THE COLUMBUS GALLERY. 
 
FRONTISPIECE THE PAULUS JOVIUS CUT. 
 
THE 
 
 COLUMBUS GALLERY. 
 
 T HL 
 
 "DISCOVERER OF THE NEM MORLD" 
 
 AS REPRESENTED IN PORTRAITS, MONUMENTS, STATUES, 
 MEDALS AND PAINTINGS. 
 
 HISTORICAL DESCRIPTION 
 
 BY 
 
 NESTOR ^ONCE DE LEON; 
 
 ( ILLUSTRATED.) 
 
 N. PONCE I3E LEON, 
 
 4O Broadway, New York 
 
 1893 
 
ENTERED ACCORDING TO ACT OF CONGRESS, IN THE YEAR 
 
 N. PONCE DE LEON, 
 
 IN THE OFFICE OF THE LIBRARIAN OF CONGRESS, 
 AT WASHINGTON. 
 
 CAUL ON PRESS, 
 
 20 VESEY STREET, 
 
 NEW YORK. 
 
INTRODUCTION. 
 
 Having, for a period of some years, investigated the subject of the por 
 traits of Columbus, and embodied the results of my inquiries in an address 
 recently delivered before the American Geographical Society, I feel myself 
 better able than many others would be to form an opinion of the value and 
 extent of Mr. Ponce de Leon s labors in this difficult field of inquiry. I have 
 read in manuscript a large part of his work I think nearly the whole of it, 
 or, at least, sufficiently to ascertain the facts that he has brought together 
 and the conclusions he has based upon them. As respects the facts, his labor 
 has been most exhaustive. He has, in my opinion, ascertained everything 
 that is now within the reach of the most diligent scholar. He is an accom 
 plished linguist and has had the advantage of being able to read the works 
 consulted in the language in which they were written, and has not been com 
 pelled, as many investigators are, to depend upon translations. This is of 
 value, for I have found in my own investigation of this subject passages not 
 only translated imperfectly, but, in some cases, so erroneously, as to be mis 
 leading. As to his conclusions, I found to my surprise and I suppose it has 
 been equally so to him that although our investigations were conducted and 
 our respective productions prepared entirely independent of each other, that 
 we have arrived generally at the same results ; so much so, in fact, as to give 
 the appearance, in different parts, as if the one had been written from the 
 other. During my acquaintance with him of some years, and as fellows of 
 the Geographical Society, we have frequently conversed upon the subject of 
 the portraits of Columbus, and in preparing my address I asked him as he 
 was especially competent to do so to give me his opinion of the character of 
 Columbus that I might give it in the address, in connection with that of 
 others, upon this much contested question. In our mode of investigation, 
 however, and in what we have respectively written, we have, as I have said, 
 worked independently, and it was not until our labors were completed and 
 
 MG4652 
 
what we had written was ready for publication, that I found how much we 
 agreed in the results arrived at. 
 
 I make this statement, as my own production is prior in point of time, 
 having been delivered as my annual address before a society of which I am 
 the President, and it is now printed in the Journal of that society. I felt that 
 it was due to Mr. Ponce de Leon that no reader of his book should get an 
 impression that he was in any way indebted to my prior publication, and that 
 he should receive, as he is entitled to, the full benefit of the extensive re 
 searches he has made and the conclusions he has founded upon them. 
 
 In giving him the high praise which is due to him for his labors, I regret 
 that he did not include in this book what he says in his preface he contem 
 plated in respect to the general subject of Columbus. He is the best informed 
 gentleman with whom I have conversed upon everything relating to the great 
 discoverer, and whatever he may give to the public upon that subject will be 
 reliable and valuable. 
 
 CHAS. P. DALY. 
 
 March 29, 1893. 
 
PREFACE 
 
 It was my original intention, when I undertook the publication of this 
 book, to have it embrace not only a complete Columbian Iconography, but 
 also a series of essays bearing upon the most important events in the 
 life of the Discoverer of our Continent. That portion of the book, however, 
 relating to the portraits, monuments, statues and paintings, has become so 
 extensive that I have been compelled to leave for a subsequent work the treat 
 ment of those interesting particulars which embrace studies concerning the 
 place where Columbus was born ; the date of his birth ; the facts known or 
 supposed to be known about his life before he entered the service of the 
 Catholic Kings ; the persons who protected him, and their participation in the 
 enterprise ; the source from whence were derived the funds employed in the first 
 expedition ; his relations with the brothers Pinzon ; the place of his first land 
 fall ; his administration of the lands discovered or colonized by him ; the 
 causes of his imprisonment ; the place and date of his death ; the resting-place 
 of his remains ; his character ; and, finally, many other points of less 
 importance about his life which have been hidden under a thick veil until our 
 time, when some historians and critics, after many efforts, have been able to 
 partially raise it, and throw true light on some of those much controverted 
 questions. My object was to present in this work all their discoveries, but I 
 found this field to be so wide that it is even more extensive than the book I 
 now offer to the reader. 
 
 As I have written this book in a language which is not my native tongue, 
 and as I am fully aware that my knowledge of all its intricacies is rather 
 deficient, I have called to my aid the services of a former officer of the British 
 Army, who, besides being a graduate of the Oxford University, is a profes 
 sional journalist, and has occupied important positions here on some of the 
 best reviews and magazines, Mr. A. C. Stevens, who has revised all my copy 
 and corrected its numerous errors. With great pleasure I take advantage of 
 this opportunity to tender him my best thanks for his most useful services. 
 
I also wish to acknowledge the kindness of many other persons to whom 
 I am equally indebted for pictures, descriptions and notes referring to the 
 subject. Among them I must especially mention Ex-Chief Justice Charles P. 
 Daly, President of the American Geographical Society ; Mr. William E. 
 Curtis ; the Editor of the Cosmopolitan Magazine ; Mr. George C. Hurlburt, 
 Librarian of the American Geographical Society ; Mr. Wilberforce Earnes, of 
 the Lenox Library ; Mrs. Helen C. Conant ; and Messrs. Ernesto de Zaldo, 
 Benjamin Giberga, Arturo Cuyas, Juan Romeu, and N. Hammelberg, of this 
 city ; Mr. Charles F. Gunther, of Chicago ; Messrs. Carlos I. Parraga, Jose M. 
 Ramirez Arellano, Jose S. Jorrin, and Hector de Saavedra, of Havana, and 
 finally Mr. Nicolas Dominguez Cowan, of the City of Mexico. 
 
 t 
 NESTOR PONCE BE LEON. 
 
 NEW YORK, APRIL 1, 1893. 
 
THE COLUMBUS GALLERY. 
 
 ? OUIl centuries have scarcely elapsed since Columbus set his foot 
 for the first time on American soil, yet dense darkness already 
 covers almost every one of the most important acts of his 
 life. Although it may be considered as positive that he was 
 born at Genoa, there is not a single trustworthy document in 
 existence which proves it in an incontrovertible manner, and 
 over twenty different places contend for the honor of having been 
 his birthplace. 
 
 The date of his birth is also unknown, and is a point on which there is a 
 great diversity of opinion among historians: some fix it in 1430, others twenty- 
 six years later, in 14,56, and each one of them alleges in defence of his opinion 
 reasons which to all appearances are well-founded. 
 
 Nobody can explain in a satisfactory manner his career during the long 
 period preceding his entering the service of the Catholic Kings. The source of 
 the funds employed in fitting out the petty squadron with which he achieved 
 his great discovery has given rise to a multitude of absurd fables and stories, 
 the most important of which is that which refers to the pawning of the jewels 
 and ornaments of Isabella the Catholic, a tradition the falsity of which has 
 been shown in the most positive manner by Mr. Cesareo Fernandez Duro, one 
 of the most competent authorities on this point, a great admirer of the famous 
 Queen, and than whom no greater champion of the glories of Spain can be 
 found. 
 
 The type and size of the vessels with which the great undertaking was 
 accomplished is also a matter of doubt. It is likewise disputed and, in my 
 opinion, it will never be positively known, which was the spot of the first 
 landfall. The exact date of his death is still uncertain, the house in which 
 he died is unknown, and even the resting place of his remains is a matter of 
 contention ! Such was the indifference of his contemporaries to the glory of 
 
2 THE COLUMBUS GALLERY. 
 
 the man who accomplished the most wonderful discovery ever dreamed of by 
 the human mind, the man who rent the veil which shrouded the Sea of Dark 
 ness and revealed to an astonished Old World a New World hitherto unknown ! 
 
 How could we expect that ungrateful generation to have taken the trouble 
 to preserve for posterity, either on board or canvas, in marble or bronze, the 
 lineaments of the unlucky navigator, who, forsaken by those whom he had 
 benefited and enriched, died at a miserable inn in Valladolid,when none of the 
 con tempo caxy writers, not even his personal friend, the historian and first 
 Chronicler . of the Indies, Peter Martyr, deigned to mention in his works the 
 date of the death of the illustrious Admiral ] 
 
 The grand figure of Columbus, his genius, his unhappy life, the ingratitude 
 with which he was treated by those whom he had made powerful and rich, 
 have ever awakened in me the greatest interest and the deepest sympathy. 
 In the course of my studies on the history of my country, I have had occasion 
 to investigate many of the obscure or dubious facts relative to the life of 
 the Admiral, and although I am not a hero- worshipper, nor do I consider 
 Columbus an indispensable factor in the history of humanity, yet I admire 
 him as one of the greatest men who ever existed, and who, if not the hero, the 
 martyr or the apostle depicted by the mystic Roselly de Lorgues, is very far 
 from being the pirate, thief, coward and forger, represented by his unjust 
 detractor, the distinguished American writer, Aaron Goodrich. In truth, 
 judging Columbus with strict justice and according to the moral canons of 
 his times, he is entitled to be considered as one of the best and purest men of 
 that period of ferocity and demoralization. 
 
 One of the many points which I have carefully investigated has been the 
 personal appearance of the Admiral. In vain have I tried to find some 
 portrait or monument representing him more or less trustworthily. I have 
 in my collection very nearly five hundred so-called portraits of Columbus, 
 many of which are taken from statues, etc., and I have examined, perhaps, 
 double this number. They differ so widely that they cannot, under any 
 circumstances, represent the same man. 
 
 After a very careful examination, I have found that they can be reduced to 
 about thirty-five or forty types, of which the others are copies with greater or 
 lesser changes. 
 
 The pictures and statues of Columbus may be divided into three great 
 groups, to wit : 
 
 First. Pictures and engravings that were, perhaps, taken from life at 
 different periods of his career, and copies of them which are more or less 
 variations from the originals. 
 
THE COLUMBUS GALLERY. 
 
 Second. Pictures, engravings, statues and bas-reliefs executed by their 
 authors in strict accordance with the descriptions of the Admiral which his 
 contemporaries have left. 
 
 Third. Imaginary pictures, engravings and statues by various artists or so- 
 called artists. 
 
 I will, hereinafter, present copies and descriptions of the most important 
 among them ; but I believe it would be well to transcribe now the descriptions 
 of the Admiral left by Peter Martyr, Oviedo, Las Casas, and Ferdinand 
 Columbus, or whoever it was that compiled the Historic published under his 
 name. 
 
 Peter Martyr describes him " as a man of tall stature, ruddy color, well- 
 built and of good appearance." 
 
 Oviedo (Book II. Chap II.} says he was "a man of good stature and 
 aspect, tall, rather than medium-sized, of vigorous build, with brilliant eyes, 
 and well proportioned as to the rest of his face; very red hair and with a 
 face somewhat ruddy and freckled; gracious when he wanted to be so, full 
 of ire when his passions were roused." 
 
 Las Casas (Historia de las Indias, Book I. Chap. II.} says: "As to his 
 exterior person and corporal proportions, he was tall rather than medium - 
 sized ; the face long and commanding ; aquiline nose, light eyes, complexion 
 fair, tending to a deep red. The beard and hair when he was a young man 
 were fair, but very soon turned white on account of his many toils ; finally, 
 in his person and venerable aspect, he presented the appearance of a person 
 of high position and authority and worthy of all reverence." 
 
 Ferdinand Columbus, his son, in (Chap. III.} of the book attributed to 
 him, says : "The Admiral was a man of good appearance, above the medium 
 height, with long face and somewhat prominent cheek-bones, and of average 
 weight. He had an aquiline nose, light eyes, fair complexion and very ruddy. 
 When a youth his hair was fair, but at thirty years of age it had all turned 
 white." 
 
 I will not transcribe the descriptions of Gromara, Benzoni and Herrera, as 
 they wrote a long time after his death, and did nothing more than copy from 
 Peter Martyr, Oviedo, Las Casas and Fernando. 
 
 Any picture not agreeing with these descriptions, must be immediately 
 rejected as apocryphal and absolutely worthless. 
 
THE COLUMBUS GALLERY. 
 
 FIRST GROUP. 
 
 I consider as belonging to the first group, that is to say to the pictures or 
 engravings, the originals of which were, perhaps, taken from life at different 
 periods of the Admiral s career, the following, namely : 
 
 I. The original of the engraving published in the illustrated edition of the 
 works of Paulus Jovius. This was taken from a picture in the Jovian Gallery, 
 which was there before 1546. A copy of the same picture made before the 
 year 1568, is in the Uffizi Gallery in Florence. There are many pretended 
 originals of this Jovian picture : 
 
 1 The portrait at Como, known as the de Orchi. 
 
 2 The picture at the National Library, Madrid, known as the Yanez 
 
 portrait. 
 
 3 The Cogoletto portrait. 
 4 The Cuccaro portrait, from which was taken the Cancellieri 
 
 medallion. 
 II. The original of the engraving published by Capriolo. 
 
 III. The picture attributed to Antonio del Rincon. 
 
 IV. The Juan de la Cosa portrait. 
 V. The Lotto portrait. 
 
 VI. The miniature in the Cluny Museum at Paris, from which, perhaps, 
 the portrait by Sir Anthony More was taken. 
 
 And all the pictures taken with more or less fidelity from the above- 
 mentioned. I will now proceed to describe them. 
 
 I. THE JOVIUS PORTRAIT. 
 
 Paulus Jovius, or Paolo Giovio, Archbishop of Nocera, was born in 1483, 
 and died in 1552. 
 
 Jovius published in J592, at Florence, a book called Elogia Virorum 
 Bellied Virtute Illustrium, in which is found a eulogy of Columbus. This 
 
THE COLUMBUS GALLERY. 5 
 
 edition, notwithstanding the authoritative opinion of Harrisse, had no 
 engravings. There is another edition of 1551, which I have not succeeded 
 in finding, but Winsor says (II. 72,) that it has no engravings, and that it 
 gives an account of Columbus on p. Ill; but the third edition of the said 
 book, published at Basle in 1575, was full of engravings. Among them is 
 the one which I copy. In the third edition the wood engravings were by 
 Tobias Stimmer, a native of Schaffhausen, and the same portrait is found in it. 
 
 In order to show the paramount importance of this portrait it will be 
 necessary to enter into some details regarding the illustrious collector of the 
 gallery. 
 
 Jovius was born at Como, Lombardy, on April 19th, 1483, and died at 
 Florence, on December llth, 1552. He studied at the great University of 
 Pavia, from which he graduated as a physician, with the highest honors. 
 Having much love for geographical and historical studies and also for 
 natural history, he abandoned medicine and applied himself to literature. 
 He was a man without conscience or principles, mendacious, a flatterer, 
 calumniator and intriguer, but of brilliant talents, extensive knowledge, 
 untiring activity, and of great artistic taste. Thanks to these high qualifica 
 tions, lie soon won eminence at the Pontifical Court and attained the 
 position of Archbishop of Nocera. His works became famous in his time, but 
 as his venal pen never hesitated in writing in favor of the highest bidder, he is 
 at present absolutely discredited as a historian. 
 
 Jovius amassed an immense fortune; and his knowledge, his artistic 
 tastes and his venality, placed him in close personal relations with the 
 foremost representative men of his time. Eight enormous volumes have been 
 published containing a portion of his correspondence with a very large 
 number of persons distinguished in arms, sciences, literature and arts, among 
 whom were Emperor Charles V., King Henry II., Popes Clement VII., Julius 
 II., Leo X., and Paul III., the Constable de Montmorenci, the Duke of Alba, 
 and Cardinals Farnesi and Guise. 
 
 He wrote a large number of volumes on many subjects, and in his famous 
 villa on the shore of the Lake of Como, he collected a splendid library, a 
 beautiful cabinet of antiquities, and finally a superb gallery of portraits of 
 famous men. These have won for him an immortality which he did not 
 deserve, on account of his vices and immorality. 
 
 On the same spot where the villa of Pliny the Younger once stood near 
 Lake Como, Jovius built his house, a part of which yet remains. He formed 
 his large collection of portraits of famous persons at an immense expense. 
 Those of all his contemporaries were taken from life by the most distinguished 
 
6 THE COLUMBUS GALLERY. 
 
 artists ; and his collection acquired such great importance and favor that 
 so noble a genius as Julius Romanus bequeathed to it, in 1547, a superb 
 collection of portraits, the work of Raphael, for he believed "he could not 
 find a better place for them." Many artists sent their works there because 
 they considered it an honor to be represented in that famous gallery. About 
 the year 1550 the Duke of Tuscany sent Christopher dell Altissimo and other 
 painters there, to take copies of them for the Florence Gallery; and we know 
 that before 1568 two hundred and eighty of these copies were hanging there, 
 because Vasari mentions them on that date, and among those portraits he 
 includes that of Columbus under No. 6 of the series of "Heroes." This 
 portrait is yet hanging in the Gallery and is numbered 397. In the Vasari 
 Catalogue it is properly placed between Vespucci and Magellan. 
 
 The correspondence of Jovius gives the fullest evidence of his strenuous 
 efforts and great expenditures to obtain trustworthy portraits of the persons 
 he wanted to place in his gallery. He was a fanatical and enthusiastic believer 
 in Columbus, to whom he wanted to erect a magnificent statue. It is not 
 credible that he would be satisfied with an imaginary copy of the features 
 of his great fellow-citizen, nor is it likely that he should have ordered a 
 portrait of the Admiral from life, as he was only twenty-three years old at the 
 time of the death of Columbus. Therefore we are bound to believe that he 
 did not hesitate to acquire, at any price, some trustworthy portrait of the 
 Admiral taken from life, either by some Spanish painter or by one of the 
 many Italian artists who were then traveling through Spain. 
 
 Years after the death of Jovius a large part of this gallery was distributed 
 among the different branches of his family, and although a great number of 
 his pictures are yet kept in the same place, unluckily that of Columbus is not 
 among them, and it is not known where it can be found. Some persons 
 pretend that the picture at Madrid, known as the Yanez portrait, is that 
 original ; others that it is the De Orchi picture. I will speak hereinafter about 
 these ; but I must state thus early that none of them can be either the original 
 of the engraving in the work of Jovius, or in that of Capriolo, nor the original 
 of the famous and well-authenticated copy in the Uffizi Gallery at Florence, 
 which is positively known to have been taken from the Como picture. 
 
 I agree with an illustrious Spanish writer, Cayetano Rossell, who says : 
 "In my opinion, it is incontrovertible that Jovius obtained somewhere an 
 authentic portrait of the Discoverer of the New World." This is proven by 
 the copy made for the Uffizi Gallery, by tradition, and by the assertion of the 
 editor of the work of Jovius, who reproduced all the pictures found in the 
 museum of Jovius, and says: "I have at much expense employed an eminent 
 
THE COLUMBUS GALLERY. 
 
 artist to engrave Jovian portraits painted from life." Furthermore, we are led 
 to believe it by the personal importance of Jovius himself. 
 
 As Jovius had personal relations with the Emperor Charles V. and with 
 many distinguished Spaniards, nothing could be easier than for him to 
 obtain either an original portrait 
 from life or a copy of the same, 
 by an artist at the court of Spain, 
 perhaps by Antonio del Rincon, 
 who undoubtedly knew Columbus 
 personally, as he died in 1500, 
 and who during the last years of 
 his life was always at court, hav 
 ing been appointed royal painter 
 by the Catholic kings many years 
 before. 
 
 The importance of this original 
 picture being thus explained, I 
 will proceed to describe the cut 
 taken from it, which is the first 
 portrait of Columbus ever pub 
 lished. 
 
 The engraving is on wood and 
 somewhat rough, but full of vigor 
 and life, as is almost every one in 
 the book. It is a copy taken from the edition of the Elogia of 1575, which 
 I owe to the kindness of the well-known Americanist, ex-Chief Justice Charles 
 P. Daly. It represents Columbus at over fifty years of age, with abundant 
 and curly hair, without beard or mustache. It is a half-length, showing the 
 hands. The dress looks, at first sight, like that of a monk, but I believe, with 
 Messrs. Carderera and Rios, that it is simply the old Spanish tabard, a kind 
 of cloak worn in Spain in the most ancient times, and still in use by the sailors 
 of the Bay of Biscay. (See frontispiece.) 
 
 This engraving, with some more or less slight changes, has been reproduced 
 in a great number of books. I also give another cut of it, slightly different in 
 treatment, because the features are clearer and more expressive than in the 
 first. (Cut No. 2.) 
 
 The most important copy of the Jovian portrait is undoubtedly that in the 
 UfSzi Gallery, Florence. It has been there, as I stated above, prior to the year 
 1568, and was probably painted by 1 Altissimo. But whoever the painter be 
 
 2. THE JOVITTS PORTRAIT. 
 
8 THE COLUMBUS GALLERY. 
 
 who executed this copy lie was not a faithful copyist. He deliberately tried 
 to soften the harsh features of the weather-beaten mariner, and made the 
 expression milder, representing the face as fuller and the lineaments less 
 
 prominent, but in so doing he 
 took away the energy and 
 vigor, and the expression of 
 decision which is so remarkable 
 in Jovius book. The painter 
 who made the Jefferson copy 
 tried to soften it still more, and 
 his picture has no expression 
 at all. 
 
 Cut No. 3 is a copy of the 
 portrait in the Uffizi Gallery. 
 It was certainly there before 
 1567, and probably since 1552 ; 
 therefore it is the oldest per 
 fectly-authenticated picture of 
 Columbus. 
 
 Many copies in oil have 
 been taken from this one. 
 Among them that owned by 
 Jefferson, and now in the 
 Library of the Massachusetts 
 Historical Society, is very well 
 known. It has also been copied 
 by all kinds of processes. 1 have in my possession over twenty copies of 
 this picture. One is a photograph directly from the one at Florence. All 
 are widely different, and are a good proof of the little reliance to be placed 
 upon copies. 
 
 The engraving in the Jovius book and the Florence portrait may be 
 considered as the originals of about all the pictures of any importance. 
 Artists have introduced sundry variations in them ; some deliberately, to 
 make people believe they were originals or copies from unknown originals, 
 some from a want of skill, but in the greater part of them it is easy to detect 
 that they all represent one single type that of Jovius. 
 
 3. THE FLORENCE PORTRAIT. 
 
THE COLUMBUS GALLERY. 
 
 2. THE YANEZ PORTRAIT, 
 
 PRETENDED BY MANY TO BE THE ORIGINAL PICTURE IN THE JOVIUS GALLERY. 
 
 This picture is of the highest importance, and deserves, therefore, to be 
 carefully considered. 
 
 In the year 1763, the Spanish Government bought from Mr. Yanez, a 
 resident of Granada, a set of four beautiful though somewhat dilapidated 
 portraits, representing Columbus, Cortes, Quevedo and Lope de Vega. Judg 
 ing from appearances all were painted by the same hand; and those of Cortes 
 Quevedo and Lope are excellent likenesses. This precludes all idea that the 
 Columbus portrait could have been taken from life, as Cortes was almost a 
 boy when Columbus died, and Quevedo and Lope were born almost half a 
 century after his death. 
 
