public Library of Boston, a photograph in Harrisse’s Notes, p. 182, and engravings in De Lorgues, Torri, etc. There is also a view of this monument in an article on Genoa, the home of Columbus, by O. M. Spencer, in Harpers’ Monthly, vol. liv., December, 1876. The mailed figure on the Capitol steps at Washington, by Persico, is without claim to notice. There is a colossal statue at Lima, erected in 1850 by Salvatore Revelli, a marble one at Nassau (New Providence), and another at Cardeñas, Cuba.