 This portrait remained for long years in a corner of the Royal (now 
 National) Library, and until the time of Navarrete, about the beginning of 
 this century, nobody paid any attention to it ; but Navarrete, after a careful 
 examination, attached great im 
 portance to this picture and al 
 ways showed a great predilection 
 for it. 
 
 Carderera says: "The picture 
 is two feet high, painted on a 
 poplar -wood board (chopo), a 
 wood which was never used by 
 the Spanish artists of that time, 
 though it was much employed 
 by the Italians. It is the same 
 size as the Jovian picture, and 
 has the same epigraph ; the ft 
 painter, besides, was a mannerist 
 and wielded a weak brush. The 
 fur robe, close-fitting and crossed 
 in the front, differs widely from 
 that in all known pictures; but a 4 ~ THE YA?JEZ PORTRAIT, AS PURCHASED. 
 scrupulous examination has convinced me that it is recent, and the work of 
 a modern restorer. It looks like an alteration made a few years ago by 
 inexpert hands." 
 
 In Cut No. 4 I present this picture as it appeared before 1877. I will only 
 
10 
 
 THE COLUMBUS GALLERY. 
 
 add that Carderera considers it an old copy of the Jovian picture, and as the 
 oldest portrait of Columbus existing in Spain. He believes it was painted in 
 Italy in the sixteenth century by some artist of the Florentine school. 
 
 On petition of Mr. Carderera and other artists, who made an interesting 
 
 5 THE YANEZ PORTRAIT, AS IT NOW APPEARS. 
 
 report about this picture, it was decided to try to discover if, under the 
 clumsy brush marks of the modern restorer, the original lines could be found; 
 and never was an operation of this kind performed with greater success. 
 
THE COLUMBUS GALLERY. 11 
 
 Following the instructions of Carderera, and under the direction of the distin 
 guished Librarian of the National Library, the able artist, Mr. Salvador 
 Martinez Cubells, undertook this delicate task. The first order received by 
 him was simply "to make an examination, and if from it it was found with 
 certainty that the original had received arbitrary touches of the brush 
 defacing it, to re-establish, as far as possible, all that had disappeared in 
 the drawing and in the coloring." Mr. Cubells began at the top of the 
 picture, and saw immediately that the legend had been changed, and that 
 where he found "CRISTOF COLUMBUS, NORI (sic) ORBIS INVENTOR," 
 the old epigraph read, "COLUMBUS LYGUR. NOVI ORBIS REPTOR." 
 In view of this, he continued cleaning off all the traces of the restoration, and 
 under the old picture he found a new one full of life and vigor, which has all 
 the characteristics of Columbus and bears an extraordinary resemblance to 
 the Jovian type. This was beautifully engraved by Jose Maria Galvan, and 
 from that engraving is taken the cut which I reproduce. (Cut No. 5.) 
 
 The picture had been examined, after its resuscitation, by a great number 
 of artists and experts, who are all of opinion that it does not belong to the 
 Spanish School, as the style and the coloring are that of the Florentine that 
 of the Altissimo ; that it may have been painted by some one of the disciples 
 of the Bronzino ; and that there is no doubt that it was painted in Italy in the 
 
 sixteenth century. 
 
 Mr. Resell adds: "It is useless to state more reasons in favor of the 
 
 authenticity of this portrait, which, after having been cleaned, gives evidence 
 
 that it is one of the oldest known, and which by its material, form, features, 
 
 dress and other conditions, offers greater proof of genuineness than any 
 
 other of those found in our private galleries." 
 
 A comparison of the picture in its first and second states will show at a 
 
 glance the wide difference between them and the clumsiness of the dauber 
 
 who pretended to restore it. 
 
 Mr. Rios claims that this is the original Jovius picture, but I do not 
 
 consider his reasons of sufficient weight to disprove the fact that the four 
 
 pictures purchased together appear to be from the same hand, which shows 
 
 that they could not have been painted prior to the last years of the sixteenth 
 
 century. 
 
 In this picture the hair is shorter than in the portrait at Florence and in 
 
 the Capriolo cut, but is similar to the cut in Jovius book. 
 
 It is a curious fact that not a portrait of Columbus is found in any of the 
 
 catalogues of the collections of the Kings of Spain, from Philip II. to Philip V. 
 This Yanez portrait, as it now stands, is perhaps the only one in which are 
 
THE COLUMBUS GALLERY. 
 
 presented complete all the characteristics of Columbus, as described by those 
 who knew him personally. It is to be regretted that it was not painted by a 
 
 6 THE COGOLETTO PORTRAIT. 
 
 first-rate artist, and that it is not possible to obtain its full history before it 
 was bought for the Royal Library. 
 
 General Fairchild presented a copy of this portrait to the Historical 
 Society of Wisconsin, a few years ago. 
 
 Cogoletto is a small village fifteen miles from Genoa, which claims to be 
 
THE COLUMBUS GALLERY. 
 
 13 
 
 the birthplace of Christopher Columbus A tablet has been placed in an 
 old house in one of the principal streets in commemoration of this dubious 
 
 7 THE DE ORCHI PORTRAIT. 
 
 fact. Nevertheless, the very room and the corner in which the Discoverer 
 was born are shown to all visitors who are willing to spend a small sum for the 
 privilege of admission. In this house there is also a small portrait of 
 
14 THE COLUMBUS GALLERY. 
 
 Columbus which is asserted to be of great antiquity, but evidently it is only a 
 copy from the Jovius. 
 
 But there is another picture in the Council Hall of the village which is 
 really deeply interesting. Its antiquity has been almost proven by Isnardi 
 in his work, Sulle Patria de Colombo, who says that its history can be 
 traced for over three hundred years ; and some have gone so far as to. pretend 
 that it is the original and now lost portrait of the Jovian Gallery. A single 
 glance at it will show its striking likeness to the Altissimo, to the de Orchi 
 and the Yanez portraits, and to all those emanating from the Jovian type. 
 (See Cut No. 6.) It even has the same inscription, thus showing their 
 common origin. The picture is in bad condition, and does not appear to be 
 the work of a master-hand. 
 
 There is a picture at Cuccaro, in the house of Fidele Guglielmo Colombo, 
 which has been preserved for long years by the branch of the Colombo family 
 residing in this place. Cuccaro also claims to be the birthplace of Columbus, 
 and the family asserts in addition that this is the original Jovius portrait, but 
 according to experts it is only a poor copy of it. oSTapione accepted this 
 picture as genuine ; Cancellieri was of the same opinion, and copied and 
 engraved it in his work. 
 
 Feuillet de Conches says that there is another portrait in the Castle of 
 Cuccaro, and that this is only a copy of the Florence portrait. 
 
 Another picture which, not only on account of its intrinsic artistic merit, 
 but also because the owner pretends that it is the original Jovian portrait, is 
 deserving of an extended notice; I refer to the one belonging to Count de 
 Orchi, which is shown in Cut No. 7. 
 
 A slight examination will show that this picture and the one in the Uffizi 
 Galley of Florence have undoubtedly a common origin. The following data 
 about the history of this picture I owe to my distinguished friend and relative, 
 Mr. Jose S. Jorrin, of Havana, who has written many able essays on Columbus, 
 but, unfortunately for Cuban literature, has not yet published his very 
 complete life of the great Admiral, to which he has devoted many years of his 
 useful life. 
 
 Mr. Jorrin, in one of his trips to Italy, became acquainted with Count 
 Giovanni Giovio, the only member of the family of the famous Bishop of 
 Nocera who bears that historical name, and from a long correspondence which 
 was carried on between them, from March 7th, 1879, to April 6th, 1880, he 
 obtained the following facts : 
 
 "Many of the pictures of the said Jovian Museum remain yet at Como, in 
 the old home of the founder, which is still called JEdes Jovis. 
 
THE COLUMBUS GALLERY. 15 
 
 "The collection was divided, a long time ago, between the two branches of 
 the family which were the principal heirs, one taking the pictures of men 
 illustrious in arms, the other that of men illustrious in letters. 
 
 "The first branch is represented at present by the Marquis Giorgio 
 Raimondi, the noble family de Orchi and Mr. Vietro Novelli ; the second by 
 Count Francisco and three nieces. 
 
 "The family de Orchi sold to Prince Jerome Napoleon the portrait of 
 Cosmo di Medici, painted by Bronzino, and it is the present owner of that of 
 Columbus. On the upper part there is an inscription in two lines, 
 COLUMBUS LYGUR., NOV. ORBIS REPTOR, but its bad condition 
 prevented a photograph being taken from it ; therefore Count Giovanni Giovio 
 requested the Milanese artist, Nessi, to make a very faithful and exact 
 reproduction of it in crayon one-half the actual size. This drawing was 
 photographed, and Mr. Jorrin obtained some copies of it." 
 
 Dr. Alessandro de Orchi is the present owner of this picture, which 
 is not signed. Some attribute it to Bartolomeo Suardi and others to Sebastian 
 del Piombo. If it was painted by Piombo it could not have been taken from 
 life, as this artist was born in 1485, and therefore was only twenty-one years of 
 age at the date of the death of Columbus in 1506, and he never left Italy 
 until 1510. 
 
 Bartolomeo Suardi (II Bramantino) reached the zenith of his fame at the 
 end of the fifteenth century, and died in 1530 ; but there is no record of his 
 having ever been in Spain, although we have very full accounts of his life. 
 
 The picture may be from the brash of one of these painters, or from that 
 of any other distinguished artist, who, perhaps, copied it from an original 
 Spanish painting, but its likeness to the Jovian cut and to the copy in the 
 Uffizi Gallery is very remarkable, and the best judges ascribe it to a master 
 hand. 
 
 The distinguished Americanist, Mr. Clement Markham, considers this 
 picture as the only authentic portrait of Columbus now in existence. 
 
If) 
 
 THE COLUMBUS GALLERY. 
 
 I will now proceed to give a cursory description of the most important 
 portraits based on the Jovian type, which are, the Belvedere, the Cancellieri, 
 Crispin de Pas, Borghese, Malpica, Altamira, Villafranca and Talleyrand. 
 
 Another well-known copy of the Jovius picture is the Belvedere. It was 
 painted in 1579, by order of Ferdinand I. of Austria, and in 1610 it became 
 
 8 THE BELVEDERE POETRAIT. 
 
 the property of his son, Archduke Ferdinand, Count of Tyrol, who placed it 
 in his castle of Ambras, near Innspruck, where it remained up to 1805, when 
 it was taken to Vienna and placed in the Belvedere Gallery, where it can still 
 be seen. 
 
 It is a beautiful, small miniature in oil, painted on wood, but the name of 
 the eminent artist is unfortunately unknown. There is an engraving of it in 
 Frankl., Christoforo Colombo, a German poem, published at Stuttgart in 
 
THE COLUMBUS GALLERY. 17 
 
 1836. My cut No. 8 is taken from a lithograph, for which I am indebted to 
 the kindness of ex-Chief Justice C. P. Daly. 
 
 Francesco de Cancellieri published a book at Rome, in 1809, with two title 
 pages, the second of which reads, Notizie Storiche e Bibliographiche di 
 CJiristoforo Colombo di Cuccaro nel Mon- 
 ferrato, which is full of curious and inter 
 esting references to Columbus, who, as he 
 claims, was born at Cuccaro. 
 
 On this title page there is a beau- J 
 tiful copper medallion, which Cancellieri 
 says (p. 180} is taken from an 
 picture belonging to Fedele Gruglielmo 
 Colombo of Cuccaro, and engraved by 
 Giuseppe Colendo (although it is signed 
 Jean Petrini sculpsU}, and which he 
 prefers to any other, because "it must 
 be the most faithful and correct like- 
 
 ., i f , . 9 THE CANCELLIERI ENGRAVING. 
 
 ness, since it has been lor long years in 
 
 the possession of the relatives of Columbus." The engraving is so small 
 
 (Cut No. 9) that it is difficult to make much out of it ; yet, at first sight, it 
 
 appears to be a somewhat softened reproduction of the Capriolo engraving. 
 
 It also looks very much like the one in the National Library and the Yanez 
 
 portrait. 
 
 Carderera valued this little medallion very much on account of its 
 artistic merit, but, as Cancellieri says, it is only a copy from the portrait 
 of Cuccaro, which is taken from the portrait at the Jovian Gallery, and, 
 therefore, has no claim to originality. 
 
 In a work entitled Effigies Regum et Principum quorum Vis ac 
 Potentia in Re Nauticd sen Marina, prce cceteris Spectabilis est, which was 
 published at Cologne in 1598, is the beautiful portrait of Columbus, 
 reproduced in cut 10, and for which I am indebted to the kindness of Mr. W. 
 C. Curtis. 
 
 It is the work of the famous engraver, Crispin de Pas or de Passe. It is 
 undoubtedly taken from Jovius, but is a far more artistic work than the Jovius 
 or the Capriolo, and has greater deviations from the type. The attire is that of 
 a Franciscan monk with the cowl, and a gold chain around the neck, and it 
 holds a sextant in the left hand. The nose has been greatly changed, being 
 no longer of the aquiline type; the hair is short and curled ; but the features 
 generally are those of the Jovius. 
 
18 
 
 THE COLUMBUS GALLERY. 
 
 Carderera strongly criticizes the engraver who so arbitrarily deviated from 
 the well-known type. 
 
 The chain is the one given to Columbus by the Cacique Ouacanagari in 
 Hispaniola, and to which Bernaldez refers in his history of the Catholic 
 Kings. 
 
 In the Borghese Gallery there is a pretended portrait of Columbus, which 
 it is claimed was painted in 1519. This painting is nothing more than a 
 
 very unfaithful copy of the 
 Jovius, and the date at which 
 it was painted is not certainly 
 known, but it is well-estab 
 lished that it is very old, and 
 though there is no record of 
 the name of the artist, it is 
 undoubtedly the work of a 
 master-hand. 
 
 According to Carderera, 
 this is a copy painted by 
 order of Prince Aldobran- 
 dini, and was for many years 
 the ornament of his magnifi 
 cent palace in Rome. 
 
 Some critics pretend that 
 this picture is simply a re 
 presentation of the Saviour 
 which has been copied for the 
 purpose of passing it off as 
 a portrait of Columbus, yet 
 the reputation of the gallery 
 where it has been for so long 
 does not permit of such a 
 supposition. 
 
 In the gallery of the Marquis de Malpica at Madrid, where it was examined 
 by Carderera and Rosell at their leisure, there was many years ago a 
 picture of the Admiral. It has strangely disappeared, and it has been 
 impossible to discover the slightest trace of its present whereabouts. 
 
 Mr. Carderera calls it a somewhat imperfect copy of the one in the Uffizi 
 Gallery, with some minor alterations. It is a canvas two feet in height, 
 presenting only the bust of Columbus, wearing a vest, over which is an 
 
 enttif au^m Gertua clara. Columbus 
 ^promts in (drum 
 
 * cur^tt; rioslrv Jittctrnus 
 
 dca?x.i ,>i f./peria jrarirura 
 i. tuIenJitihinf ulurplura ft ma.iar~a re 
 
 
 10 THE CRISPIN DE PAS ENGRAVING. 
 
THE COLUMBUS GALLERY. 19 
 
 ample dark green mantle. On the top is the epigraph, " CHRISTOFORUS 
 LIGUR., NOVI ORBIS REPERTOR." Carderera believes the picture to be 
 about three centuries old, and this is also the opinion of Rosell. 
 
 The Marquis of Villafranca, in 1601, collected a gallery of portraits of 
 illustrious persons; and from a curious letter quoted by Carderera, I find that 
 his agent in Rome wrote him "that the pictures of the Emperors are all 
 finished, one hundred and fifty-seven in number, and that those of the 
 illustrious men are completed with the exception of fifty, and that there will 
 be in all three hundred and twenty pictures." Carderera says that he 
 believes that all these pictures were copied from those that he had seen in 
 Rome in the Borghese Palace, which were copied from those in the Jovian 
 Museum ; therefore, the portrait of Columbus in this gallery was simply a 
 copy of the Jovius. 
 
 The picture in the gallery of the Count of Altamira was also a copy from 
 that in the Uffizi Gallery. The collections in the palaces of Altamira and 
 Villafranca have been dispersed, and the present whereabouts of these 
 portraits of Columbus is unknown. 
 
 The Duke de Talleyrand, Sagan and Valengay has sent to the French 
 Geographical Society at Paris a photographic copy of a pretended picture of 
 Columbus. This picture belonged to the gallery of the famous diplomatist, 
 Prince C. M. Talleyrand, and is now at the Chateau de Valengay, Departement 
 de L Indre, France. The painting is very old and bears the following 
 inscription : 
 
 "H^EC EST EFFIGIES LIGURI MIRANDI COLOMBI, 
 ANTIPODUM PRIMUS RATE QU1 PENETRAVIT IN ORBEM," 
 
 and the name of Sebastian del Piombo without any date. I have already 
 given a notice of Piombo in the description of the de Orchi portrait. 
 
 Count Louis de Turenne, in a report to the French Academy, mentions 
 that the picture is not only that of Columbus, painted by Sebastian del 
 Piombo, but also that it is taken from life. Following the example of 
 Roselly des Lorgues, he does not take the trouble of explaining from whence 
 he derived his information. 
 
 I have not seen any engraving of it, but, from the descriptions which I 
 have read, I suppose this portrait is only an old copy of the Altissimo, with 
 some slight alterations. 
 
20 
 
 THE COLUMBUS GALLERY. 
 
 THE CAPRIOLO PORTRAIT. 
 
 The engraving by Aliprando Capriolo was first published in the work, 
 Cento Capitani Illustri, printed at Rome, in 1596 ; a second edition appeared 
 in 1606, with additions by F. Tomasini. 
 
 The artistic work is greatly superior to that of Jovius, but there is no 
 doubt that the picture in the Jovian Gallery was the original of the Capriolo, 
 
 although many variations were intro 
 duced in it, owing in part to the faulty 
 style of Capriolo, who always wanted 
 to represent all his heroes as good- 
 looking, and, with that end in view, 
 purposely softened the vigorous linea 
 ments, depriving his pictures of energy 
 and life. 
 
 The portrait is a bust, with long 
 lank hair, carefully combed at the 
 sides and covering the ears. The 
 
 tabard is changed to a Roman toga, 
 crossed over the shoulders, and in a 
 corner are seen the arms of Columbus. 
 Carderera considered the engraving as 
 one of the most important portraits of 
 Columbus, and was of opinion that this cut and that of Jovius were the most 
 fitting to be used in erecting any iconographic monument to Columbus. 
 
 The illustrious Spanish writer Martin Fernandez de Navarrete also held 
 this engraving in high esteem, and reproduced it in the French edition of one 
 of his works. 
 
 The picture attributed to Rincon also bears an extraordinary resemblance 
 to this Capriolo cut, which proves their common origin. 
 
 Carderera also states that a copy in oil of the Capriolo portrait has long 
 been in the Uffizi Gallery. 
 
 The portrait in the Naval Museum at Madrid is nothing more than a 
 splendid reproduction in oil of the Capriolo engraving and of other historical 
 types. Mr. Curtis, in his able article already quoted, says: "It is asserted 
 to be a genuine portrait painted in 1504 or 1505, in Seville, upon the return 
 of Columbus from his fourth and last voyage, and shortly before his death ;" 
 
 11 THE OA.PKIOLO ENGRAVING. 
 
THE COLUMBUS GALLERY, 
 
 21 
 
 and, with his usual good judgment, he adds, "but there is no evidence to 
 sustain the claim." I will say more: it is positively known that it was 
 
 12 PORTRAIT IN THE NAVAL MUSEUM, MADRID. 
 
 painted by order of the government, in 1838, by a French artist named Charles 
 Legrand, and only in French and American works have I seen the assertion to 
 which Mr. Curtis refers. 
 
22 
 
 THE COLUMBUS GALLERY. 
 
 Carderera says : " We can Imt praise the judgment of the artist who, when 
 called upon a few years ago to paint a portrait of Columbus for the Naval 
 Museum, took as a model Capriole s engraving. We disapprove of the change 
 
 13 THE CEVASCO PORTRAIT. 
 
 that the painter made in the dress, in copying the velvet cloak of the portrait 
 in the National Library/ 
 
 The picture in question is really beautiful ; the expression of melancholy, 
 benevolence and energy, and its exact agreement with the known traits of the 
 physiognomy of Columbus, have rendered this portrait a universal favorite, 
 
THE COLUMBUS GALLERY. 
 
 and it is, as Mr. Curtis says, "one of the most widely known and generally 
 accepted portraits of Columbus." 
 
 Many writers claim that it is a copy of the Jovius made in the six 
 teenth century some going so far as to assert that it is the original itself. 
 Others attribute it to Maella, but there is another portrait of Columbus from 
 the brush of this able artist, and it differs so widely from the one in the 
 Naval Museum that it is clearly seen that they cannot be the work of the 
 same hand. 
 
 There is a beautiful copy of this portrait in the Geographical Society of 
 New York, presented years ago by its enthusiastic President, ex-Chief-Justice 
 Charles P. Daly. 
 
 In the Red Room of the Council Hall at Genoa there is an oil painting of 
 Columbus, which was presented, in 1862, to the Municipality by the sculptor, 
 G. B. Cevasco. I have not 
 been able to obtain any 
 details regarding the his 
 tory of this painting, which 
 is undoubtedly modern, but 
 I have secured a copy of it, 
 which I reproduce in cut 
 No. 13. 
 
 I believe it is an imita 
 tion of the picture in the 
 Naval Museum with some 
 variations, taken, perhaps, 
 from Capriolo. The face is 
 full of energy and intelli 
 gence, and the dress is the 
 conventional one. The hair 
 is long and flowing, and is 
 almost covered by a barret- 
 cap. The artist was not a 
 common one, and has fol 
 lowed the well-known des 
 criptions of the Admiral. 
 
 In the splendid work 14 THE CANTU ENGRAVING, 
 
 entitled Iconographie di 
 
 Uominl Sommi nelle Scienze e nelle Arti Italiani, Naples, 1854, there is a 
 beautiful engraving of a portrait in oil by Stuppi. I believe Mr. Curtis was 
 
 \ 
 
24 THE COLUMBUS GALLERY. 
 
 perfectly right in saying that "it is undoubtedly a copy of the Capriolo 
 engraving," but I may add that the artist did not improve on his model by 
 softening the austere lineaments of the Admiral. 
 
 Cut No. 14 is the reproduction of a steel engraving in Cesar Cantu, 
 Universal History, the Spanish translation of which was published at Madrid 
 in 1856. 
 
 I believe that the artist followed the Capriolo, but he introduced so many 
 changes in it, that although it agrees with the general characteristics of 
 Columbus, yet there is a material difference between it and the Jovius and 
 Capriolo types. The artist has greatly idealized the rough sketches of Jovius 
 and Capriolo, but at the same time has succeeded in presenting something 
 that may be accepted as a portrait of the Navigator. 
 
 III. THE ANTONIO DEL RINCON PORTRAIT. 
 
 This would be the most important portrait of Columbus, if its authenticity 
 could be established. It tallies exactly with the descriptions of the Admiral, 
 and looks very much like the Jovian portrait. It is very old, and has been 
 reproduced numberless times. From time immemorial it has been in the 
 private library of the Kings of Spain, and it is said traditionally that it was 
 painted by Antonio del Rincon upon the return of Columbus from his second 
 voyage. 
 
 Unfortunately, there is not a scintilla of evidence as to its authenticity. It 
 is not even known when or how it became the property of the Crown, as 
 neither Palomino, Pacheco, nor Cean Bermudez mentions this portrait among 
 the known works of this artist. 
 
 Notwithstanding this fact the picture is very old, and was evidently the 
 work of a great artist. Copies of it were taken and published before 1600, 
 and its general characteristics confirm the belief that it is an original Rincon^ 
 or, if not, it is at least the work of one of his disciples. 
 
 There are many reasons advanced to show that Rincon painted a picture 
 of Columbus. Rincon, who was the true father of the Spanish School of 
 Painting, was born at Guadalajara in 1446, and died at Seville in 1500. He 
 
THE COLUMBUS GALLERY. 
 
 25 
 
 was for years court painter to Ferdinand and Isabella, whose portraits he 
 painted; and they were still in the Church of San Juan de los Reyes, at 
 Toledo, when Palomino wrote 
 his Historia de la Pintura en 
 Espafia, Vol. //., p. 235. 
 He also painted some portraits 
 of Princes, and that of Anto 
 nio de N ebri ja. He resided at 
 court from 1493 up to his 
 death in 1500, and must have 
 become acquainted with Col 
 umbus upon his return from 
 his first voyage. It is there 
 fore almost incredible that he 
 should not have painted a 
 portrait of the Discoverer, 
 either by command of the 
 Kings or by request of the 
 Admiral himself, who was a 
 very vain-glorious man, and 
 then in the zenith of his fame. 
 Furthermore the portrait, 
 though exceedingly old, has 
 such a spirited air, and such 
 a vigorous expression, that it 
 looks exactly as though it were taken directly from life. Even the serene 
 expression of the face appears to indicate that this portrait was taken during 
 the few months in which the Admiral led a happy life. (Cut No. 15.) 
 
 There were at one time in Spain many pictures by this artist, all belonging 
 to the Crown ; but most of them were destroyed in the terrible conflagration 
 at the royal residence, El Pardo, in 1608, together with a large number of the 
 works of other early Spanish artists. Yet I must say that in the catalogue 
 of El Pardo there is no mention of any portrait of Columbus by Rincon, or 
 by any other master ; and, besides that, there is no mention of Columbus ever 
 having sat before the easel of Rincon. 
 
 The medallion painted by Julio Romano has a great resemblance to this 
 painting. This type was very well known outside of Spain at a very early 
 period, and was reproduced, with some changes, in foreign editions of Herrera, 
 in Van der Aa, and in many other books. 
 
 15 THE RINCON PORTRAIT. 
 
26 
 
 THE COLUMBUS GALLERY. 
 
 Roselly des Lorgues Las also accepted and published this picture in his 
 "Life of Columbus" and he has in his collection the portrait in oil, from 
 which he took his engraving, and claims that his painting is the original work 
 of Rincon. But the good old Count has gone so far in many points, referring 
 to St. Christopher Columbus, that we must not place much faith in his new 
 claim. He has also presented to the astonished reader a portrait of Beatrix 
 Enriquez, the noble Cordovan lady, mother of Ferdinand Columbus. Where 
 did he obtain it ? And what proof has he of its being genuine ? These are 
 idle questions. It is well known that the apologist of the " Bearer of the 
 Cross" never paid much attention to evidence of any kind. Yet I cannot but 
 approve his selection of this portrait for his book, as this is perhaps the only 
 plausible assumption in all his alleged discoveries about Columbus. 
 
 The Navarrete portrait, as can be seen at a glance, is a copy of the Rincon, 
 with, perhaps, some minor changes taken from the Capriolo picture. The 
 
 artist has changed the position, and the 
 Admiral is represented as looking to the 
 left. It was published in the Parisian 
 edition of Navarrete s work, Relation des 
 Quatre Voyages de CJiristopJie Colomb, 
 (1828). Mr. Curtis believes it is taken 
 from the picture in the Naval Museum, 
 which it resembles in some general traits 
 and in the position of the head. It bears 
 a curious note which reads : "Engraved 
 on stone by Pedro Colon, Duke of Vera- 
 guas, a descendant of the illustrious navi 
 gator, and is taken from an original and 
 contemporary portrait which once belong- 
 
 16 THE NAVARRETE PORTRAIT. 
 
 ed to his Catholic Majesty." This shows with certainty that it is a copy from 
 the Rincon. 
 
 In the splendid edition of the Codice Diplomatico Colombino, published by 
 Banchero, in Genoa, there is a lithograph representing Columbus which is 
 evidently taken from the Rincon portrait, with the exception of some slight 
 variations in the shape of the mouth. I reproduce this picture not only on 
 account of its beauty, but also to show the high esteem in which the Rincon 
 portrait is held, not only in Spain and France, but in Italy as well. (Cut 
 No. 17.) 
 
 As the best description I have found of the two portraits in the Museum of 
 Rouen, France, is that given by Mr. Curtis in the Cosmopolitan Magazine, 
 
THE COLUMBUS GALLERY. 27 
 
 I will take the liberty of copying it verbatim from his article: k ln the 
 Museum at Rouen, France, are two pictures of Columbus, placed side by 
 side, but as unlike as it is possible for two portraits of the same person 
 
 17 THE BANCIIERO PORTRAIT. 
 
 to be, and the contrast is very amusing. In one the hair is gray and thin, 
 and the flesh is pallid. It is a modern canvas, signed P. Le Carpentier, and 
 inscribed, COLUMBUS LIGUR. NOYI ORBIS REPTOR. A note on the 
 back says: This portrait was copied in wax in 1835 from the original 
 
28 THE COLUMBUS GALLERY. 
 
 portrait of Sebastian del Piombo, which formed a part of the collection of the 
 Escurial, and which is attributed by some to Antonio del Rincon. It is 
 evidently a copy of the portrait in the Queen s Library at Madrid. 
 
 " The other Rouen portrait is a sharp and vigorous piece of work, with 
 black hair, black eyes, considerable color and expressive features. It points 
 a finger to a sphere resting upon a table with some books." 
 
 IV. THE JUAN DE LA COSA PORTRAIT. 
 
 The famous chart of Juan de la Cosa, the pilot of Columbus, is drawn on 
 parchment and bears an inscription which reads, "Juan de la Cosa la fizo en 
 el puerto de Santa Maria en el ano 1500" This chart, which was first 
 described in the most eulogistic terms by Humboldt, was then the property of 
 Baron Walckenaer, and is now in the Naval Museum at Madrid. 
 
 On one of its sides, in the place that would correspond to the position of 
 Mexico and Central America, there is a miniature representing St. Christopher 
 conveying the Infant Jesus on his back from one continent to the other. The 
 drawing is rude, and the features of the Saint have not the slightest resem 
 blance to those of Columbus, as described by his contemporaries. There is no 
 direct evidence to show that Juan de la Cosa ever intended to portray Colum 
 bus in this chart, yet I doubt not that La Cosa may have tried to depict in it 
 the allegorical representation of his chief (whose name signifies "Christ- 
 Bearer") under the figure of this saint carrying the Christ on his shoulders, 
 though St. Christopher was never considered as a patron of navigators ; and 
 that in doing this he never intended to present a faithful portrait of the 
 Admiral. That is entirely in accordance with the customs of those times, as 
 can be seen by the delineations of many kings represented in the same chart, 
 none of which are claimed to be portraits. 
 
 One of the defenders of this picture is Roselly des Lorgues, who considers 
 it symbolical of the discoveries of Columbus and of his purpose to extend the 
 Catholic religion. Winsor says that some authors claim that the picture of 
 Herrera is based on that of Juan de la Cosa. I quite agree with him when he 
 says: "This theory is hardly accepted by the critics." 
 
 I present to my readers this picture, which is taken from the new copy of 
 the map of La Cosa, published at Madrid, not only as a pretended portrait of 
 Columbus, but also as a very curious and interesting historical allegory. In 
 
THE COLUMBUS GALLERY. 
 
 18 THE JUAN DE LA COSA PORTRAIT. 
 
30 THE COLUMBUS GALLERY. 
 
 fact, though it looks more like a grotesque Japanese caricature than a Spanish 
 picture of the year 1500, its genuineness is unquestionable, arid it is the 
 earliest attempt known to portra} 7 " Columbus, if such was the intention of the 
 famous pilot. 
 
 V. THE LOTTO PORTRAIT. 
 
 This is undoubtedly one of the most important portraits of Columbus. It 
 is a beautiful work of ait, is signed "Laurens Lotto F. 1512," and the most 
 distinguished experts, as Bode, Raineri, Morelli, Cavalcasette, and others, are 
 of the opinion that there is no doubt about its being a work of the famous 
 master. Therefore I will raise no doubt as to its antiquity and authenticity, 
 as coming from the brush of Lotto. But does it represent Columbus ? and, if 
 so, was it, as is claimed, taken from life ? 
 
 Mr. John C. Van Dyke has published in the Century Magazine (October 
 1892), an admirable article about this now famous picture. In view of its 
 comprehensiveness, fairness and sound reasoning, I will take the liberty of 
 quoting from it somewhat freely. 
 
 The history of this picture after it was painted is thus given in the article : 
 
 "It is supposed to have been painted for Domenico Malipiero, the 
 Venetian Senator and historian, at the instance of his correspondent, Angel o 
 Trevisan (Trivigiano), secretary of the Venetian ambassador to Spain, who in 
 1501 was in intimate communication with Christopher Columbus at Granada. 
 Malipiero s manuscripts (and possibly this picture) are said to have passed to 
 Senator Francesco Longo. The Gradenigos were the heirs of the Longos, and 
 it was from them that the Cavaliere Luigi Rossi, a steward of the Duchess of 
 Parma, purchased the picture. Just before Rossi s death the picture was 
 sold to a person named Gandolfi, who had it somewhat repaired and restored. 
 The badly damaged head and red cap of an Indian at the right were cut out, 
 and the picture was made square instead of oblong. From Gandolfi it passed 
 to Signer Antonio della Rovere, of Venice, in whose house it was seen in 1891, 
 by Captain Frederick H. Mason, United States Consul-General at Frankfort- 
 on-the-Main, and by him bought for the World s Fair at Chicago. The record 
 cannot be traced with any certainty beyond the Gradenigos, and even if it 
 could it would prove no more than what the picture itself reveals. 
 
 To all this I must add that the present owner of this picture is Mr. James 
 W. Ellsworth of Chicago, and for this reason it is often called "the Ellsworth 
 picture." 
 
THE COLUMBUS GALLERY. 
 
 31 
 
 I will now describe this painting (cut No. 19), and, as I have never seen the 
 original, I will make use of another able article, which I find in the Progresso 
 Italo- Americano of this city, signed with the initials "P. S.," the writer of 
 which is also an ardent admirer of the Lotto portrait. 
 
 The picture at present is three feet by two feet eight inches in size. 
 Originally it was larger, but on account of careless handling it was so damaged 
 
 19 THE LOTTO (ELLSWORTH) PORTRAIT. 
 
 that it was found necessary to trim it to its present dimensions about the 
 middle of this century. The face is turned to the right, as can be seen in the 
 cut (No. 19). The head is uncovered, the hair white and falling almost to the 
 shoulders ; it is parted in the middle, and the face is clean shaven. The 
 carnation is almost of a bronze color ; and he is clothed in a low-necked white 
 
THE COLUMBUS GALLERY. 
 
 shirt without collar, with a red or scarlet coat, which is almost concealed by 
 an ample mantle, with fur lapels, somewhat after the fashion of the one 
 in the Yafiez portrait, before all the additions by an inexpert restorer were 
 removed. In the right hand he holds a chart copied from that by de 
 Ruysch, in 1508, and in the left a common nautical hour-glass, which 
 stands upon a book labelled Aristotel, and there are other books on the top 
 of a book-case. The background is gray, and in the right hand corner is 
 a window giving a view of a landscape. It is said that before the picture 
 was trimmed there was the head of an Indian in the foreground. 
 
 The map itself is sufficient evidence that the picture was not taken from 
 life, as it was first published in 1508, two years after Columbus death, or 
 six or seven years subsequent to 1501 or 1502, when it is pretended that it was 
 painted. The able defence of this map by Mr. Van Dyke, who maintains that 
 all the countries shown in it were already known to the Spaniards, falls to the 
 ground when we consider the telling fact discovered by the keen eye of Mr. 
 Harrisse that the artist has copied the errors of longitude which are found in 
 the de Ruysch map. 
 
 I will not deny the possibility that some Italian or Spanish artist (and 
 there were many capable ones then in Spain, notwithstanding the assertion of 
 Mr. Van Dyke to the contrary), may have taken a picture of Columbus from 
 life, and that Lotto may have copied it, making, as was very common, some 
 more or less appropriate additions. But in any event, if the Lotto portrait 
 was ever intended to represent Columbus, it was not taken from life, and 
 therefore cannot be accepted as an archetype, as is claimed by its defenders. 
 
 I admit that the picture bears a certain resemblance to that in the NavtJ 
 Museum ; but this is undoubtedly modern. I also admit that it has some of 
 the well-known characteristics of Columbus, but I cannot for a moment 
 agree with the opinion of Mr. Van Dyke, when he says, "a comparison, 
 feature by feature, will show that the Lotto portrait tallies exactly with the 
 descriptions that we have of Columbus. 
 
 I repeat that I have never seen the original picture. I have over twenty 
 copies of it, photographed, engraved and reproduced by different processes, 
 and some of them are splendid, but in none of them have I been able to find 
 "the air of authority," or "the appearance of a nobleman," and find that none 
 of them tally exactly with the descriptions in our possession of the person of 
 Columbus. I will say more : I find the face in the Lotto portrait vulgar and 
 wanting in energy, looking more like that of an old women than of a man 
 of the decided character, iron will, and clear intelligence of the great Admiral. 
 Perhaps I may change my opinion if I see the original portrait; possibly I may 
 
THE COLUMBUS GALLERY. 33 
 
 see all the qualities that Mr. Van Dyke claims for it, but the copies in my 
 possession, which, as I have said, number over twenty, do not give an idea of 
 the Columbus whose description we now have. 
 
 I have already given the history of the picture after it was painted. I will 
 now present to my readers the history of how it was painted, and will take it 
 from Mr. Curtis article : 
 
 "When the discoveries of Columbus became known in Venice, Dominico 
 Pisano was sent as an embassador from that republic to the court of Spain. 
 He went chiefly for the purpose of obtaining information for the use of the 
 merchants of Venice concerning the commercial value, the resources and 
 products of the newly discovered lands, and to obtain maps and charts for the 
 benefit of Venetian navigators. He had a secretary named Giovanni Camerino, 
 or Cietrico, who made it his business to cultivate Columbus and succeeded in 
 becoming very intimate with him. Camerino obtained secretly from the 
 discoverer a chart of the new world and sent it to Venice. 
 
 "Pisano also forwarded to his government many voluminous reports 
 concerning the discoveries of Columbus, which were based upon information 
 received directly from the Admiral and his companions on the voyages. It is 
 known also that Lorenzo Lotto visited Spain while Pisano was there and 
 completed several important works of art under his patronage. There are 
 sixteen examples from his brush now in the city of Madrid, painted in 
 Granada, Seville and other places during these years. While there is no record 
 or tangible evidence that Columbus ever sat before his easel, it is very probable 
 that he did so, as just at the time of his visit the Venetian ambassador was 
 cultivating him with the most assiduous attentions and hospitality." 
 
 There is in Paris, a certain troublesome American lawyer who has almost 
 consecrated his life to the study of early American history, who entertains no 
 respect for fables, legends, traditions, or old woman s tales, has no love for 
 romance in history, and is decidedly opposed to all those who are striving to 
 make a delusion and a farce of Jii story. As soon as he read the articles of 
 Mr. Curtis and others, he took up his trenchant pen and sent a letter to the 
 editor of the Sun of New York, from which we quote the following caustic 
 paragraphs : 
 
 "It is not true that Domenico Pisani was sent to Spain as an ambassador 
 from the Venetian Republic when the discoveries of Columbus became known 
 in Venice. 
 
 "It is not true that he went chiefly or at all for the purpose of obtaining 
 information for the use of the merchants of Venice concerning the commercial 
 
34 THE COLUMBUS GALLERY. 
 
 value, the resources and products of the newly discovered lands, and to obtain 
 maps and charts for the benefit of the Venetian navigators. 
 
 "It is not true that Pisano had a secretary named Giovanni Camerino or 
 Cietrico. 
 
 "It is not true that the said Camerino, or Cietrico, obtained secretly from 
 the discoverer a chart of the New World. 
 
 "It is not true that Pisano forwarded to his government many voluminous 
 reports concerning the discoveries of Columbus. 
 
 "It is not true that Lorenzo Lotto visited Spain while Pisano was there, 
 and completed several important works of art under his patronage. 
 
 " It is not true that there are sixteen or any examples from his brush now 
 in the city of Madrid, painted in Granada, Seville, and other places during 
 these years. 
 
 "It is not true that the history of the canvas may be traced back nearly 
 three centuries. 
 
 "As to the picture itself, viewed at least as a portrait of Christopher 
 Columbus, it is a sheer Italian fabrication, which, like all Italian forgeries, 
 particularly those of Bolognese or of Venetian origin, proves too much." 
 
 "Columbus is made therein to hold a map. The map is not, as we should 
 have supposed, a map of his maritime discoveries. It is a map of Brazil, 
 which he never discovered, or claimed to have discovered, or visited ai any 
 time. It is not even a Spanish map. 1 
 
 Who is right in this question ? Let the reader decide for himself. As for 
 myself, I regret to state that however able the presentation of the claims, by 
 Mr. Curtis, and however powerful the defence of it made by Mr. Van Dyke 
 may be, and without disputing the authorship of this beautiful work of art, I 
 feel inclined to repeat, with the scholarly author of so many admirable works 
 of Columbus : 
 
 " Withal, it should be stated, in justice to the Lotto portrait of Columbus, 
 that it is neither better nor worse than any and all the other apocryphal daubs 
 and portraits which are now being collected in Italy, in Spain, and in the United 
 States, by over-zealous patriots, who do not seem to be aware that they are 
 striving to make of history a delusion and a farce !" 
 
THE COLUMBUS GALLERY. 35 
 
 VI. THE PICTURE IN THE MUSEUM AT CLUNY. 
 
 On page 272 of Lecoy de la Marche, Les Manuscrits et la Miniature, a 
 beautiful work published by the Biblioihegue de L Enseignement des Beaux 
 Arts, Paris, without date, but about 1887, I find the following important 
 notice : 
 
 During the Renaissance, the painter Yasco, a disciple of Perugimo, 
 embellished a collection of documents deposited in the Portuguese Torre del 
 Tombo, very richly with vignettes and arabesques. About the same time, a 
 Spanish artist painted on parchment an interesting portrait of Christopher 
 Columbus, El Descubr idor del Nuevo Mundo (the Discoverer of the New 
 World). It is a full face portrait, attired in a plaited shirt and a yellow 
 doublet with stripes of various colors. The head is covered by an angular 
 cap with turned up edges. This portrait can now be seen at the Museum at 
 Cluny." 
 
 Perugino (Pietro Yannuci), the teacher of Raphael, was born in 1446. He 
 opened his school at Perugia in 1490, and died there in 1524. Therefore, the 
 Spanish artist who painted this miniature might very well have taken it from 
 life. I have never seen a copy of this portrait, neither have I seen it men 
 tioned in any book, but I consider it of the highest importance and deserving 
 of very careful study. 
 
 Could this portrait be one of the two miniatures from which it is claimed 
 that the Morus portrait was copied ? The description does not agree, but 
 Morus may have changed the dress and followed the features in the miniature. 
 
 THE SIR ANTHONY MORE PORTRAIT. 
 
 I am indebted to the kindness of Mr. Charles F. Gunther, of Chicago, not 
 only for many photographic copies of this truly superb picture, one of 
 which I reproduce, but also for many interesting notices about it. 
 
 Whilst I completely agree with the courteous owner of this artistic jewel 
 in regard to its uncommon merits as a picture, I regret, nevertheless, to state 
 that his arguments have failed to dispel from my mind the doubts that I have 
 always entertained of its being a portrait of Columbus. The face undoubtedly 
 has some of the well-known lineaments of the Admiral, but the most important 
 are completely wanting the long face, the high-cheek bones, the peculiar eye 
 brows, which are so characteristic of Columbus, could not have escaped the 
 
THE COLUMBUS GALLERY. 
 
 
 20 TIIP^ SIR ANTHONY MORE (GUNTIIKR) PORTRAIT. 
 
 eye of such a man as Anthony More. I will not pay much attention to the 
 absurd dress, which did not come into fashion until about a century later, 
 because it is a well-settled fact that the artists of the sixteenth and seven 
 teenth centuries were in the habit of attiring their heroes in any manner which 
 
THE COLUMBUS GALLERY. 87 
 
 suited their fancy, without regard to historical accuracy ; but I cannot accept 
 as a portrait of Columbus, copied from a miniature taken from life, that face 
 with the queerly cropped hair, mustache and goatee. 
 
 Mr. Curtis, in the Cosmopolitan Magazine, gives the following history of 
 this painting: "This portrait of Columbus was painted about 1570, at the 
 order of Margaret of Parma, from a miniature said to have been in the 
 possession of the royal family at Madrid. The Gunther portrait was removed 
 to Spain when the Spanish Court abandoned the Netherlands, and is said to 
 have hung in the cabin of one of the vessels of the Spanish Armada during 
 the famous sea fight of 1588. The vessel which carried it went to pieces on 
 the Cornish coast of England, and the owner of the adjoining estate kept the 
 picture as his share of the wreckage. From that date, to the middle of the 
 present century it remained in the possession of the same family, when it was 
 purchased by William Cribb, of Covent Garden, London. His descendants 
 sold it to Mi. Gunther. The portrait was engraved in 1850, and was used by 
 Irving to illustrate his life of Columbus. It is painted upon a panel of 
 wood, about three feet by two in size, and bears in faint letters the in 
 scription Ch. Colombo. 
 
 According to Mr. Gunther, "the allegorical frame in which the portrait is 
 placed embodies one of the most remarkable and exquisite specimens of wood 
 carving known of ancient or modern times. It is beautifully gilded, and is 
 allegorical of the life of the discoverer, showing the drums, cannon, Indian 
 arrows and armor of that period, capped with the Columbus coat of arms and 
 its quarterings of oyster shells, swords, ship and anchor, and surmounted by a 
 golden crown. It is carved in wood and is a masterpiece in its design and 
 proportions, and illustrates such work as only royalty could command 
 in that period." 
 
 " Upon the head of the drum carved in the frame is the date 1590, the year 
 that the portrait was brought into England. 
 
 "The frame was made when the portrait was executed by Moro. 
 
 "The frame spoken of above, which was made at the same time a 3 the 
 portrait, is fully as interesting as the canvas. It is fashioned with superb 
 skill and is a grand mass of intricate carving. 
 
 "It is gilded, and on the top there is the coat of arms and the quarterings 
 of Columbus, the oyster shell, the anchor and the sword." 
 
 I repeat that I do not entertain any doubt about the authorship of this 
 splendid work. According to the opinion of many experts, it is undoubtedly 
 from the hand of Moro ; but did he intend in this portrait to represent 
 Columbus? The name in the corner is of no importance whatever. 
 
38 THE COLUMBUS GALLERY. 
 
 The Jomard picture and many others which are entirely apocryphal show 
 the same name. 
 
 The eminent Spanish painter and critic, Valentin Carderera, the author of 
 the monumental works, Iconografia Espanola, and Monumentos Arquitectbni- 
 cos de Espaila, remarks very forcibly, "mustaches and goatees were never 
 icorn in the time of .Columbus, and the hair, far from being cut short, was 
 worn long and cut horizontally, very often covering the ears." 
 
 As Mr. Carderera s special field was the study of the old portraits and 
 statues by Spanish artists, which he copied and published in his famous 
 Iconografia Espailola, no man could be a better judge than he in the matter of 
 the fashions prevailing at each period of the history of Spain. 
 
 Yet I would call the attention of the reader to what I say about the 
 miniature in the Cluny Museum at Parig. 
 
 Mi. Gunther writes to me also in regard to some particular points of this 
 portrait in these terms : "I have recently discovered, what was unknown to 
 any one before, that the second ring on the index finger, left hand, has a crest 
 or coat of arms on it an exquisite miniature painting of two cocks fighting, 
 then two scrolls ornamentally dividing it from something else beneath, that I 
 am unable just at present to make out, because I cannot get near enough to it 
 with a glass. I have the portrait and frame in a shadow box to protect it. r 
 (Cut No. 20.) 
 
THE COLUMBUS GALLERY. 
 
 39 
 
 SECOND GROUP. 
 
 PICTURES, ENGRAVINGS, STATUES, AND BASS-RELIEFS, EXECUTED BY THE 
 
 ARTISTS IN STRICT ACCORDANCE WITH THE DESCRIPTIONS OF 
 
 THE ADMIRAL LEFT BY HIS CONTEMPORARIES. 
 
 To this group I will assign a few pictures and engravings. Statues and 
 bass-reliefs will be dealt with in their proper places in this work. 
 
 1. The Zschoch Engraving. 
 
 2. The Holt Engraving. 
 
 3. The Columbus of the Barabino Painting. 
 
 4. Wapper, Columbus in Chains. 
 
 5. The Riecke Engraving. 
 
 6. The Jacotin. 
 
 7. The Venetian Mosaic. 
 
 THE ZSCIIOCH ENGRAVING. I 
 reproduce the Zschoch engraving, 
 which I believe is based on that 
 of Montanus, because it represents 
 Columbus with hair, mustache and 
 beard arranged somewhat after the 
 ancient Assyrian fashion, and were 
 it not for the ruff around the neck 
 he would resemble a pirate in a sen 
 sational drama. It has all the well- 
 known lineaments of Columbus, but 
 it is easily seen that it is an entirely 
 imaginary portrait. All that I know 
 about it is, that it is engraved by 
 Zschoch, and that I have three dif 
 ferent copies of it, but I fail to find 
 the name of this engraver in any of 
 the biographical dictionaries I have 
 consulted. (Cut No. 21.) 
 
 21 THE ZSCHOCH ENGRAVING. 
 
40 THE COLUMBUS GALLERY. 
 
 THE HOLT ENGRAVING. My object in presenting this picture to my readers 
 is only to show how widely an entirely ideal portrait, possessing all the char 
 acteristics of Columbus, can differ from others having the same general 
 features. It is the face of a man capable of realizing all the dreams of the 
 Admiral. The execution is good, but, as a portrait of Columbus, it is entirely 
 worthless. (Cut No. 22.) 
 
 THE NICOLO BAKABINO PORTRAIT. At the Orsini Palace in Genoa is one 
 of the most powerful and beautiful paintings referring to the life of Columbus. 
 
 I regret that its very large size prevents me from 
 presenting an engraving of it to my readers I have 
 taken the full length portrait of Columbus from it. 
 (Cut No. 23.) 
 
 In the great and magnificently decorated hall of 
 the convent of Santo Domingo, at Salamanca, many 
 of its learned monks are assembled by order of the 
 King and Queen. They have just listened to the 
 demonstrations of Columbus, and nothing is more 
 amusing than to see the different expressions on the 
 faces of the good monks. Some look with wonder at 
 22 THE HOLT ENGRAV- the majestic man who is explaining to them 
 
 doctrines entirely contrary to what their scientific 
 
 lore has taught them ; others cross their hands and bow their heads as if 
 praying heaven to pardon the man who is expounding such impious ideas ; 
 others take things more easily, they simply believe the poor sailor is a crank 
 of the harmless class, and laugh at him ; one turns away his head, in order 
 that he may laugh to his heart s content ; another tries to conceal his 
 grinning face with a book, while still another points his finger at his own 
 forehead, and appears to be indicating to his brethren that "that fellow s 
 mind is not well-balanced." One of the most magnificent faces is that of an old 
 monk by the side of Columbus, leaning heavily against the wooden railing, 
 and looking at the face of the Admiral with an expression of the most 
 profound astonishment, wondering whether he be a genius or a fool. 
 
 But the figure of Columbus is something superb. Barabino has given him a 
 cast of face tallying admirably with the descriptions we have of him. His 
 high forehead, uncombed and flowing hair, eagle eyes, magnificent nose and 
 energetic mouth, show how he is repressing his indignation at seeing that 
 these men, who are to be the arbiters of the realization of his life plans, 
 cannot understand him and are laughing in derision at what they in their 
 ignorance, consider as the dreams of a fool. 
 
THE COLUMBUS GALLERY 
 
 23 COLUMBUS FROM THE N. BARA13INO PICTURE, 
 
42 
 
 THE COLUMBUS GALLERY. 
 
 THE WAPPERS PORTRAIT. From a beautiful engraving in a French illus 
 trated paper, I have taken the portrait of Columbus which appears in the 
 famous historical painting by Wappers, " Columbus in Chains." The artist 
 
 24 COLUMBUS IN WAPPERS PORTRAIT. 
 
 has followed the descriptions of Columbus and idealized his face. I very much 
 regret that I cannot present the whole picture, but the only engraving I have 
 been able to find in the United States is copyrighted by the Magazine of 
 
THE COLUMBUS GALLERY. 
 
 43 
 
 American History, and my request for permission to reproduce it has met with 
 a peremptory refusal. (Cut No. 24.) 
 
 THE RIECKE PORTRAIT. In the work by Dr. G. A. Riecke, entitled, 
 CJiristoph Columbus der Entdecker America s, there is a beautiful engraving 
 representing Columbus in chains on board the ship which is carrying him home 
 to Spain. The Admiral is shown reclining at the foot of a mast, the sea being 
 represented in the background. He is clothed in black, with a large light- 
 colored mantle partially enveloping him. He has long hair with a full beard 
 and is leaning on his left hand, while with the right he is trying to lessen the 
 weight of his heavy fetters. The expression of the face is admirable and 
 accords with the descriptions of Columbus, but at the same time it does not 
 resemble the generally accepted type. 
 
 JACOTIN. Among the many so-called portraits of Columbus which I have in 
 my collection, I have selected this one for publication only on account of its 
 beauty. It has also many of the lineaments characteristic of Columbus, yet it is 
 entirely ideal. I have copied it from a photograph given to me by Mr. Ernesto 
 de Zaldo, of this city, who bought it in Paris, in the photographic gallery of 
 Jacotin. It resembles none of the other 
 portraits of Columbus which I have seen. 
 (Cut No. 25.) 
 
 THE VENETIAN MOSAIC. In 1867 the 
 Common Council of the city of Venice 
 resolved to send as a present to her ancient 
 rival, Genoa, two beautiful mosaics of two 
 great Genoese, Marco Polo and Christopher 
 Columbus. This was an act of reciprocity, 
 as Genoa had not long before presented 
 Venice with the busts of Pietro D Oria and 
 Vettor Pisani. 
 
 The mosaic is a magnificent piece of 
 work, six feet and a half high, beautifully 
 framed in black marble. The figure of 
 Columbus is depicted on a gold back 
 ground, clothed in the dress of a Venetian 
 nobleman of the fifteenth century. Colum 
 bus is clean shaved ; the hair is not very 25 THE JACOTIN PORTRAIT. 
 long ; he wears a barret cap and holds a map in his hand. He has a low- 
 necked shirt with a ruff, and an ample mantle of velvet with silk lapels. The 
 model followed appears to be that of the Jovian portrait. (Cat No. 26.) 
 
44 
 
 26 THE VENETIAN MOSAIC. 
 
THE COLUMBUS GALLERY. 45 
 
 THIRD GROUP. 
 
 IMAGINARY PORTRAITS AND ENGRAVINGS. 
 
 As it is utterly impossible to classify these portraits in any systematic order, 
 according to generally recognized rules, I have therefore, arranged them in 
 alphabetical sequence, so that any one desired may be readily found. 
 
 THE ALBANY PORTRAIT. This picture bears the inscription ANNO 1492 
 MT. 23. It was probably painted by some Spanish artist in commemoration 
 of the first anniversary of the discovery, and the age of the artist was twenty- 
 three years. Mr. Curtis supposition that it purports to represent Columbus 
 at the age of twenty-three years is entirely untenable. A cursory inspection 
 of the picture shows that Columbus is represented as a man of about fifty 
 years. The picture itself is of very little value, but it is very old and it was 
 presented to the State in 1784, by Mrs. Maria Farmer, a grandchild of Jacob 
 Leisler, Governor of the Province of New York, in 1689. It is hung to-day in 
 the Senate Chamber at Albany, and is considered the oldest picture of 
 Columbus in the United States. 
 
 ARCHIVES OF THE INDIES. This picture is a duplicate of the one in the 
 Yeragua Palace at Ma.drid, taken many years afterwards. It presents 
 Columbus clad in armor as a young man with a pointed mustache ; he also 
 wears a ruff and slashed trowsers. 
 
 I remember having read in Ford that " this picture is quite as apocryphal, 
 and by no means so beautiful as that of Parmigianino at Naples." 
 
 THE BEKWICK-ALBA PORTRAIT. In the gallery of the Duke of Berwick- 
 Alba, in Madrid, is a magnificent painting representing Columbus. The 
 dress shows that it is a work of the seventeenth century, and though it is very 
 beautiful, is entirely untrustworthy. It is very large, and shows Columbus 
 seated in a very rich chair of state. Carderera describes it thus : "He is 
 clothed in a red tunic sprinkled with golden flowers, over which he wears a 
 kind of ducal mantle richly embroidered with the same metal, with an ermine 
 tippet on the shoulders. He holds a "carried" sword. I have never seen any 
 copy of this picture just as it is. It was engraved by the famous artist, 
 Rafael Esteva, in a vigorous and masterly manner, following the drawing 
 made by the painter Galiano from the aforesaid picture. But there are some 
 
46 
 
 THE COLUMBUS GALLERY. 
 
 very curious points about this engraving ; the first is, that the original is 
 seated and holds a sword in his hand, while in the engraving he is shown 
 standing with the sword sheathed and his hand on his hip, and there is some 
 
 change in the background. 
 The second, that at the foot 
 there is the following epi 
 graph : "The original pict 
 ure was painted in America, 
 by Vanloo." No painter 
 of that name was ever in 
 America, nor was one of 
 that name born within two 
 centuries after the death of 
 Columbus. 
 
 In this picture Columbus 
 looks very young ; he wears 
 a mustache, with a small 
 tuft of beard on the under 
 lip ; his hair is arranged in 
 a very "dudish fashion, 
 arid he wears the indispen 
 sable fluted ruff and ruffles. 
 Mr. Curtis says that there 
 is a copy in oil of this por 
 trait in the Lenox Library 
 of New York, to which it 
 was presented by Mr. James 
 
 27 THE BERWICK-ALBA PORTRAIT, AS ENGRAVED. Lenox ; but the only por 
 trait existing in the Lenox 
 
 Library is the one painted by Mr. Daniel Huntington in 1847. According to 
 Mr. Huntington himself, from whom I have obtained this information, through 
 the courtesy of Mr. Eames, the Assistant Librarian of the Lenox, "it is not a 
 copy at all, but was based on a comparison of the engraved portraits, and 
 therefore it really has no historical value." (Cut No. 27.) 
 
 THE JUAN DE BORGO^A PORTRAIT. The picture said to be in the Chapter 
 Room of the Cathedral at Toledo, is supposed by some to have been painted 
 by Juan de Borgofia, in 1519, thirteen years after the death of Columbus. 
 
 Curtis says that there is an engraving of it in one of the English editions 
 of Irving, but I have been unable to find it. 
 
THE COLUMBUS GALLERY. 47 
 
 I must state, however, that Pi y Margall, in his History of Painting in 
 Spain, says "that such a picture does not exist there," and furthermore, 
 " that there is not the slightest evidence that such a picture ever existed." 
 
 THE Bossr MEDALLION. In Bossi s La Vera Patria e La Vita de 
 Oristoforo Colombo, there is a pretty little medallion representing Columbus. 
 I believe it is taken from the De Bry medallion with some slight changes, as 
 all the hard features are greatly softened. He also reproduces the large De 
 Bry portrait. This medallion is entitled to no more credit than both the 
 portraits of De Bry. 
 
 THE DE BRY PORTRAIT. In the introduction to Part V. of the Voyages, 
 which is the second part of the Voyage of Benzoni, there is a beautiful 
 engraving, which many critics think is simply a copy with some variations of 
 the Versailles portrait. It was first published in 1585, and has been reproduced 
 in all the editions of De Bry and in many other works. 
 
 It represents Columbus with a broad heavy face, which is entirely Flemish 
 in character, with a big, flat nose, arid the hair arranged symmetrically in 
 horizontal rows of curls, with a cap and the conventional dress. It will be 
 seen immediately, that the features do not agree with the descriptions which 
 we have of him. 
 
 De Bry claims that the original was painted from life by order of the 
 Catholic Kings, before Columbus sailed on his first voyage of discovery, and 
 that this original was stolen from the Hall of the Council of the Indies and 
 taken to the Netherlands. He says also that as he had had the good fortune 
 to obtain a copy of this portrait from a friend, who had received it from the 
 artist himself, he desired to share his pleasure with his readers, and to this 
 end, he caused it to be engraved on copper in a reduced form by his son. 
 
 Unluckily, all this is simply an advertisement to push the sale of his book, 
 as the type of the face, the dress and style of this portrait, show that they are 
 not of Spanish origin. 
 
 Mr. Rio says that it is not probable that in the camp before Granada or in 
 the port of Palos, painters should be numerous, or that they should have any 
 desire to portray Columbus, when nobody took the trouble to paint Boabdil, 
 especially as the poor Genoese was considered to be somewhat of a visionary. 
 
 As the engraving is really a beautiful one and De Bry s works had a great 
 reputation, it has been reproduced in a number of works, and it is to be regretted 
 that even now it is presented as an authentic portrait of Columbus in some 
 editions of Washington Irving, and in the last edition published in London of 
 the Historic of Ferdinand Columbus. 
 
 This portrait is the one which represents Columbus with two warts upon 
 
48 
 
 THE COLUMBUS GALLERY. 
 
 the right cheek. Carderera says that these warts appeared only in the 
 earliest prints, and that they were afterwards erased, but in my edition of De 
 Bry, and in all those which I have seen, I have invariably found the warts. 
 (Cut No. 28.) 
 
 STROKVM CONSVnET IP-SO NTOBIIXS 
 CHKLSTOPHOR* TAJLI FKONTE COLVTVlR JEJRAl} i \ 
 
 28 THE DE BKY ENGRAVING. 
 
 
 
 THE BE BRY VIGNETTE. The medallion in De T>ry (see cut No. 29), is 
 truly beautiful from an artistic point of view, but is absolutely different in 
 character from the large engraving by the same artist. This little picture 
 
THE COLUMBUS GALLERY. 49 
 
 looks more like Columbus, and I believe the artist followed, to a certain 
 extent, the Capriolo or de Pas engravings, 
 
 A careful comparison with the little medallion 
 published by Bossi leads me to believe that the 
 Bossi portrait is taken from De Bry s, with some 
 alterations to make it appear an original engraving. 
 (Cut No. 29.) 
 
 THE CARTIIAGENA PORTRAIT. Mr. Jomard, in a 
 very able essay on the portraits of Columbus, enlarged 
 upon the great importance of the picture supposed to 29 THE DE BRY 
 exist in the Navy Yard, at Carthagena, Spain. On MEDALLION. 
 
 petition of Mr. Carderera, the Spanish Government ordered it to be sent to 
 Madrid for examination. This order could not be complied with, as within 
 the memory of man no such picture had ever been in the Navy Yard i 
 and, furthermore, no mention could be found in any inventory of the Yard 
 that any such portrait had ever existed there, nor is any reference made to 
 it in any Spanish work 
 
 THE CLADERA ENGRAVING. This engraving is a half-length picture of 
 Columbus, as a young man with a mustache and goatee. He is clothed in full 
 armor, and wears a fluted ruff and wristbands, which were not worn until 
 half a century after his death. A silk sash passes over the right shoulder and 
 crosses the body. The right hand only is visible in the act of pointing to his 
 discoveries on a globe. This globe is held in the left hand. His finger 
 hinders a view of the West Indies, but in the portion of the globe which is 
 visible all the coast of America, from the Gulf of Mexico to Greenland, is 
 perfectly shown. The mouths of the St. Lawrence as well as Hudson sand 
 Baffin s Bays are plainly to be seen, which proves that the original from 
 which it was taken must have been posterior to the seventeenth century, or 
 that the artist who copied it was guilty of gross anachronisms. 
 
 Cladera says, page 32 : "The portrait of Christopher Columbus has been 
 drawn from an original full-length painting about two yards long, which was 
 the property of his son Fernando, the character of which warrants us in the 
 belief that it was painted at the beginning of the- sixteenth century. This 
 picture is in the house of Jose Colon, of His Majesty s Council, who gave 
 permission to copy it. It agrees whith the descriptions which Don Fernando 
 has given of the features of his father." 
 
 It was painted by Antonio Carnicero and engraved by Simon Brieva. 
 Carmcero was born in 1748. He studied at Rome, was painter to the King, 
 and died in 1814. The engraving is beautiful ; but, notwithstanding what 
 
50 
 
 THE COLUMBUS GALLERY. 
 
 Cladera says of the artistic merit of the original painting from winch it was 
 taken, it is absolutely worthless as a historical portrait. 
 
 There is a great similarity between this picture and the one in the house of 
 
 r,nmiii!i;i!i:i:i;iTCfl!i^^ 
 
 fcuJb 
 
 30 THE CLADERA PORTRAIT. 
 
 the Duke of Berwick-Alba, which I reproduce elsewhere. The original of this 
 picture is, according to Mr. Curtis, in the gallery of the Duke of Veragua. 
 
 Mr. Curtis, by an oversight, says that it was engraved by Carnicero and 
 that the signature is, Bart. Vasque La Grabo. I am sure that this has been 
 
THE COLUMBUS GALLERY. 
 
 51 
 
 31 THE FLAMENG ETCHING. 
 
52 THE COLUMBUS GALLERY. 
 
 caused b} 7 the carelessness of the amanuensis, as Mr. Curtis had my own copy 
 of Cladera, which reads very clearly, "A. Carnicero del," " Simn. Brieva 
 sculp." (See the Vasquez Portrait.) (Cut No. 30.) 
 
 COLUMBINA. The portrait in this famous library, founded by Fernando 
 Colon, the natural son of the Admiral, was presented to the library about half 
 a century ago, by King Louis Philippe of France. The attitude is one of 
 contemplation, and though it follows the description of Columbus, it is easy 
 to see that it is a work of imagination. This, besides the evidence of its being 
 modern, renders it of very small importance, whatever may be its artistic 
 merit. The name of the artist who pajnted it is Mr. Charles Legros. 
 
 THE CONCORD PORTRAIT. All I know about this portrait is what Mr. 
 Curtis says respecting it in his article in The Cosmopolitan Magazine. He 
 remarks that "an alleged portrait of Columbus hangs in the public library at 
 Concord, Massachusetts, but it bears no resemblance to the traditional 
 appearance of Columbus. It was presented to the library in 1873, by Mr. A. 
 P. Chamberlaine, and is a copy by Raphael Mengs of an alleged Spanish 
 portrait. It was formerly in the collection of Letizia Bonaparte, Napoleon s 
 mother Madame Mere at Rome, and was purchased by Mr. Chamberlaine 
 after her death. There is a legend that Mengs, the artist, left a record 
 somewhere that he made a copy of a portrait of Columbus by Titian, but this 
 record cannot now be found, nor is there any evidence that Titian and 
 Columbus ever met." 
 
 BOL OR ERMITAGE. Among the superb works of art which make up this 
 magnificent gallery, founded by Catherine of Russia, and now the property of 
 the Czars, this pretended portrait of Columbus, painted by Ferdinand Bol, a 
 Flemish artist born in 1610, and who died in 1681, occupies a very conspicuous 
 position. He was the best disciple of Rembrandt, whom he copied so 
 faithfully that many of his works have been attributed to the hand of the 
 Master. I regret to say that in the catalogue of the Ermitage Gallery I have 
 not been able to find a description of such an important picture. Mention 
 only is made among the other works of Bol, of a "Portrait of a man with a 
 black hat" Can this be the pretended Columbus ? 
 
 THE LEOPOLD FLAMENG- PORTRAIT. In The Life of Columbus by the 
 Marquis du Belloy (Paris), there is a splendid etching by the famous artist 
 Leopold Flameng, assuming to represent Christopher Columbus. The book 
 also includes many other superb etchings of incidents in the life of the 
 Admiral. Unhappily, their artistic merit is in inverse ratio to their historical 
 worth. It seems incredible that so talented an artist as Flameng should not 
 have been more accurate in portraying the types and dress, as well as the 
 
THE COLUMBUS GALLERY. 
 
 53 
 
 accessories of the period, bis celebrated etchings not having the slightest 
 resemblance to any thing Spanish. 
 
 A mere glance at the masterly etching (No. 31) will show that this tall, 
 commanding man with the plumed cap, cuirass and cloak with loose sleeves, 
 and with his hand on the hilt of his sword, may be some condottiere of the 
 sixteenth or seventeenth centuries, but could not possibly be Christopher 
 Columbus. Yet the picture is so beautiful, and the book has been translated 
 into so many languages, generally accompanied by these, illustrations, that I 
 must yield to the temptation of presenting it to my readers. (Cut No. 31.) 
 
 FONTAINE. Danlos published this portrait, which has been painted by 
 Fontaine, and engraved by Pedro Colon, Duke of Veragua. I do not agree 
 with Mr. Curtis, who believes it is a copy of the portrait in the Naval Museum, 
 with a more cheerful expression. I believe it is a copy from the portrait in 
 the house of the Duke of Veragua. 
 
 THE LUCCA GIORDANO POR 
 TRAIT. There is in a palace at 
 Genoa a beautiful picture of Col 
 umbus by Lucca u Fa Presto." It 
 represents Columbus as almost a 
 boy with curly hair, attired in the 
 garb of a Franciscan, with a chain 
 around the neck and holding a 
 quadrant in the right hand. The 
 
 lineaments do not correspond in 
 any respect to those of the Ad 
 miral ; and, although the painting 
 is charming, it has not the least 
 value as a portrait. (Cut No. 32.) 
 
 I will say that, as compared 
 with the Edwards picture, which, 
 as I say elsewhere, is the ugliest 
 portrait of the Admiral I have seen, 
 this is the one in which he looks 
 the handsomest. (Cut No. 32.) 
 
 THE HAVANA PORTRAIT. This picture was presented in 1796 ^and not two 
 hundred years ago, as Mr. Curtis says), by the Duke of A^eragua to the muni 
 cipality of Havana, as a token of gratitude for the honors rendered by the 
 people of Havana to the supposed remains of his ancestor, Christopher 
 Columbus, on their arrival in that city during the preceding year. 
 
 32 THE LUCCA GIORDANO PORTRAIT. 
 
THE COLUMBUS GALLERY. 
 
 I liave often seen it. It is a most miserable daub, and is in very bad 
 condition. No one can believe that it is intended to be a portrait of 
 Columbus. He is represented as clothed in the garb of a familiar of the 
 Inquisition has long flowing hair, pointed mustache and very small goatee, 
 with black eyes and protruding underlip ; he also wears a ridiculous big white 
 collar and cuffs. He holds in the left hand a globe. The inscription, "For 
 Castilla y por Leon Nuevo Mundo ayo Colon" is in one of the corners. 
 Some people believe it to be the picture of the natural son of the Admiral, 
 Don Fernando, who was a churchman. It bears not the slightest resemblance 
 to any other old picture of Columbus. 
 
 The painting was originally 80 by 60 centimetres in size. 
 
 Happily for his posthumous repu 
 tation, the name of the painter of this 
 daub is absolutely unknown. (Cut 
 No. 33.) 
 
 THE HERRERA PORTRAIT. This is 
 taken from the French edition of 
 Herrera, and has been reproduced in 
 Bryant & Gay s History of tlie United 
 States. I believe it is taken from the 
 Montanus portrait. It was also engrav 
 ed in the English edition of fferrera, 
 translated by John Stevens and pub 
 lished in London, in 6 vols., 1725-1726. 
 under the name of A General History 
 of America. As a portrait, it is abso 
 lutely worthless, but it has been repro 
 duced in many other works. 
 
 33 THE HAVANA PORTRAIT. HERRERA, (VlGNETTE). This por 
 
 trait was published in the edition of Herrera, dated 1601, and looks very 
 much like the De Bry vignette, and probably they are of the same origin. 
 
 This vignette was reproduced in the edition of Barcia (1726-1730), but I 
 do not agree with Winsor when lie states that the one in Bryant & Gay is a 
 reproduction of this vignette. 
 
 HULL. I am indebted to the kindness of Mr. Curtis for a copy of this 
 beautiful portrait, and as all I know regarding it is what Mr. Curtis states in 
 his able articles in The Cosmopolitan, I will therefore transcribe the 
 paragraphs relating to it verbatim : 
 
 "Miss Esther Hull, of Danbury, Connecticut, lias a portrait of Columbus 
 
THE COLUMBUS GALLERY, 
 
 00 
 
 
 which is of evident antiquity, but there is no knowledge of its age or origin. 
 
 It represents Columbus of middle age, with a dove resting upon his shoulder, 
 
 and there is a companion piece of Amerigo Vespucci by the same artist. All 
 
 the owner knows of their history is that 
 
 many years ago they were left for storage 
 
 with Mr. William Jaggers of New York, 
 
 with several other paintings. In 1850, the 
 
 owner wrote Mr. Jaggers from a western 
 
 State that he had met with reverses and 
 
 desired to sell his collection. The two 
 
 portraits were purchased by the father of 
 
 Miss Hull, who brought them to Danbury. 
 At the left hand upper corner of each 
 canvas is an inscription. On one is, 
 " Amerigo Vespucci; on the other Cristo- 
 foro Colombo, which indicates that the 
 artist was an Italian." 34 THE HERRERA PORTRAIT. 
 
 THE HUNTIXGTON PORTRAIT. The portrait in the Lenox Gallery, New 
 York / is one of the best works from the brush of the distinguished artist, 
 David Huntington. It represents the Admiral in a three-quarter length, with 
 a full beard and wearing a cap, and a fur-trimmed mantle. In one hand he 
 holds a scroll, while the other rests on a small globe placed on a table. Not 
 withstanding its artistic merit, Mr. Huntington himself has stated that the 
 picture is one compiled from a comparison of different engravings, and it has 
 therefore no historical value. (See Berwick- Alba portrait.) 
 
 JOMARD. This superb picture, 
 discovered by Jomard in the gallery 
 at Vicenzo, in Italy, in 1844, is sup 
 posed by some critics to be the work 
 of Titian, or of one of his disciples, 
 Domenico Campagnola, but tliere is 
 no proof that Titian or Campagnola 
 ever met Columbus ; and further 
 more the picture shows by its details 
 that it was painted many years after 
 the death of the Admiral. I copy 
 from Mr. Curtis interesting article 
 
 35-THE HERRERA WOODCUT. whafc J omard says about it . u The 
 
 Jomard portrait is so called in honor of a distinguished scholar and critic, 
 
56 THE COLUMBUS GALLERY. 
 
 Mr. Jomard, for many years librarian of the Bibliotheque Nationale, 
 Paris, who discovered it in a gallery at Vicenza, Italy, in 1844. I saw it by 
 chance, says Mr. Jomard (in Bulletin de la Societe de GeograpJiie 
 Troisieme Serie, Tome III., 1843), though I was attracted by the ancient 
 appearance of the painting, by its beauty, and by the noble character of the 
 
 36 THE HULL PORTRAIT. 
 
 whole figure. Drawing nearer to the painting, what was my surprise when 
 I saw in old gold letters of the style of the time, on the right angle, these 
 two words: Christoforus Columbus. It will easily be believed that I lost 
 no time in collecting all information apt to enlighten me as to its origin. 
 
THE COLUMBUS GALLERY. 
 
 Thanks to the kindness of the noble and learned Count Orti Manama, Podestji 
 of Verona, I was soon in possession of all facts. It will be easily understood 
 
 ;oca FFT 
 
 37 THE JOMAKD PORTRAIT. 
 
 why such a treasure remained so long unknown. The family owning it kept 
 it carefully, although unaware of its importance. The last member bequeathed 
 it to his native city and at his death it was placed in the public gallery." 
 
58 
 
 THE COLUMBUS GALLERY. 
 
 Carderera believes that this picture, whoever the artist may be, was painted 
 at the beginning of the seventeenth century, about the time of Philip III, as 
 the dress is in exact accordance with the costume of that period, and that 
 the name on it, Christophorus Columbus, was added at a later date, and is 
 simply an imposture. 
 
 Jomard claims that this picture embodies all the characteristics of 
 Columbus, and that the anachronisms are the work of later times ; but this 
 is carrying his contention to the verge of absurdity. 
 
 Though this picture has been reproduced in many modern works, I do not 
 think that any one to-day considers it as authentic. (Cut No. 37.) 
 
 JULIUS ROMANUS. In the Municipal Palace at Genoa there is a large 
 picture containing two medallions, one representing Columbus and the other 
 
 Arnericus Yespucius : the artist was 
 undoubtedly a great master, and by 
 common consent, this picture has been 
 attributed to Julio Romano, who died 
 in 1546. It looks somewhat like the 
 Crispin de Pas cut and may be a copy 
 of some sketch made in Spain : yet I 
 fail to find in it the well-known fea 
 tures of the Discoverer. (Cut No. 38. ) 
 THE MENGS PORTRAIT. I have 
 sometimes read that Raphael Mengs 
 painted a portrait of Columbus in the 
 last century, which was copied from 
 38 THE JULIO ROMANO PORTRAIT. an ol(1 maste r and some even say that 
 
 this old master was Titian. I have carefully examined the catalogue of the 
 works of Mengs, as well as many biographies of this famous artist, but have 
 failed to find reference to any such portrait. The Concord portrait, already 
 mentioned, has been supposed to be this much sought-for painting, but so far as 
 I can gather this picture cannot possibly be the work of such a master as Mengs. 
 MONTANUS. Opposite page 4-i, of my copy of Dr. 0. Dapper, Die 
 UnbeJcante Neue Welt, Amsterdam, 1673, there is a splendid copper plate 
 engraving purporting to represent Columbus. It is supposed to be a copy 
 from a picture painted at Nuremberg, in 1661. It first appeared in the Dutch 
 edition of Montanus in 1671 : then in Dapper, who pirated it from Montanus, 
 and also in QgilbiJ s America. I believe Mr. Curtis is perfectly right in 
 considering the portrait published in Herrera and adopted by Bryant as a 
 copy of the Montanus engraving, with some slight changes. (Cut No. 39.) 
 
THE COLUMBUS GALLERY. 
 
 59 
 
 THE Muftoz PORTRAIT. The frontispiece of the Hlstoria del JVuevo 
 Mundo, is a copy from the original of Mariano Maelia and was not painted one 
 
 39 THE MONTANUS ENGRAVING. 
 
 hundred years after the death of Columbus, as Mr. Curtis erroneously says. 
 Maelia died in 1819, and was the General Director of the Academy of San 
 
60 
 
 THE COLUMBUS GALLERY. 
 
 Fernando, and Court Painter to the King up to the time of his death. Maella 
 followed the painting in the gallery of Yeragua or that in the Archives of the 
 Indies, reproducing it with the cuirass and ruff. This portrait is very similar 
 to that of Cladera, even in the wearing of the sash across the breast. It has a 
 
 40 THE MUNOZ PORTRAIT. 
 
 heavy mustache and a small, full, closely clipped beard. It has been 
 reproduced a number of times, with changes dictated more or less by the fancy 
 of the artist. According to Carderera, it is not deserving of much credit. I 
 have about one dozen copies of it and they all differ, more or less. 
 
THE COLUMBUS GALLERY. 61 
 
 Mr. Curtis says that a copy of this picture was presented in 1818, by R. 
 W. Mead to the Pennsylvania Academy of Arts, but it has disappeared. 
 (Cut No. 40.) 
 
 THE PAKMIGIANINO PORTRAIT. Perhaps the most beautiful of all the 
 pretended portraits of the Admiral now in existence, is the one at Naples, in 
 the Real Museo Borbonico, which is the work of the chaste and correct brush 
 of Francesco Mazzuola, better known as "il Parmigianino." 
 
 This superb panel has challenged the admiration of all who have seen it, on 
 account of its beauty, and has been reproduced everywhere. Unhappily, it is 
 a purely imaginative work, and as Becchi justly says, in his famous work on 
 the Real Museo Borbonico, is not deserving of the slightest confidence. 
 
 Carderera, who has examined it carefully, does not believe that the artist ever 
 intended it to represent Columbus. Not even the slightest point of resem 
 blance is to be found between the descriptions of the Admiral and the face in 
 this painting. It represents a courtier of insinuating manners and forbidding 
 appearance. The difference is still greater between the dress and austere 
 aspect of Columbus and the elaborate and effeminate ornaments of this 
 personage, whose head also is entirely different in shape from that of the 
 Admiral. The hair is arranged in elegant and symmetrical curls, which, as 
 well as the long beard, are most carefully combed and crimped, a thing very 
 rarely seen in the time of Ferdinand and Isabella in Italy and Spain. Still 
 more out of fashion is the red cap, slashed after the Dutch mode, and with 
 feathers and gilt button. The same thing can be said of all the rest of his 
 attire and even of the ring which he wears. 
 
 Carderera says that one of the causes which has given rise to the pretension 
 that this picture represents Columbus is the clasp on the cap, on which is the 
 representation of a ship passing beyond the Pillars of Hercules. Even in case 
 this is true, it may be simply one of the devices commonly used by notable 
 persons of the time, for whom Jovius, Ruscelli, Capaccio and other famous 
 Italians published their costly works. Don Garcia de Toledo, who was 
 Viceroy of Catalonia, used a compass as his device : Isabel de Cocceggio, 
 displayed two anchors in the sea : Estevan Colonna, two columns on the high 
 sea with a ribbon uniting them, a siren between them and the motto, "His 
 suffulta" and none of them were discoverers. This picture bearing the name 
 of Christopher Columbus, was for many years in the Farnese Gallery and has 
 been described by many distinguished writers, who have overlooked all the 
 inconsistencies in it. It has also been reproduced in many works : even 
 Prescott in his History of Hie CalJwlic Kings, has adopted it, but at present 
 nobody considers it to be a portrait of Columbus, and some believe that it is a 
 
62 
 
 THE COLUMBUS GALLERY. 
 
 portrait of Gilberto de Sassuoli, a distinguished nobleman who was born in 
 1502 and died in 1570. 
 
 That the picture could never have been taken from life is very easily 
 
 41 THE PARMIGIANINO PORTRAIT. 
 
 established by stating the fact that Mazzuola was born in 1503 and died in 
 1540, and was therefore, only three years of age at the time of the death of 
 Columbus. He was a disciple of Raphael and painted many beautiful 
 
THE COLUMBUS GALLERY. 
 
 portraits, among them one of Americas Vespucius. The pretended portrait of 
 Columbus was painted at Parma, in 1527, by order of Cardinal Alessandro 
 Farnesi. The King of Naples was his heir and removed it. to Naples. I have 
 
 42 THE PHILOPONUS ENGRAVING. 
 
 also seen a beautiful copy of this portrait on a bank note of the Republic of 
 Santo Domingo, and I have been told by a friend that he has seen it on "bills 
 issued by some State banks in this country. The engraving by Bierstadt on 
 
64 THE COLUMBUS GALLERY. 
 
 certain United States bank notes appears to be a copy of the same picture with 
 some very noticeable changes. (Cut No. 41.) 
 
 THE PHILOPONUS PORTRAIT. The first plate in the curious work of 
 Honorius Philoponus, Nova Typis Transacta Navigatio, &c., &c., printed in 
 1621, but with no mention of the place of publication, is a full length portrait 
 of Columbus. As I reproduce it, and it has no particular history or historical 
 value, I do not consider it necessary to give any description of it, but will 
 merely call the attention of my readers to the extraordinary dress and cap 
 worn by the Admiral, as well as to the very original map in which the name 
 of America is given only to the northern part of the United States. I would 
 also like to call attention to the quaint inscriptions on the said map and the 
 design of the caravel. (Cut No. 42.) 
 
 SEBASTIAN DEL PIOMBO. Among the treasures in the Bibliotheque 
 Nationale of Paris, is a beautiful wood engraving which bears the following 
 inscription : 
 
 HMO EST EFFIGIES LIO URI MIR AND I COL UMBI 
 
 ANTIPODUM PRIMUS RATE QUI PENETRA VIT IN ORBEM, 
 and signed, 
 
 SEBASTIANUS VENETUS FECIT, 
 which means : 
 
 "This is the portrait of the wonderful Genoese Columbus, the first who 
 in a ship reached the world of the antipodes : 
 
 Sebastian the Venetian made it." 
 j 
 
 I have never seen a copy of it nor even a description, but M. R. Darzens, 
 writing of it in the Paris Figaro, says: "Notwithstanding the inscription, it does 
 not bear the least resemblance to the de Orchi portrait, which is claimed 
 to "be the original Jovius portrait." He proceeds to remark humorously: 
 "There are in addition in the Bibliotheque Nationale, where I have unearthed 
 forty-six different types, of a more or less recent date, reproducing the features 
 of Christopher Columbus, a number of old engravings. There is something 
 there to suit all tastes. There are fat Columbuses, thin, bearded, mustached, 
 long-haired, bald, in fact as I have said, something to suit all tastes, which 
 excuses me from discussing them." 
 
 RIBERA. The figure of Columbus in the large fresco in the Hall of 
 Sessions of the Palace of Deputies at Madrid, is the work of Carlos Luis de 
 Ribera, but although it is of great artistic merit it has no pretensions to be 
 considered a portrait of Columbus. 
 
 THE RIJSTCK PORTRAIT. Some days after the close of the sessions of the 
 Congress of Americanists, held at Luxemburg, in 1877, a letter was forwarded to 
 
THE COLUMBUS GALLERY. 
 
 the Committee on Publication by Baron de Dumast, who had received it from 
 Mr Kinck, a French portrait painter of New York. The letter was accom 
 panied by a picture which under any circumstances deserves to be reproduced, 
 if only for the amusement of my readers. 
 I will not follow Mr. Rinck in his 
 original argument in favor of the au 
 thenticity of this picture, for I cannot 
 believe for a moment that so talented 
 an artist as he is, would seriously main 
 tain that the old miser weighing an egg 
 in his emaciated hand, is intended to 
 represent Columbus, and that the gro 
 tesque lineaments of so vulgar a face, 
 agree with the well-known noble and 
 energetic features of the Admiral, and 
 at the same time I cannot consider it as 
 a practical joke perpetrated on Baron 
 
 Dumast. 
 
 Mr. Rinck says that in 1845 or 1846, 
 
 being in New Orleans, he attended an 
 auction sale where he saw the picture 
 which was catalogued under the title, 
 Le Vieux Gastronome, and that recognizing at a glance, the merit of the 
 picture he bid for and secured it, amid the sneers of the bystanders ! I think 
 the bystanders were perfectly right, as the subject of the miserable daub seems 
 to be joining in the sneers at the absurd claim made in its favor. The poor 
 old man is attired in a semi-military old coat, of brown and red the Spanish 
 colors, as Rinck says being, as is well-known, red and yellow. The coat 
 belongs to the Eighteenth if not to the Nineteenth century. 
 
 The joke, however, has been carried too far, and it is not my intention to 
 contribute to such an exibition of bad taste. (Cat No. 43.) 
 
 SCAKDONI. The Worcester Antiquarian Society possesses a picture of 
 Columbus painted by Scardoni. I have been told that it resembles the Moro 
 portrait but have been unable to find a description of it. 
 
 SCOTTO. The portrait engraved by Scotto, copied from a design by Bel- 
 loni, is nothing more than the De Bry picture, with the addition of a small 
 mustache, which makes it still more ridiculous than the original. 
 
 THEVET, (First Picture). There are two portraits of Columbus published 
 by Thcvet ; one of them is described by Curtis, and is reproduced in Cut No. 44. 
 
 43 THE RINCK PORTRAIT. 
 
66 
 
 THE COLUMBUS GALLERY. 
 
 Mr. Curtis says in his article in the Cosmopolitan, regarding this picture : 
 "Andre The vet, in his Portraits et Vies des Hommes lllustres which was first 
 published in Paris in 1584, gives us a Columbus of a solemn type that looks 
 more like an astrologer of the middle ages than a seaman. It is a rude wood 
 cut and has been frequently copied. It appears in N. D. Clerck s Tooneel der 
 
 44 THE THEVET OUT. 
 
 Beroemder Hertogen, published at Delft in 1617; in North s edition of Plu 
 tarch s Lives, published at Cambridge in 1676; Isaac Bullart s Academie 
 des Sciences et des Arts, published at Brussels in 1682, and in several other 
 works of later date. Clerck says that Thevet obtained the portrait in Lisbon, 
 and that it was painted by a Dutch artist while Columbus was living there." 
 
THE COLUMBUS GALLERY. 
 
 67 
 
 I may add that though the engraving is very rough, it is splendidly designed: 
 and the face is that of a man of extraordinary intelligence and energy, and 
 though not resembling in the least the Jovian type, yet it agrees fully with 
 the descriptions we have of Columbus. 
 
 The live large stars in the background are, according to the opinions of 
 
 45 THE THEVET ENGRAVING. 
 
 some, the great Southern constellation, the " Cross," which can be seen during 
 part of the year from almost any place in the regions discovered by Columbus; 
 others believe it to be the " Great Bear/ 
 
 The second Thevet portrait is a very good engraving from a copper-plate. 
 The face is full of intelligence and energy, but the eyebrows, the eyes, the 
 
68 THE COLUMBUS GALLERY 
 
 forehead, the nose and the mouth are entirely different from those of the other 
 portrait : there is not the least resemblance between them. 
 
 Thevet s works have enjoyed great popularity. They are at present rare ; 
 but as a curiosity, there is quite a demand for them. I do not think that 
 among the portraits with which his works are illustrated, there is a single one 
 deserving of any confidence ; the engraving No. 45 is taken from one of the 
 German editions of his works. 
 
 THE YASQUEZ PORTRAIT. The origin of the Cladera, Munoz and Yasquez 
 pictures, and of the high-relief in the Cathedral at Havana, is very curious. 
 About the end of the last century, the Duke of Veragua found among the 
 collection of pictures belonging to the family, a beautiful painting of a man 
 seated on a sort of a throne, attired as a grandee of Spain, bearing the inscrip 
 tion of D. Cristobal Colon. Believing it to be the picture of the great Admiral, 
 he at once instructed the celebrated engraver Yasquez to make a copper-plate 
 of it, stating that the original was in the gallery of the family. As the Yasquez 
 engraving was a magnificent work of art and the engraver had the high author 
 ity of a descendant of Columbus as to its authenticity, no doubt was" enter 
 tained as to the correctness of the claim. Munoz accepted the picture as did 
 Cladera, and when the high-relief was ordered for the Cathedral at Havana, 
 this engraving was the original from which it was taken, no attention being 
 paid to the anachronisms in the dress and the type of the picture, which 
 cannot possibly be a portrait of Columbus if we consult the pen portraits of 
 him left by his contemporaries. 
 
 This engraving has been widely copied : the more especially because it had 
 been accepted by such eminent authorities as Munoz and Cladera. The 
 beautiful original of this engraving was never intended as a portrait of the 
 Admiral, but of his grandson, Cristobal Colon y Toledo, brother of the third 
 Admiral of the Indies, D. Luis, the son of D. Diego, son of the Discoverer. 
 The age, type, and accessories of the picture described on page 69, which is 
 still in the Yeragua gallery, agree exactly with the appearance of the person 
 whom it is now known to represent. 
 
 The engraving is of large size and bears the inscription: "CHRISTOVAL 
 COLON COPI ADO DE UN QUADRO ORIGL., QUE SE CONSERVA 
 EN LA FAMILIABART VAZQUE LA GRABO 1791." It is a three- 
 quarter-length portrait of Columbus, in which he is represented as a young 
 man clad in armor with a ruff around the neck. He wears a mustache and 
 goatee and holds a globe in his right hand and in the left a baton of 
 command. 
 
 THE YERAGUA PORTRAIT. The portrait in the gallery of the Duke of 
 
THE COLUMBUS GALLERY. 69 
 
 Veragua, one of the descendants of the Admiral, was painted at the end 
 of the XVIth century. It retains some of the features of the Columbus face, 
 but he is represented as a young man with mustache and goatee, wearing a 
 ruff and cuffs, which were worn at the time it was painted : Carderera con 
 siders it to be worthless. It is claimed that this portrait is a copy from an 
 original which was carried from Santo Domingo to Havana, together with the 
 supposed remains of Columbus, at the close of the last century. Such an 
 original was not received at Havana, and probably never existed in Santo 
 Domingo. The only portrait at Havana is one sent, in 1796, by the Duke of 
 Veragua, the great-grandfather of the present Duke. It is, perhaps, a portrait 
 of Don Fernando Colon, the son of the Admiral. It is said that this original 
 picture was painted on board, and was about 18 or 20 inches in height : no one, 
 to my knowledge, has ever seen it. 
 
 THE VERSAILLES PORTRAIT, No. 1. In the Versailles Gallery there is a 
 beautiful portrait painted on wood, which was presented to the Gallery long 
 ago, by the Count de Montesquieu. Though it has great artistic merit, it is 
 absolutely worthless as a portrait, as it has none of the characteristics of 
 Columbus. It is a bust ; the face is very broad and clean-shaven, with a big 
 fiat nose, large dark eyes, and long hair almost concealed by a cap. According 
 to Carderera, the dress and cap are an exact reproduction of the fashion of the 
 time of the Catholic Kings ; yet Feuillet des Conches calls them strange and 
 exotic. 
 
 Feuillet des Conches believes that it was painted by a disciple of John de 
 Bruges or Van Eyck, as both the type and the style are Flemish : others say 
 that it may have been painted at Lisbon, while Columbus was at that Court. 
 
 It is undoubtedly very old and bears so close a resemblance to the de Bry 
 portrait, that it is believed to be the original followed by that artist ; yet the 
 de Bry has two well-defined warts on the right cheek and the Versailles 
 has none. 
 
 This portrait has been engraved very often and the best representation of it 
 is the beautiful plate by Mercuri. It has also been reproduced by Gavard in 
 the Galerie Historique de Versailles and Mr. Curtis mentions thirteen copies 
 of it including the de Bry in 1595. It is catalogued at the Museum as a work 
 of the XVIth century under No. 2,997. (Cut No. 46.) 
 
 THE VERSAILLES PORTRAIT, Xo. 2. The best notice I have found of the 
 second portrait at Versailles, is that written by Mr. Curtis, and, as this gentle 
 man has kindly authorized me to make any use I desire of his essay and cuts, 
 I copy verbatim from his often quoted article in The Cosmopolitan. Mr. 
 Curtis says: "The second Versailles portrait which is said to have disappeared 
 
70 
 
 THE COLUMBUS GALLERY 
 
 .$- 
 
 46 THK VERSAILLES 1 ORTRAIT 
 
THE COLUMBUS GALLERY. 
 
 71 
 
 during the Franco-Prussian war, was very ancient also, and plainly of Dutch 
 origin. It was painted on a small panel of wood twelve "by fourteen centi 
 metres in size. There was an anchor on the frame and on the right side of the 
 figure an inscription of eight lines in ancient Dutch, which reads : Crisloff de 
 Colomb, Groots Admiral Vost Zee onder Feniand? that is, Christopher 
 Columbus, Grand Admiral of the Eastern Seas under Ferdinand. 1 The head 
 was completely bald, and the costume a great coat, or vitchouva, worn by 
 sailors in the beginning of the sixteenth century. Its antiquity was evident, 
 not only in the materials used, but because the costume, the style of letters 
 and orthography of the inscription were not in vogue later than 1650." 
 
 AXONYMOUS. In the Illustrated American Biography, published at New 
 York, in 1853, by Jones and Emerson, there is a beautiful wood engraving which 
 it is pretended is a half-length portrait of Columbus, omitting the hands. The 
 
 47 ANONYMOUS CUT. 
 
 face is noble and commanding and the eyebrows strictly historical ; the fore 
 head is high and intellectual, but the nose, mouth and eyes have not the well- 
 known characteristics of Columbus. The hair is quite long and he wears a full 
 beard and mustache ; he is clad in armor, with the right shoulder half covered 
 by a mantle. It has been copied in many American educational works, and 
 that is the reason for my describing it ; as a portrait it is absolutely worthless. 
 ANONYMOUS. The allegorical picture of Columbus which I reproduce in 
 cut No. 47 has been published in many geographical works. It looks like a 
 reproduction of the Parmigianino portrait, and is therefore worth no more 
 than the original from which it was taken. On the one side the crews of 
 Columbus are seen disembarking from his ships on an island covered with 
 palms, and on the other is a thriving manufacturing town. Unluckily the 
 
72 THE COLUMBUS GALLERY. 
 
 sword traversing the background of the picture, also shows allegorically the 
 instrument by which the conquest was accomplished, 
 
 COLUMBUS ON HORSEBACK. GENOA. In the Paradise diAlbaro, belonging 
 
 48 BRYAN-EDWARDS COLUMBUS AND HIS FAMILY. 
 
 to the Saluzzo family, there is a large portrait of Columbus on horseback, 
 riding over one of the islands he has discovered. We are told that the picture 
 is very beautiful and full of life and light, that the luxuriant vegetation of the 
 
THE COLUMBUS GALLERY. 73 
 
 tropics is shown to advantage and with truth, but as the head is purely 
 imaginary, it has no value aa a portrait. 
 
 THE BRYAN-EDWAKDS PICTURE. I think it is proper to conclude this 
 long enumeration of the portraits of Columbus, by a family group repre 
 senting the Admiral, Beatriz, Don Diego and Don Fernando. This engrav 
 ing is in the fourth edition of the History of the West Indies, published 
 in London, in 1807, and it is copied "from an ancient Spanish picture in 
 the possession of Edward Home, Esq., of Bevis Mount, near Southampton," 
 so says Edwards. 
 
 Edwards also claims that the date of the picture is about 1504, at the time 
 of the return of Columbus from his fourth voyage, and the evidence that he 
 adduces to this effect, incidentally establishes the fact that it is apocryphal. 
 
 He says that the Mar del Sud is marked on the original map, and as the 
 Southern Sea was not discovered until 1513, by Balboa, it is absolutely 
 impossible that this portrait could have been taken from life. 
 
 The portraits of Beatriz, Fernando and Diego, would be a great acquisition 
 for the lovers of art from a historical point of view, but unfortunately this is a 
 fact too good to be true : a mere glance is sufficient to convince us of the 
 fallacy of the pretension, as the types, the dress, accessories and other 
 particulars, show that this picture must have been painted at least one 
 hundred years subsequent to the date claimed, and that the modest artist 
 who painted it, and forgot to sign his name, had no intention of portraying so 
 illustrious a family, but probably some rich Dutch merchant or planter, and 
 his sons, who, after a lesson in geography, are preparing to partake of the 
 luscious fruit, which a female servant wearing an apron is bringing to the 
 table. A nondescript animal intended for a dog, bat resembling a cross 
 between a sheep and the former animal, is depicted as hungrily eying the 
 head of the family. 
 
 The features of the servant and the boys are of the true Dutch type. In 
 regard to Columbus, I will only say that this is the ugliest alleged portrait 
 of him I have ever seen. (Cut No. 43 ) 
 
 To this cursory and yet somewhat lengthy review of some of the so-called 
 portraits of Columbus, I will add that there is in existence a very large number 
 of paintings, engravings, lithographs, etc., purporting to represent Columbus, 
 some of which are remarkable for their beauty, but not for their fidelity as 
 most of them are imaginary pictures : among them I will mention the 
 engravings by Landon, Fernando Selma (after Maella), Terla, Larmesin, 
 Zatta, Bazin, etc., etc. 
 
 I will not attempt to give a catalogue of them, as this would fill a volume 
 
74 THE COLUMBUS GALLERY. 
 
 three or four times the size of the present, and they are not deserving of it, 
 being in general only variations from the types already described. 
 
 NOTE. 
 
 ffarrissc, Christopher Co/unibiis and the Bank of St. George, p. 108, says: "and we would 
 then possess an authentic portrait of the discoverer of America, which does not exist anywhere, nor 
 do I believe that the portrait of Columbus was ever painted, drawn or carved from the life." He 
 further says that portrait painting commenced in Spain, at a later period than that of the Catholic 
 Kings : this is an error as there are in existence portraits of the Catholic Kings, ot the Princes, 
 ot Xebrija and of other persons painted by Rincon, who died in 1500. 
 
 Besides Rincon, the following artists of the same period have painted portraits: Juan Nunez, 
 Pedro de Cordova, Juan cle Borgona, Pedro Berruguete, Inigo de Comontes, Alonso Sanchez, Luis 
 de Medina, and X. Gallegos, and before the time of the Catholic Kings some portraits were also 
 painted by Jorge Ingles and Juan Sanchez de Castro. 
 
STATUES, MONUMENTS, BASS-RELIEFS, &c., 
 
 IX MEMORY 
 
 OF COLUMBUS. 
 
 T WILL now proceed to describe the different monuments, statues, bass- 
 reliefs, &c., erected in honor of the great navigator, commencing 
 with those in his native land and other parts of Europe. I will then 
 follow him on his voyages, and afterwards describe the memorials in 
 countries which he never visited, concluding with the United States. 
 
 ITALY. 
 
 MONUMENT AT GENOA. In 1846, some citizens of Genoa organized a society 
 for the purpose of raising a noble monument to the memory of their greatest 
 fellow-citizen. The idea was approved by King Carlo Alberto, and in the 
 same year, the Mayor of the city, Marquis Tommasso Spinola laid the corner 
 stone of the monument in the presence of a large number of distinguished 
 Italians, at the Piazza dell Acquaverde. 
 
 Some of the most eminent Italian sculptors submitted plans for the monu 
 ment, and the Academy of Milan selected that of the great master Lorenzo 
 Bartolini, who unfortunately died some months after. Then another eminent 
 artist, Pietro Fraccia was chosen to carry into execution the plans of Bartolini, 
 but he also, died in the same year. 
 
 The political disturbances of the following years, caused an almost com 
 plete cessation of the work ; the promised aid from the State and Municipality 
 
76 
 
 THE COLUMBUS GALLERY. 
 
 49 THE MONUMENT AT GENOA. 
 
THE COLUMBUS GALLERY, 77 
 
 could not be given in consequence of the demands incident to the war for Italian 
 independence, and for the same cause the popular subscription was almost a 
 complete failure. Another reason was the necessity of changing the site origin 
 ally chosen for the monument to another place in the same Square, as a very 
 large railroad depot had been built in the immediate vicinity. At last, thanks 
 to the energetic efforts of the committee presided over by the Marquis Lorenzo 
 Pareto, the monument was completed and dedicated on November 9th, 1862. 
 
 As this is up to the present time, one of the noblest monuments erected to 
 the memory of the great Admiral, I consider it proper to give a detailed 
 description of it to my readers. (Cut ]S T o. 49 ) 
 
 The monument stands in the Piazza dell Acquaverde : the base is a square 
 of 40 feet on each side, stands on three steps, and has on each side, a bronze 
 inscription in Italian : on the front it reads : "TO CHRISTOPHER COLUM 
 BUS, THE FATHERLAND," on the right is, " FOUNDATION LAID IN 
 1846," and on the back are the words, "HAVING DIVINED A WORLD, 
 HE FOUND IT FOR THE PERENNIAL BENEFIT OF THE OLD ONE ; " 
 " (dimuato un mondo, to avvinsedi perenni benefizi alV antico 1862)." On 
 the left is, "THIS MONUMENT WAS DEDICATED IN 1862." 
 
 Three steps from the top of the base and in the center of it rises a highly- 
 ornamented cylindrical shaft, on the lower part of which are four bass-reliefs 
 representing the most important events of the life of Columbus : 
 
 1. Columbus before the Council of Salamanca ; 
 
 2. Columbus erecting a cross on the first land discovered ; 
 
 3. Reception of Columbus at Barcelona, by the Kings of Spain on his re 
 turn from the first voyage ; 
 
 4. Columbus in chains, returning to Spain. 
 
 The central part of the shaft is ornamented with beaks of ancient galleys, 
 and on the top is a colossal statue of Columbus discovering America. At the 
 suggestion of the Spanish government the lineaments of Columbus in the statue 
 were taken from the portraits of Jovius and Capriolo. He has long, flowing 
 hair, appears to be about fifty years of age and is dressed in scrupulous 
 accordance with the fashion of the times, in a short Spanish tabard, and a large 
 open cloak ; his left hand rests on an anchor while his right is on the shoulder 
 of a figure of America typified by a kneeling Indian maiden holding a cross in 
 the right hand. 
 
 At each of the four corners of the base, stands a smaller square pedestal, 
 on each of which is a seated statue ; they represent Piety, Science, Constancy 
 and Prudence. 
 
 The whole of the work in the monument is of great merit, but hardly any 
 
50 CUSTODIA AT GENOA. 
 
THE COLUMBUS GALLERY. 79 
 
 portion of it is the work of the artist to whom it was originally assigned. The 
 grand group of Columbus and America, was designed and commenced by 
 Bartolini ; after his death Fraccia continued it ; he also died and it was finished 
 by the eminent sculptor, Franzini of Carrara. In consequence of the death of 
 the principal artists, great changes were made in the staff. Certoli made the 
 statue of Prudence and the bass-reliefs representing Columbus erecting the 
 cross ; Vanni the statue of Piety ; and the bass-relief of the Reception at 
 Barcelona was executed by Cevasco ; the bass-relief of the Council of Salamanca 
 and the statue of Science, were the work of Gaggini, while Revelli, (the artist 
 of the monument at Lima), made the bass-relief of Columbus in chains, and 
 Santorelli the statue of Constancy ; the eight faces which ornament the lower 
 base came from the studio of Rocchi in Carrara after models furnished by 
 Yanni. 
 
 THE CUSTODIA OF GENOA. Columbus presented Nicolo Oderigo with two 
 complete sets of authenticated copies of his titles, to be placed for safe-keeping 
 by him in the Bank of Genoa. These documents, together with three autograph 
 letters of Columbus, were presented to the city of Genoa, by Laurentio 
 Oderigo, a descendant of Nicolo Oderigo, and were accepted by a decree, dated 
 January 10th, 1670. They were stolen during the political troubles of 1797, one 
 passing into the possession of Count Cambiaso, the other being taken to 
 Paris. The Government of Genoa secured the return of the papers, and after 
 their recovery they were deposited in the archives of Genoa. 
 
 The Common Council ordered the erection of a "Custodia" for the purpose 
 of the safety of these priceless documents, and Carlo Barabino, the City Arch 
 itect, was entrusted with the execution of the work. The "Custodia con 
 sists of a truncated column, in the upper part of which is a receptacle, closed 
 by a metallic plate in which are deposited the precious relics, which are 
 seldom exhibited to the public, and photographs of which are on view. The 
 column is surmounted by a bust of Columbus ; it is about eight feet in height 
 and stands on a square die. It bears the following inscription : 
 
 "QUJE. HEIC. SUNT. MEMBRANAS. EPISTOLAS. Q. EXPENDITO. 
 HIS. PATRIAM. IPSE. NEMPE. SUAM. COLUMBUS. APERIT. EN. 
 QUID. MIGHT. CREDITUM. THESAURI. SIET. DECR. DECURIONUM. 
 GENUENS. M.DCCCXXI." 
 
 The bust is the work of the sculptor Peschiera ; it is four feet in height and 
 is remarkable as a work of art, the artist having followed the descriptions of 
 the Admiral, with the exception of the mouth and eyebrows, which are some 
 what different. (Cut No. 50.) 
 
 THE GENOA STATUE. At No. 19 Via Carlo Alberto, near the Piazza 
 
80 
 
 THE COLUMBUS GALLERY. 
 
 Darsena, Genoa, Italy, a small statue of Columbus stands in a niche, with the 
 following inscription : 
 
 " DISSI, VOLLI, CREDI, ECCO UN SECONDO 
 SORGER NUOVO, BALL ONDE IGNOTO MONDO." 
 
 The statue is old and the artist s name unknown, but I have read that the 
 artistic treatment is good, although it has no historic value. In addition to 
 
 , 51 BUST AT PA VIA. 
 
 this there are also in Genoa, two large busts, one at the University, and 
 another at the Royal Palace. They botli possess great artistic merit, but 
 neither of them has any particular history. 
 
 Another statue of Columbus has been erected in the Red Palace at Genoa, 
 which represents him standing on the deck of the Santa Maria behind a priest 
 
THE COLUMBUS GALLERY. 81 
 
 bearing a cross. The pedestal is ornamented by prows of caravels, and on 
 each side are emblematic figures representing Discovery and Industry. . 
 
 THE GENIUS OF COLUMBUS. STATUE BY VIGNOLO. This splendid work, 
 which is of heroic size, is one of the most beautiful ornaments of the Royal 
 Palace at Genoa. 
 
 STATUE IN THE GALLERY VITTOKIO EMANUELK, MILAN. There are in 
 the Gallery Vittorio Emanuele, Milan, twenty-four statues of the most distin 
 guished Italians. On the right hand side of the gallery of exit, there is a 
 statue of Columbus which as a work of art is excellent, but as to resemb 
 lance is absolutely worthless, and from descriptions I have read of it and 
 information imparted to me by a most competent person, it is purely 
 imaginary. 
 
 PAYIA BUST. There is also in the University of Pavia, which it is 
 pretended was the Alma Mater of Columbus, a beautiful colossal marble bust 
 of the Discoverer. The hair is arranged in a fashion that did not prevail at 
 the time of Columbus ; the lineaments of the face are, however, in accordance 
 with the Capriolo and Cancellieri engravings. It is truly admirable as a work 
 of art. (Cut No. 51.) 
 
 CAPITOLINE MUSEUM. In the Capitoline Museum at Rome, there is a bust 
 of Columbus of great artistic merit but of no historical value, as it is entirely 
 imaginary. There is a reproduction of this bust in the Hall of the Historical 
 Society of New York. 
 
 STATUE BY VINCENZO VELA. COLUMBUS IN AMERICA. This colossal 
 marble group was exhibited at the Paris Exposition in 1867. It represents 
 the Admiral attired in a somewhat quaint and cumbersome dress, in the act of 
 extending his hand over a young Indian maiden typifying America. I have 
 read that it is a beautiful work of art, but historically worthless. 
 
 REVELLI STATUE. This group is nothing more than a duplicate of thai 
 exhibited at the Paris Exposition of 1867, and which is elsewhere described 
 as having been erected at Lima ; it is very well known, as there is a 
 beautiful engraving of it by Desmaison, which has had a wide circulation. 
 I do not know the present site of the statue, but it was sold at a high price. 
 
82 THE COLUMBUS GALLERY. 
 
 FRANCE. 
 
 THE PARIS STATUE There is in the Champs Elysees, at Paris, a statue 
 by Cordier, which is much admired for its artistic merit. I will not describe 
 it because it is a duplicate of the statue, by the same artist, surmounting the 
 monument in the capital of the Republic of Mexico. 
 
 SPAIN. 
 
 SEVILLE. In the court-yard of the old Exchange or Casa de Contratacion 
 de las Indias, at Seville, where the Archives of the Indies are deposited, a small 
 marble statue of Columbus has been erected. Its artistic merit is not great, 
 and its value as a portrait even less. 
 
 CARTUJA OF SEVILLE. The Dowager Marchioness of Pickman, has erected 
 in the old building of the Cartuja, which is at present the most celebrated 
 manufactory of ceramics in Spain, a monument in memory of Columbus, over 
 the spot where his remains were once interred. The base of this monument is 
 of encaustic tiles manufactured on the spot. From it rises a pedestal of 
 Carrara marble surmounted by a colossal statue of the Admiral. He is 
 represented with his right liand resting on a globe, placed on a column, and 
 holding a scroll of parchment in his left hand. On the front of the monument 
 is a memorial slab with the following inscription : 
 
 A -CRISTOBAL COLON - EN" MEMORIA DE - HABER ESTADO 
 DEPOSITADAS-SUS CENIZAS DESDE EL AND MDXIII A MDXXXVI 
 EN LA IGLESIA DE ESTA - CARTUJA- DE-SANTA MARIA-DE LAS 
 CUEVAS-LA MARQUESA YIUDA DE PICKMAN - ERIGIO ESTE 
 MONUMENTO-EN MDCCCLXXXVII. The interpretation of which is : 
 
 To CHRISTOPHER COLUMBUS, IN MEMORY OF HIS REMAINS HAVING BEEN 
 DEPOSITED HERE FROM THE YEAR MDXIII TO MDXXXVI IN THE ClIURCH OF 
 THIS CARTUJA OF SANTA MARIA, THIS MONUMENT HAS BEEN ERECTED BY 
 THE DOWAGER MARCHIONESS OF PICKMAN IN MDCCCLXXXVII. 
 
 MONUMENT AT SALAMANCA. At Valcuerbo, near Salamanca, Columbus 
 was entertained by Diego de Deza, prior of the great Dominican convent of San 
 Esteban, while the Junta of Spanish ecclesiastics considered his projects. The 
 
THE COLUMBUS GALLERY. 83 
 
 small farm-house still stands at a distance of about three miles west of Sala 
 manca, and there is a traditiop among the peasants that on the crest of a small 
 hill in the vicinity of the house, now called, " Teso de Colon" (Columbus 
 Peak), Columbus used to confer with his advisers or pass the time in solitary 
 meditation. A monument has been erected by the present owner, Don Martin 
 de Soils. It consists of a stone pyramid surmounted by a globe. 
 
 MONUMENT AT GRANADA. The Spanish government, with the view of 
 commemorating the celebration of the Columbus Centennial, ordered the 
 erection of a monument at Granada, in honor of Isabella and Columbus, thus 
 uniting two of the most important events in the history of Spain: the conquest of 
 Granada which ended the rule of the Moors in the Peninsula, and the discovery 
 of America. The artist selected to design and erect this splendid monument 
 was the young but famous sculptor, Mariano Benlliure, a native of Valencia, 
 and whose works have gained for him a great reputation in the art world. 
 
 The monument consists of three parts : the base, the pedestal, and the 
 group which crowns it. The base is of marble from the quarries of Sierra 
 Elvira, near Granada, and consists of five wide low steps. On the center of this 
 base stands the pedestal, which is a massive, rectangular structure, rich and 
 severe in character, and truly monumental. Its corners are formed by four 
 plain pilasters, with a capital in the style of the Renaissance. On the sides of 
 the pedestal are two large bass-reliefs, one of which represents a battle at Yelez 
 Malaga, and the other the signing of the agreement between Columbus and the 
 Catholic Kings. The names of prominent persons celebrated in Arms, Liter 
 ature or the Church, attached to the court of the Catholic Kings, are inscribed 
 all over the pedestal. In the front face are two allegorical figures representing 
 Granada and America, in the act of raising a tapestry covering the plinth, on 
 which are inscribed January 2, 1492, the date of the surrender of Granada, 
 and October 12, 1492, the date of the discovery of America, and beneath this 
 are the names of the principal supporters of Columbus, Fray Juan Perez, 
 Cardinal Mendoza, Alonso de Qnintanilla, Fray Hernando de Talavera, the 
 Marchioness of Moya and Luis de Santungel. 
 
 The tapestry which falls over the plinth, reaches to the top of the pedestal, 
 on which is the Queen seated on a magnificent Gothic chair, listening to the 
 plans of Columbus who is standing in front of her. The ornamentation of the 
 sculptures on the plinth and the upper part of the monument give it a beauti 
 ful appearance and the figures in the bass-reliefs are magnificently executed. 
 The attire of the figures of Columbus and Isabella are faithfully copied from 
 monuments and descriptions. According to native critics, the whole work is 
 an honor to modern Spanish art. 
 
84 THE COLUMBUS GALLERY. 
 
 MONUMENT AT HUELVA. From The Centenario, an illustrated review pub 
 lished in Madrid, I take the following details regarding the monument recently 
 erected at Huelva. It consists of three parts : a base, nineteen feet in height, 
 terminating in a spacious platform, to which access is obtained by three well- 
 proportioned perrons, and from which a magnificent view is had of the Bar of 
 Saltes, Huelva, Palos, Moguer and the sea. On this platform is erected a 
 hexagonal pedestal seventy-three feet in height, ornamented by the prows of 
 the three caravels ; on this pedestal again stands a column, eighty-two feet 
 in height, in the interior of which there is a winding staircase by means of 
 which visitors can ascend to a gallery on a level with the vessels prows, and 
 have a splendid view of the surrounding country. The capital of the column 
 is a group of savages which upholds it. The cornice is a representation of the 
 diadem of the Catholic Kings, above which is a globe fifty feet in diameter, 
 with a large cross as a finial. On the equator of this globe are inscribed the 
 names of Columbus and Isabella, and on the lower part of the column are the 
 names of all the persons who cooperated in the accomplishment of the under 
 taking either by their personal help or influence. Among them will be the 
 names of all the members of the crews of the three caravels which have been 
 handed down to posterity. 
 
 The monument is of white marble two hundred and five feet in height, and 
 was designed by Ricardo Velasquez ; the construction has been carried on 
 under his supervision by the able architect, Hernandez Rubio. It stands in 
 the center of a circular plaza, four hundred and eighty-five feet in diameter 
 and two hundred and seven feet above the level of the sea, profusely orna 
 mented with American plants. It was dedicated on August 3rd, 1892. (Cut 
 No. 52.) 
 
 MONUMENT AT BARCELONA. This is the noblest monument yet erected to 
 the memory of Columbus, and just as that at Genoa, is really deserving of 
 something more than a passing notice. 
 
 Barcelona is the place where the Catholic Kings received Columbus on his 
 return from his first voyage, but nobody had ever thought of erecting a 
 memorial to him there, until 1856, when a public-spirited Catalonian, Antonio 
 Fajas, proposed to organize a general subscription for raising the funds required 
 to defray the cost of the monument. 
 
 The projector was neither an artist nor even an educated man ; he was 
 simply a shoemaker, who having found that his trade was not lucrative enough 
 for his ambition, enlisted in the army, and was sent to Cuba ; after having 
 obtained his discharge, he embaiked in business and made a great fortune, 
 which soon after his return to Barcelona, lie lost in a banking venture ; he 
 
THE COLUMBUS GALLERY. 
 
 85 
 
 52 MONUMENT AT HUELVA. 
 
86 THE COLUMBUS GALLERY. 
 
 left his country once more and commenced to work anew. He made another 
 fortune and then returned to Barcelona, where he settled for good, always 
 taking a lively interest in any scheme which he considered likely to further 
 the glory and beauty of his native city. 
 
 He had always been an enthusiastic admirer of Columbus and in 1856, he 
 proposed to the Municipal Council of his city, the erection of a great memorial 
 to the Discoverer, to be entirely the work of Catalonian artists ; but in conse 
 quence of political troubles very little attention was paid to his project. At 
 last, in 1872, he found an enthusiastic supporter in the Mayor of the city, 
 Kius y Taulet. Unforeseen obstacles prevented the carrying out of the work, 
 notwithstanding a competition had been opened and proposals submitted. In 
 1881, Mr. Rius y Taulet was again elected Mayor of Barcelona, and urged by 
 Fajas, he took the project in hand and opened a public subscription to defray 
 the expenses. The sum of $200,000 was required and the greater part of it 
 was raised in four years ; the deficit, $24,000, was covered by the Provincial 
 Deputation of Barcelona, which contributed $14,000, and by the Municipality 
 of the same city, which donated $10,000. 
 
 Spanish artists exclusively, were invited to compete. Twenty-eight artists 
 presented their designs and reports and the first prize was awarded to Mr. 
 Cayetano Buigas Monraba, a distinguished Catalonian architect, who was 
 charged with the direction of the work. The corner-stone was laid on Sept. 
 28th, 1882. Six years were required for the completion of the work, which 
 was dedicated with great solemnity and in the presence of an immense con 
 course of people on the first day of June, 1888. (Cut No. 53.) 
 
 Seven Spanish and forty-nine foreign men-of-war, belonging to the American, 
 Austrian, British, Dutch, French, German, Italian, Portuguese and Russian 
 Navies participated in the dedication of this monument. The Queen- Regent 
 of Spain with the royal family and a large number of prominent citizens assisted 
 at the ceremonies. 
 
 Buigas called to his aid a galaxy of distinguished Catalonian artists, and 
 apportioned the different parts of the work among them, using the greatest 
 discretion in the selection of the men who were to realize his conceptions. 
 
 In giving a description of this truly majestic monument, I will divide it 
 into five parts : 
 
 1. The Substructure or Stylobate ; 2. The Base ; 3. The Pedestal ; 4. The 
 Column ; 5. The Statue. 
 
 The stylobate is in the form of a circle sixty-six feet in diameter, and is 
 built of freestone ; it is about four feet above the level of the Square ; it is 
 broken by four staircases twenty feet wide, each flanked by two lions, one 
 
THE COLUMBUS GALLERY 
 
 87 
 
 
 
 53 MONUMENT AT BAKCELONA. 
 
88 THE COLUMBUS GALLERY. 
 
 standing and one couchant. These eight magnificent and gigantic lions are 
 cast in bronze by the eminent master Vallmitjana, a son and able disciple 
 of Venancio Yallmitjana, the sculptor of the beautiful statue of "Columbus 
 in Chains." 
 
 2. The Base. On this stylobate rises the base in the form of a truncated 
 cone. It is about thirteen feet high by fifty -nine feet in diameter at the foot. 
 It is built of enormous ashlers from the quarries of Monjuich. Embedded in 
 its sides there are eight bronze high reliefs representing the most important 
 incidents in the career of the Admiral : 
 
 1. Arrival of Columbus at the Convent of La Rabida ; 
 
 2. Conference at Salamanca ; 
 
 3. Presentation of Columbus to the Catholic Kings at Cordova ; 
 
 4. Conference of Columbus and the Catholic Kings at Santa Fe ; 
 
 5. Embarkation at Palos ; 
 
 6. Landing at Guanahani ; 
 
 7. Columbus taking possession of the New World in the name of the 
 Catholic Kings ; 
 
 8. Reception of Columbus at Barcelona by the Catholic Kings. 
 
 These high-reliefs are the work of the renowned artists, Llimosa and Pastor. 
 Alternating with the high-reliefs are the bronze coats of arms of the different 
 nations, which by their union constituted the Spanish Kingdom. 
 
 3. The Pedestal. The beautiful pedestal is entirely allegorical of the 
 persons who helped Columbus in his enterprise. It is in the form of a cross 
 inserted in a polygon of eight sides, of which four are projecting. In the faces 
 there are eight large bronze medallions representing the following persons : 
 Ferdinand, Isabella, Fray Juan Perez, Fr. Antonio de Marchena, Vicente 
 Pinzon, Martin Alonso Pinzon, the Marquise de Moya, and Andres Cabrera. 
 In front of the receding sides stand four colossal groups in bronze : 1. The 
 Treasurer, Santangel, accompanied by a page to whom he hands a casket, (by 
 Ganot}. 2. The cosmographer, Jaime de Blanes, with a page supporting a 
 globe, {by Page s). 3. Captain Pedro Margarit triumphing over an Indian, (by 
 Alentorn). 4. Father Boyl preaching to an Indian kneeling before nim, (by 
 Fuxd). It is a very curious fact that among the four persons honored in 
 these groups are two of the most inveterate enemies of Columbus, Captain 
 Margarit and Father Boyl. A little higher up, alternating with these groups 
 and in the abutting sides of the cross, are four splendid, colossal, seated 
 bronze statues, representing Catalonia by Carbonell, Aragon by Ganot, Castille 
 by Carcasso, and Leon by Atche. 
 
 4. The Column, which is a beautiful and original conception, stands on 
 
THE COLUMBUS GALLERY. 
 
 89 
 
 54 STATUE ON THE BARCELONA MONUMENT. 
 
90 THE COLUMBUS GALLERY. 
 
 this pedestal. It is a magnificent shaft of cast iron which at a distance seems 
 to belong to the Corinthian order, but the capital is something completely 
 different, as will be seen hereinafter. The shaft weighs thirty-two tons without 
 the capital and was cast by Wohlgemuth. At the foot of the column are four 
 beautiful winged figures of Fame holding a wreath of laurel in each hand and 
 proclaimimg the glory of Columbus. They are the work of the distinguished 
 sculptor, Rosendo Nobas. At about one-third of the height of the column is 
 a large medallion with the words, " BARCELONA A COLON." The capital 
 is a magnificent piece of work. Europe, Asia, Africa, and America are 
 represented allegorically as doing homage to Columbus, and by their side is 
 the coat of arms granted to the Admiral by the Catholic Kings. 
 
 The capital is surmounted by the princely crown of Catalonia, and the 
 crest of the crown is formed by a hemisphere allegorical of the Discovery. 
 Around the crown there is a balcony to which visitors are carried by an elevator 
 which runs in the column. The capital is all of bronze, and a part of it is cast 
 from the thirty tons of old bronze presented for this purpose by the Spanish 
 government to the City of Barcelona. The capital as well as the crown and 
 hemisphere are the work of the eminent artist, Pastor. 
 
 On this capital, rises the magnificent statue of the Admiral, the work of the 
 illustrious sculptor, Atcbe, to whom it was awarded in a competition with 
 the no less illustrious A r allmitjana. It stands on a round socle, on which is 
 inscribed the word, "TIERRA," ("LAND,") and represents the Admiral at 
 the moment of descrying land in the far distance, pointing to it with the right 
 hand and holding in the left a chart or parchment. The position is strikingly 
 majestic with the right foot advanced and resting on the left. He is represented 
 as simply but richly attired as Admiral of the Indies in court dress, and exactly 
 in accordance with the fashion of his times. His uncovered head is of the 
 Jovian type, softened, with long hair fiowing over the shoulders. The engraving 
 of the monument is copied from a beautiful photograph which I owe to the 
 kindness of my friend, the distinguished writer, Mr. Arturo Cuyas, and the 
 engraving representing the statue as also the full history and description and 
 many illustrations of the monument are found in the llustracion of Barcelona, 
 (Sept. 23rd, 1888), and the llustracion of Madrid, (Sept. 22nd, 1888), which 
 have been kindly placed at my disposal by the able artist, Mr. Juan Romeu y 
 Sola ; both are Catalonians, and highly esteemed residents of this city. 
 
 The statue is also of bronze and measures eight metres (26" 3 1 English 
 measurement). It was cast in two halves by Vidal at a very large cost, and 
 after five months of constant toil, but with the most complete success. 
 
 The height of the whole monument from the level of the famous Rambla, 
 
THE COLUMBUS GALLERY 
 
 55 STATUE BY SA1ST MARTIN AT MADRID. 
 
92 THE COLUMBUS GALLERY. 
 
 of Barcelona, where it stands to the top of the statue, is 57. 20 metres, equivalent 
 to about 187 English feet. 
 
 The monument is entirely Spanish ; it was raised with Spanish money 
 exclusively, to such a degree, that the President of the United States and the 
 King of Italy, having expressed a desire to take part in the subscription, 
 their offers were politely declined. The iron, steel, bronze, stone and lime 
 employed in its construction are all Spanish, and the conception, direction 
 and handiwork of every one of its parts is not only all Spanish, but exclusively 
 Catalonian. Undoubtedly, Barcelona has a right to boast of having erected 
 in honor of the great Admiral, the most beautiful, noble, rich and artistic of 
 all the memorials yet raised by human hands in memory of Columbus, as those 
 of Genoa, Madrid, Mexico and New York, cannot for a moment bear com 
 parison with that of the capital of the Principality of Catalonia. 
 
 MADRID. STATUE BY SAN MARTIN. In the Court of die Colonial Office 
 (Ministerio de Ultramar), at Madrid, a colossal statue of Columbus has been 
 erected. It is the work of the famous Spanish sculptor Jose San Martin, a disciple 
 of Ponciano Ponzano, and is one of the most beautiful statues of Columbus. 
 Added to its great artistic merit is the closeness with which the descriptions of 
 Columbus have been followed, and the accuracy of the details of the dress. 
 Columbus is represented in the costume of Admiral of the Indies, carrying 
 the standard of Castile ; behind him is a globe. The features of the statue are 
 very much like the portrait at the Naval Museum, and reproductions have 
 frequently been made in reduced size for different localities in Spain and 
 Spanish America. (See cut No. 55.) 
 
 NAVAL MUSEUM. MADRID. The second saloon of the Naval Museum at 
 Madrid bears the name of Sala de Colon (Columbus Hall), a large bust of the 
 Admiral is its principal ornament, but according to what I have been told, it 
 is a work of very indifferent merit, from a historical point of view, as it is 
 entirely imaginary, though as a work of art it is very effective. 
 
 THE MONUMENT IN MADRID. I translate from The Centenario of Madrid, 
 the following description of the monument to the Discoverer, erected there : 
 
 " In commemoration of so conspicuous an event as the marriage of the 
 never-to-be-forgotten King Alphonso XII., to Maria Christina, the present 
 Queen-Regent of Spain, the Spanish nobility determined to start a subscription 
 for the purpose of erecting a monument at this Court, to the glorious discoverer 
 of the New World. In the competition opened for the purpose of carrying 
 out this project, the famous artist Arturo Melida, submitted a design which 
 strongly attracted public attention, on account of the originality of the concep 
 tion, as he proposed that the memorial should assume the form of a vessel. 
 
56 MONUMENT AT MADRID. 
 
 93 
 
94 THE COLUMBUS GALLERY. 
 
 No award having been made in the first competition, a second was opened in 
 which the conditions of the work were set forth very explicitly, and the 
 specifications under which the monument should be constructed, and exacting 
 among some others as an essential one, that it should consist of a pillar with a 
 base. In this second competition, Mr. Melida again took part, and to him was 
 awarded the prize, namely : the execution of the work. 
 
 " The material of the monument is Novelda stone, and it stands in the center 
 of a square named after the immortal Genoese. It is composed of two parts: a 
 square base with an octagonal pillar, which is surmounted by a statue of 
 Italian marble, one of the masterpieces of the famous sculptor, Jeronimo 
 Sunol. The base is enriched with allegories, detached statues and other details, 
 which are in the best artistic taste. 
 
 " The high-reliefs which adorn the four faces are of excellent design, and of 
 exquisite workmanship. The one in the front represents the famous vessel, 
 the Santa Maria ; on the deck of the historical ship is seen a hemisphere with 
 the new continent, and a band on which is inscribed in monachal characters, 
 the motto: FOR CASTILLA, Y FOR LEON, NUEA O MUNDO HALLO 
 COLON. The high-relief on the north side shows the image of Our Lady of 
 the Pillar, with the ever memorable date of the discovery of America, 12 de 
 Octubre de 1492, at her feet, and the names of the intrepid Spaniards who 
 followed Columbus in his marvellous enterprise. On the eastern face is 
 depicted the touching scene of the offer of her jewels made by Isabella I., for 
 the purpose of raising funds for the forsaken and daring navigator ; while on 
 the western one is a representation of the conference at which Columbus 
 revealed his adventurous plans to Father Deza. 
 
 " Four heralds or kings-at-arms, of life size, and wearing emblazoned 
 dalmatics, stand at the angles of the base, on addorsed pillars, under elegant 
 canopies consisting of small groined vaults, carved in the form of polygonal 
 capitals, surrounded by festooned, pendant arches, and crowned by pinnacles. 
 Above this, is a circular arcade, between the columns of which are seen four 
 coats of arms of Spain, supported by the eagle of St. John the Evangelist ; 
 above this part, rises a pillar ornamented by beautiful mouldings on which is 
 the figure of Columbus, standing in a stately attitude, holding the standard of 
 Castile in his right hand. The monument is surrounded by an iron railing 
 and stands in the center of a garden. 
 
 "The style of this remarkable work is Gothic of the third period, better 
 known as the florid or flamboyant. This name originated from the filling of 
 the open spaces with fanciful traceries, imitating the fibres of leaves with small 
 interlaced columns and arches forming undulations. The style cannot be more 
 
THE COLUMBUS GALLERY. 95 
 
 characteristic, or recall to us more perfectly, the taste which prevailed at the 
 time of the Catholic Kings. 
 
 " The entire monument, with the exception of the statue, which is the work 
 of Mr. Sufiol, is the original design of Mr. Melida, which in this case as on 
 every former occasion, when his artistic talent has been put to the test, has 
 added a fresh leaf to his glorious crown, especially showing his profound 
 knowledge, and endorsing the good judgment of those who entrusted him with 
 the direction of the work of restoration in San Juan de los Reyes." 
 
 I will further add that the statue is worthy of more than such a passing 
 notice. It represents the Admiral as has already been stated standing 
 beside a capstan on which there is a globe, and holding the standard of Castile 
 in his right hand, while he extends the left, and raises his head as if in the 
 act of thanking Heaven for his glorious victory. 
 
 The details of the statue are excellent ; the features being in exact 
 accordance with the historical descriptions, and appear to have been taken 
 from the picture in the Naval Museum at Madrid. The material of the statue 
 is white Carrara marble, and it is 14 feet in height. I will state in conclusion 
 that according to the photograph by Laurent, in my possession, the coat of 
 arms of Columbus is beneath the globe, and the inscription reads: "A 
 CASTILLA Y A LEON, NUEVO MUNDO Dl6 COLON," instead of " FOR 
 CASTILLA Y FOR LEON, NUEVO MUNDO HALLO COLON," as is 
 stated in the article I have translated. 
 
 WATLING S ISLAND. 
 
 In 1891, an expedition was sent out by the Chicago Herald to find the 
 landing-place of Columbus. After very careful investigation and inquiry, the 
 party erected a monument fifteen feet high on Watling s Island, which bears 
 the following inscription : 
 ON THIS SPOT CHRISTOPHER COLUMBUS FIRST SET FOOT ON 
 
 THE SOIL OF THE NEW WORLD. 
 
 ERECTED BY THE CHICAGO HERALD 
 
 JUNE 15, 1691. 
 
90 THE COLUMBUS GALLERY. 
 
 NASSAU 
 
 STATUE AT NASSAU. In front of the Government House at Nassau, Bahama 
 Islands, is a statue of Christopher Columbus. It is nine feet high and stands 
 on a six foot pedestal, on the north face of which is inscribed : 
 
 COLUMBUS, 1492. 
 
 It was a gift to the colony, by Sir James Carmichael Smyth, Governor of 
 the Bahamas from 1829-1833, was modeled in London in 1831, is of metal 
 painted white, and was erected in May, 1832. According to the opinion of 
 some friends who have seen it, it has neither artistic nor historic value. 
 
 CUBA. 
 
 STATUE ix THE COURT- YARD OF THE CAPTAIN-GENERAL S PALACE AT 
 HAVANA. -There is in the court yard of the Captain-General s Palace at Havana, 
 a large marble statue of Columbus (cut No. 57), which is the work of the well- 
 known sculptor, Garbeille. He has taken as his model, the picture in the Naval 
 Museum at Madrid. The statue, which is not lacking in artistic merit, formerly 
 stood in the center of the Park at Havana. It occupied the site of the statue 
 of Isabella II., which was removed after the revolution of September, 1868. 
 On the return of the Bourbons to Spain, this statue, which is the work of the 
 same artist, was restored to its former place in the Park, and that of Columbus 
 was relegated to the court-yard of the Captain General s Palace, which is the 
 worst position, from an artistic point of view, which could have been chosen, 
 as it is surrounded by walls and trees and is almost in front of the stables. 
 
 STATUE IN THE TEMPLETE. In the city of Havana, there is a small, tasteful 
 building erected in commemoration of the first mass said in Havana, in 1517 ; 
 this building is known as the Templete. There is in it a marble bust of the 
 Admiral, which occupies a small niche. It is the gift of the famous and 
 venerated Bishop, Jose Diaz Espada y Landa. The bust was placed there in 
 182S, but I have not been able to learn the name of the artist, and I have not 
 
THE COLUMBUS GALLERY. 
 
 57 STATUE AT HAVANA. 
 
98 THE COLUMBUS GALLERY. 
 
 taken great interest in it. It lias absolutely no merit either artistic or historic. It 
 is surrounded by an iron railing and looks as is generally remarked in Havana, 
 as if the Admiral were there in prison. 
 
 VALLMITJANA. STATUE OF COLUMBUS IN CHAINS. HAVANA, SOCIEDAD 
 ECONOMICA. This beautiful work, by the most distinguished of modern 
 Spanish sculptors, is only a model in clay. It was bought by the patriotic 
 Cuban Deputy, Gabriel Millet, and presented by him to the Sociedad Economica 
 of Havana, a Society which has always been foremost in all matters tending 
 to promote the welfare and progress of the Island of Cuba. (Cut 58.) 
 
 It represents Columbus as a man of sixty years of age ; the head is superb 
 in sentiment and expression. He is seated on a coil of rope on the deck of the 
 ship, which is carrying him to Spain in chains, over that same Sea of Darkness, 
 which he had unveiled. He reclines against a capstan, in an attitude which 
 shows his fetters. Notwithstanding the fact that capstans of that form were 
 not known at the time, the slight anachronism only adds to the general beauti 
 ful effect of the work. His features agree with the description left by his 
 contemporaries. The expression of the face is a sublime combination of 
 suffering, melancholy and resignation. A profound knowledge of anatomy is 
 shown in the details of the emaciated face and hands. The inscription on the 
 base is as follows : 
 
 CRISTOBAL COLON, 
 
 FOR EL ESCULTOR ESPAXOL, D. V. VALLMITJANA, 
 
 DONADO A LA REAL SOCIEDAD ECONOMICA DE LA HABANA, 
 
 FOR DON GABRIEL MILLET, 
 
 1881. 
 
 HAVANA MONUMENT. A monument in the memory of Columbus is being 
 erected at Havana, Cuba. The most striking feature of which is a terrestrial 
 globe encircled by a band, on which are the words, " Nonplus ultra" which, 
 as is well known, was the motto of Spain at the time of the discovery. Beneath 
 this globe is a lion tearing off the three first letters with a blow of his paw, 
 representing the negative idea, showing by this allegory that there is a " Plus 
 ultra" as evidenced by the discovery of a New World. (Cut No. 59.) 
 
 The globe stands on a truncated pyramid, resting on a quadrangular base, 
 flanked by four statues standing at the four salient sides. These statues 
 represent Courage, Study, History and Navigation. To this last figure, a child 
 is presenting a compass. On each of the panels is a bass-relief representing a 
 notable event in the history of the discovery. 
 
 The first of these bass-reliefs shows the cell of Father Juan Perez in the 
 Convent of the Rabida, in which Columbus is depicted as explaining his plans 
 
THE COLUMBUS GALLERY. 
 
 99 
 
THE COLUMBUS GALLERY. 
 
 to the Franciscan Prior, to Garci Fernandez and to other monks of the Convent. 
 The second represents the departure of Columbus ; he stands in the center, 
 receiving the benediction of the friendly Prior. The third is a graphic picture 
 of the landing at San Salvador, the Admiral standing in the center, his 
 
 59 MONUMENT AT HAVANA. 
 
 followers kneeling at his feet, kissing his hands and the hem of his robe, and 
 asking his pardon; the fourth is the reception of Columbus at Barcelona by 
 the Catholic Kings, in which Ferdinand is rising to receive the Admiral and 
 his suite, two members of which are Indians, male and female. The four bass- 
 
THE COLUMBUS GALLERY. 
 
 101 
 
 reliefs are of beautiful design. On the side opposite to that on^vuiorrtU<2 Iso.a 
 is shown tearing off the word u non," an eagle with open wings displays the 
 escutcheon of the Spanish nation, then in use. 
 
 On another of the sides of the pyramid, is an artistic medallion with the 
 busts of the Catholic Kings resting on one of the wings of the eagle, and on 
 
 60 TOMB IN THE CATHEDRAL AT HAVANA. 
 
 the opposite side is a medallion representing the sail of a ship, with the standard 
 of the Holy Virgin and Child. 
 
 Another nautical design is on the top of the monument showing a barge 
 battered by the winds and waves, surmounting the globe. On this barge 
 
T02 THE COLUMBUS GALLKRY. 
 
 BtaAds, P^itli,: giiigling Christopher Columbus, as a symbol that the New World 
 has "been discovered under the ccgis of the Cross. 
 
 The sculptor, Antonio Susillo, though still a young man, is one of the most 
 famous Spanish artists. His model obtained the first prize in the competition 
 for the design for this monument, and he will receive $100,000 for building it 
 in accordance with his plans. It is 60 feet high and is now in course of 
 construction. It will be erected on a most beautiful site in the Capital of 
 Cuba, in the Park opposite the Tacon Theatre. 
 
 All these statues and bass-reliefs will be of bronze ; the monument will be 
 fifty-two and a half feet in height ; the group on the top will be twenty-three 
 feet ; the lion twelve feet, the eagle twelve feet ; the four bass-reliefs ten feet in 
 length, and the four statues which are all seated, will be ten feet each in height. 
 
 THE NEW SEPULCHRE OF COLUMBUS IN THE CATHEDKAL OF HAVANA. 
 This is in actual course of construction in Spain. The originator of the project 
 and director of the work is Mr. Arthur Mclida, a very celebrated Spanish 
 sculptor. (Cut No. 60.) 
 
 The monument will be of bronze and marble ; the base is composed of 
 enormous ashlers of gray marble from the quarries of Alconera, on which will 
 be a plinth of black Belgian marble, consisting of five pieces. 
 
 Four heralds dressed in full court mourning upbear the sarcophagus ; they 
 bear respectively the arms of Castile, Leon, Aragon, and Navarre, the four 
 nations which united under the rule of Ferdinand and Isabella, constituted the 
 kingdom of Spain. 
 
 The sarcophagus is of bronze, ornamented with enamelled metallic plates, 
 and in it will be placed the pretended remains of Columbus now at Havana. 
 
 THE HAVANA HIGH-RELIEF. A large marble slab on the right hand side 
 of the Presbytery in the Cathedral at Havana, marks the resting place of the 
 supposed remains of Columbus, brought there on board of the ship of the line, 
 the "San Lorenzo," on the 15th of February, 1796, by Gen. Aristizaval. 
 
 It represents Columbus in armor with a ruff and holding a globe. It strongly 
 resembles the Claderaand Munoz pictures, and as stated elsewhere in this work 
 is almost an exact copy of the Vasquez engraving (q. v.) (Cut No. 61.) 
 
 The execution of the high-relief is beautiful. It is a half-length in an oval 
 frame ; on the upper part is a garland of laurel and oak leaves. In a square 
 beneath the medallion are carved a number of nautical emblems, and above 
 this on a smaller slab is the following inscription : O ! RESTOS E IMAGEN 
 DEL GRANDE COLON -MIL SIGLOS DURAD GUARDADAS EN LA 
 URNA-Y EN LA REMEMBRANZA DE NUESTRA NACION !- the tran 
 slation of which is :- Oh 1 Remains and Image of Great Columbus, Rest in 
 
THE COLUMBUS GALLERY. 
 
 103 
 
 Peace for a Thousand Centuries in this Urn and in the Remembrance of our 
 Nation ! 
 
 The supposed remains are in a niche behind the slab, and on the metallic 
 receptacle enclosing them is the following Latin epitaph composed by Bishop 
 
 Colon! 
 9os fa, (a. 
 f/e nuestra Styacion 
 
 61 HIGH RELIEF CATHEDRAL, HAVANA. 
 
 Tres Palacios :-D. 0. M.-CLARIS. HEROS LIGUSTIN.-CHRISTOPHORIJS 
 COLUMBUS- A SE, REI NAUTIC. SCIENT. INSIGN.-NOV. ORB. DE 
 TECT.- ATQUE CASTELL. ET LEGION. REGIB. SUBJECT.- VALLISOL. 
 OCCUB.- XIII KAL. JUN. A. MDVI-CARTUSTANOR. HISPAL.-CADAV. 
 
104 THE COLUMBUS GALLERY. 
 
 CUSTOD. TRADIT.- TRANSFER. NAM IPSE PRESCRIPT- IN HISPA- 
 NIOL^E METROP. ECC. KING PACE SANCIT. GALLING REIPUBLC^E 
 SESS.-IN HANG Y.MAR. CONCEPT. IMM. GATE. OSSA TRANS.-MAXIM. 
 OM. ORD. FREQUENT. SEPULT. HAND -XYKAL. FEB. A. MDCCXCYI. 
 -HAY AN. CIYIT-TANT. YIR. MERITOR. IX SE NON. IMMEM. EXUY. 
 IN OPTAT. DIEM TUITUR- HOCCE MONUM. EREX.- PRESUL. ILL. D. 
 D. PHILIPPO JPH. TRES PALACIOS- CIVIC. AC MILITAR. REI. GEN. 
 PR^EF. EXMO.- D. D. LUDOYICO DE LAS CASAS.- The translation of 
 this is :- "D. 0. M. The Illustrious Genoese Hero Christopher Columbus, 
 Renowned For His Nautical Knowledge, By Himself Discovered a New World 
 And Gave It To The Kings Of Castille And Leon- Died at Valladolid In The 
 Year MDYI, The Body Being Entrusted To The Care Of the Carthusians Of 
 Seville, Was Transferred As He Himself Prescribed, To The Metropolitan 
 Church Of Hispaniola- Hence Peace Being Concluded And The Island Ceded 
 To France.- The Frequently Buried Remains Were Given Burial In The Pres 
 ence Of An Immense Concourse Of All Classes, On The Kalends Of The XVth 
 Of February In The Year MDCCXCYI.- The City Of Havana Unwilling That 
 So Great ^nd Meritorious a Man Should Be Forgotten And To Guard His 
 Precious Remains On This Auspicious Day Erects This Monument." 
 
 The Most Illustrious D. D. Philip Jph. Tres Palacios, Bishop- And The 
 Most Excellent D. D. Ludovico Do Las Casas Captain-General Of The Civil 
 And Military Government." 
 
 The remains will be transferred to the new monument for the Cathedral, 
 which has been described in its proper place. 
 
 MELERO : STATUE OF COLUMBUS FOR THE TOWN- OF COLON, CUBA. This 
 beautiful statue to be erected in the centre of the Park of Isabella tho Catholic, 
 at Colon, in the Island of Cuba, is the work of a talented Cuban painter, 
 Miguel Melero, Director of the Academy of Painting and Sculpture, at Havana. 
 
 The whole monument will be 28 feet in height. The pedestal rises on a 
 wide flight of steps, forming an octagonal prism, with a plain capital on which 
 stands the statue. (Cut No. 62.) 
 
 From the projecting faces are four detached pillars, and four bronze lions 
 modelled by the same artist. The front face will bear a commemorative in 
 scription on a bronze slab. 
 
 The statue is of bronze, about eight feet in height and represents Columbus 
 leaning on an anchor and a capstan, pointing to the newly discovered land : 
 the model in clay, has been exhibited, and has met with universal approval. 
 The artist has faithfully followed the descriptions of Columbus, and the dress, 
 anchor and capstan are historically correct. 
 
62 STATUE AT COLON, CUBA, 
 
 105 
 
106 
 
 THE COLUMBUS GALLERY, 
 
 The bronze for the statue has been donated by the planters of the District 
 of Colon, and the statue has just been successfully cast in the foundry of the 
 town of Colon, by Messrs. Armstrong & Estape. 
 
 The monument will be enclosed by a bronze chain depending from eight 
 pillars of artistic design. 
 
 63 STATUE AT CARDENAS 
 
 THE CARDENAS STATUE. In the Plaza de Recreo in the city of Cardenas, 
 there is a bronze statue of Columbus which was erected on the 25th of Decem 
 ber, 1862. (Cut No. 63.) The model was made in Madrid by the eminent 
 
THE COLUMBUS GALLERY. 107 
 
 Valencian sculptor, Francisco Piquer, following the conception of Mr. Caveda, 
 of the Academy of History. It was cast in bronze at Marseilles by Morell. 
 The hero is represented attired in a very modest garb, lifting the veil that 
 covers a part of the globe with the left hand, and pointing with the right, to 
 the regions discovered by him. In the front face of the pedestal, there is a 
 very beautiful bass-relief representing the triumph of Faith and Hell van 
 quished by the victory that Columbus obtained by his discovery. On the 
 back of the pedestal, there is an inscription which runs as follows : 
 
 OCCIDUARUM REGIONUM INVENTOR GENU^E DECORI MAXIMO 
 HISPANIARUM ORNAMENTO E CUNCTO FERE LATO PATET TER- 
 RARUM ORBE INSOLENS PROPTER FACTUM DERISUM OLIM NUNC 
 OMNIUM PLAUSUS, SANCTA CUM ADMIRATIONE EXTORQUENTI 
 CHRISTOPHORUS COLUMBUS HOCCINI PIETATIS ERGO ET GRATI 
 ANIMI INSIGNE MONUMENTUM SECUNDA ELIZABETHO REGNANTE 
 OPPIDUM CARDENAS POSUIT ANNO MDCCCLXII. 
 
 The distinguished sculptor, Mr. Fernando Miranda, then a disciple of 
 Piquer and now residing at New York, greatly helped him in modelling this 
 beautiful work. 
 
 The statue in Mexico and that by Cordier in Paris, are almost exact copies 
 of that by Piquer, in the city of Cardenas, Cuba : the attitude in each being 
 exactly alike, with the exception of the right arm, which in that by Piquer 
 points to the newly discovered land, while in that of Cordier, it is raised in a 
 triumphant manner. 
 
 CIFUENTES, CUBA. Miss Felipa G. Lazaro, a young lady artist born at 
 Madrid, Spain, and at present residing in Havana, has modeled a handsome 
 bust about three feet high which is to be erected on a pedestal in the town of 
 Cifuentes, Cuba. 
 
 The features, as far as I can judge from the cuts I have seen, ark taken from 
 the portrait in the Naval Museum, at Madrid. On the lower part of the bust 
 is the coat of arms conferred upon Columbus by the Catholic Kings. Miss 
 Lazaro is not only a sculptress, but also a painter of repute. She studied 
 under the able sculptor Molinelli, as well as under the eminent Spanish water 
 color painter, Lozana. 
 
 STATUE AT BAYAMO. In the Plaza del Cristo, at Bayamo, Cuba, a small 
 statue was erected on October 1892. From descriptions I have read, it is the 
 work of the Messrs. Castells, and is a very beautiful piece of workmanship. 
 A correspondent of the journal La Union, published at Manzanillo, says 
 that it is unique in its class, as the material consists of the first earth trodden 
 by Columbus in Cuba, and being painted white resembles Carrara marble. It 
 
108 
 
 THE COLUMBUS GALLERY. 
 
 appears therefore, that the statue is of clay, but as the question as to the first 
 earth trodden by Columbus in Cuba has yet to be decided, I cannot say from 
 whence the clay for the statue came. 
 
 For the greater part of the descriptions and pictures of the monuments in 
 Cuba, I am indebted to the kindness of Mr. Carlos I. Parraga, a distinguished 
 lawyer and resident of Havana. 
 
 SANTO DOMINGO 
 
 MONUMENT AT SANTO DOMINGO. This 
 statue was erected in 1886 : its cost was 
 defrayed by a public subscription insti 
 tuted by the Municipal Council of the city 
 of Santo Domingo. It stands in the centre 
 of the principal square of the city, in the im 
 mediate vicinity of the Governor s palace. 
 The pedestal is square, of pyramidal form, 
 and the material is white marble. The 
 statue is bronze, and of colossal size. The 
 head of the Admiral as well as his attire 
 in the garb of the navigators of his time 
 are strictly historic. (Cut No. 64.) 
 
 On the pedestal of the statue and in 
 the attitude of ascending to reach the Ad 
 miral, is an Indian female figure probably 
 intended for Anacaona, the caciquess of 
 Xaragua. 
 
 The inscription on the monument reads : 
 
 ILUSTRE Y ESCLARECIDO DON 
 CRISTOYAL COLON. 
 
 The statue which was cast in France 
 some years ago, stands in the centre of 
 the Plaza facing the cathedral. 
 
 64 MONUMENT AT SANTO DOMINGO. 
 
THE COLUMBUS GALLERY. 109 
 
 HONDURAS. 
 
 STATUE AT TRUJILLO. The government of the Republic of Honduras has 
 ordered the erection of a bronze statue of th Discoverer on a pedestal of 
 granite, at the expense of the nation. Is was to be unveiled on the 12th of 
 October 1892, and will stand in the centre of the Park of the city of Truxillo. 
 On the front of the pedestal there is an inscription which reads as follows :- 
 u La Repiiblica de Honduras ti Cristobal Colon, 1492-1892, the translation of 
 which is " The Republic of Honduras to Christopher Columbus." 
 
 COLOMBIA. 
 
 STATUE AT COLON. In 1866, Eugenie, Empress of the French, presented to 
 Gen. Tomas Mosquera, ex-President of Colombia, and Minister at the French 
 Court, this beautiful monument as a gift to the republic of which he was the 
 representative. The present was formally accepted on the 29th day of June, 
 of the same year, and was erected in 1870, in the city of Colon, in the new 
 ward named Christopher Columbus, at the northern entrance to the Panama 
 canal and where the buildings of the Company are situated. (Cut No. 65.) 
 
 This group was exhibited at the Paris Exposition of 1867 and was much 
 admired. It is of bronze, of colossal size, and stands on a low square block of 
 granite, which is entirely unpretentious, artistically. It represents Columbus 
 in the uniform of an Admiral, wearing a rich mantle over his shoulders. The 
 head is uncovered and he is raising an Indian girl who is half crouching before 
 him. The head is superb and the artist has rigorously adhered to the descrip 
 tions we have of the Admiral. 
 
 On the face of the pedestal is the following incription :- 
 
 "CHRISTOPEORUS COLUMBUS EXTREMUM, INGENTEM, CAECUM 
 TRANS .EQUORA MUNDUM, HESPERLE RATES DUXERAT: IPSE 
 DEDIT. IV IDUS OCTOBRIS M.CCCCXCII." 
 
110 
 
 THE COLUMBUS GALLERY. 
 
 On the back is another inscription reading : 
 
 "EL GRAN GENERAL TOMAS C. DE MOSQUERA PRESENTO AL 
 CONGRESO DE LOS ESTADOS UNIDOS DE COLOMBIA ESTA ESTA- 
 TUA, DON DE LA EMPARATRIZ DE LOS FRANCESES, EUGENIA." 
 
 65 STATUE AT COLON. 
 
 The statue was received at Panama, on May 1, 1870, but I have been unable 
 to ascertain the date of its dedication. 
 
COLUMBUS GALLERY. Ill 
 
 MEXICO. 
 
 MONUMENT AT MEXICO. This monument is due entirely to the munificence 
 of Mr. Antonio Escandon, a rich banker of Mexico. His nephew, Mr. Alejan 
 dro Arango y Escandon was entrusted by him with the selection of the artist 
 and the persons to be represented in the monument. 
 
 Mr. Arango placed the work in the hands of Charles Cordier, the distin 
 guished French sculptor, in 1873, and it was delivered to him at Yera Cruz, in 
 1875, but on account of some discussion about the selection of the site, it was 
 not dedicated until August, 1877. It had been previously exhibited at the 
 Palais de 1 Industrie, Paris, and was much admired. The cost of the work 
 was nearly $100,000. (Cut No. 66.) 
 
 The monument occupies a splendid site on the Calzada de la Reforma, 
 which extends to Chapultepec. It is surrounded by a beautiful garden and is 
 enclosed by posts and chains, so placed as to allow of a very close inspection 
 of the monument and its details. 
 
 The form of the socle is octagonal, each side measuring about sixteen and 
 one-half feet. At each of the angles, there is an ornamental bronze lamp post 
 each of which has a cluster of five gas lights. 
 
 On the socle stands the base which is in the form of a square with trun 
 cated angles. The faces are adorned as follows :- on the east side a.ve engraved 
 the words, "A Cristobal Colon," and this inscription is bordered by four 
 bronze bands set in the stone, surmounted by the coat of arms of Columbus 
 and Castile, with a pomegranate beneath. There is a shorter inscription stating 
 that the monument was dedicated in August, 1877. The west side is adorned 
 with laurels and palms in bronze, and an ellipse containing a fragment of the 
 letter of Columbus to Rafael Sanchez commencing, " triyesimo die . . . . ad 
 cceteras alias pervenimus" 
 
 Under this ellipse is the dedication reading :- 
 
 " CHRISTOFORO COLUMBO, HOC yETERJX/E ADMIRATIONIS TES- 
 TIMONIUM EREGI URBIS MEXICANS OFFERERI VOLUIT. ANTO- 
 NIUS ESCANDON. MDCCCLXXY." 
 
 On the south side there is a beautiful bass-relief in bronze, representing 
 Columbus taking leave of Fray Juan Perez : in the background appear the 
 Convent of La Rabida and the village of Palos. 
 
 On the north side is another bass-relief showing the Landing of Columbus 
 Both possess great artistic merit and are about four and a half feet by about 
 four feet two inches. 
 
112 
 
 THE COLUMBUS GALLERY. 
 
 66 MONUMENT AT MEXICO. 
 
THE COLUMBUS GALLERY. US 
 
 At each of the truncated angles of this pedestal stands a bronze statue about 
 seven feet two inches in height : they represent four monks, Fray Juan Perez, 
 Las Casas, Deza and Gante. The first and the third named were personal friends 
 of Columbus and warmly aided him in his enterprise. Las Casas is the well- 
 known "Apostle of the Indians," and Gante was the founder of the first 
 college in Mexico, in 1529. All are represented seated. 
 
 This pedestal is surmounted by one of similar design, and on it stands the 
 colossal statue of Columbus in white marble : its height is twelve feet. He 
 stands with his right hand extended towards heaven, as if giving thanks for 
 his great discovery, while with his left hand he raises the veil which concealed 
 the world he has just discovered. 
 
 The entire monument, which is forty-five feet high, is of Russian jasper and 
 is a beautiful and noble structure ; but the statue makes Columbus a young 
 man and his features are not those so well-known from the description of his 
 contemporaries. 
 
 For the data used in the foregoing description I am indebted to the kind 
 ness of Mrs. Helen S. Conant, a lady well-known in the literary world, and 
 who has always taken a great interest in the history and literature of Spanish 
 America. 
 
 PERU. 
 
 THE MONUMENT AT LIMA. In the centre of the Plaza del Acho, in the Ala- 
 meda del Acho in Lima, a splendid monument has been erected in memory of 
 Columbus. On the beautiful pedestal which is surrounded by a railing of 
 artistic design, and stands in a pretty garden, there is a colossal group in 
 Italian marble, representing Columbus partially drawing aside his mantle with 
 his right hand, and disclosing an Indian maiden typifying America, rising 
 before him, while in his left hand, he holds a cross. Columbus is richly clad 
 in the full dress of an Admiral, with an ample mantle and plumed cap. 
 (Cut No. 67.) 
 
 The group, which is of great artistic merit, was exhibited at the Paris Expo 
 sition of 1867, where it obtained a prize, and is the work of the famous Italian 
 sculptor, Salvatore Revelli. The four faces of the pedestal, which is of white 
 marble, have beautiful bass-reliefs and inscriptions and are the work of the 
 Italian artist, Giuseppe Palombini. At the four corners of the railings are 
 
THE COLUMBUS GALLERY. 
 
 67 MONUMENT AT LIMA. 
 
THE COLUMBUS GALLERY. 115 
 
 massive, square granite pillars, with bronze lion s heads on the sides, and 
 dolphins and tridents in the same metal on the top of each. 
 
 This statue was erected in 1880. The features of the Admiral are in strict 
 accordance with the descriptions we have of him, and his attire is that in vogue 
 at the close of the XVIt h century. 
 
 CHILL 
 
 STATUE AT VALPARAISO. A bronze statue standing on a marble pedestal 
 has been erected at Valparaiso, Chili. The figure is of heroic size, and stands 
 with the foot advanced, and a cross in the right hand. 
 
 BUST AT SANTIAGO. At Santiago, Chili, is a marble bust of Columbus, 
 following the De Bry type. The bust has a Dutch cap and garments. 
 
 UNITED STATES. 
 
 THE BOSTON STATUE. One of the earliest statues erected to the memory of 
 Columbus, in the United States, is that at Boston, presented to the city in 
 1849, by the resident Italian merchants; the chairman of the Presentation 
 Committee being Mr. lasigi. The site of the statue is on Louisburg Square : 
 it is now in somewhat poor condition, and has no artistic merit. 
 
 BOSTON. MONTEVEKDE : THE INFANT COLUMBUS. The illustrious Monte- 
 verde is the sculptor of this superb work, which represents Columbus as a char 
 ming child at play : he is sitting on a mooring-post upon a pier, against which 
 the waves are breaking ; he is in deep meditation and holds a book in his hand. 
 I have in my possession only some cuts representing it from different points of 
 view, and I have also seen a plaster cast of it. It is difficult to conceive a more 
 graceful work, and although it has no historical value, its artistic merit has 
 been a source of inspiration for many distinguished Italian poets. This statue 
 first revealed to the world the genius of the artist and was the stepping stone to 
 his brilliant career. It was made in Rome in 1871, and after winning a gold 
 medal at an exhibition at Parma, Italy, was presented to the city of Boston by 
 Mr. A. P. Chamberlain, of Concord, Mass. 
 
116 
 
 THE COLUMBUS GALLERY. 
 
 THE NEW YORK MONUMENT. The finest memorial of Columbus, in this 
 country, is the well-timed and graceful gift of the Italian residents of the 
 
 68 THE NEW YOKK MONUMENT. 
 
 United States to the city of New York, which stands on the beautiful site 
 facing Central Park, at the corner of 59th Street and 8th Avenue. (Cut No. 68.) 
 
THE COLUMBUS GALLERY. 117 
 
 This handsome monument to the immortal discoverer of America was 
 formally dedicated with appropriate and imposing ceremonies, at which a vast 
 crowd of the residents of New York and visitors from all parts of the United 
 States assisted, on the 12th of October, 1892, the 400th anniversary of the dis 
 covery of this Continent. 
 
 It was in January, 1889, that the order for the designs was sent to the 
 Minister of Public Instruction, Bosselli, through Signor Barsotti, editor and 
 proprietor of 11 Progresso Italo- Americano, by the Italian residents of New 
 York. In accordance with the instructions, sculptors were invited to compete 
 for the design of the monument, it being expressly stipulated that none but 
 artists of Italian birth would be eligible. As the architecture as well as the 
 design had to be passed upon, nine judges were appointed, three painters, 
 three architects and three sculptors ; the painters were Mascari, Prosperi and 
 Marini ; the architects were Calderini, who designed the new Palace of Justice 
 at Rome, Sacconi and Basile : the sculptors were Monteverde, the artist who 
 executed the Infant Columbus, Gallori and Ferrari. The award of the com 
 mittee was given to the celebrated sculptor, Gaetano Russo, the designer of 
 many works which are world -renowned. Russo was born at Messina, Sicily, 
 but in 1848, when he was scarcely out of his teens, his enthusiastic love of art 
 led him to Rome, where he was a pupil in the Academia dei Belle Arti, on leav 
 ing which institution, he became the pupil of Monteverde. He is in receipt of 
 a handsome pension from Messina, his native city. 
 
 I will now give a description of the monument. It is seventy-seven feet 
 high. The terraced pedestal and octagonal corner post are of red granite from 
 Ravenna, against which the noble figure of Genius and the magnificent Alpine 
 eagle, the strongest as well as the fiercest of all its family, on opposite sides of 
 the second terrace of the pedestal are seen to the greatest advantage, both 
 being of the purest marble from the celebrated quarries of Carrara. The orna 
 mental capital of the column is also of marble, and the plain pedestal which 
 is crowned with the marble statue of the great Admiral is of gray granite. The 
 bass-reliefs below the Genius and at its sides are of bronze, as well as the six 
 prows-three on each side of the column, and the anchors and central inscription 
 -" A CRISTOFORO COLOMBO" forming altogether a very beautiful com 
 bination of color and material. The size of the bass-reliefs is ten feet by two ; 
 the Genius is ten feet four inches in height. The figure of Columbus is twelve 
 feet nine inches high. The Admiral is represented at the moment his vague 
 ideas have assumed sure and definite shape. He stands proudly erect, his 
 piercing gaze seeming even then to discern the marvelous discoveries that 
 awaited him thousands of miles away. The ship s rudder grasped firmly in 
 
118 THE COLUMBUS GALLERY. 
 
 his right hand, is emblematic of the solution of the great problem which he 
 has just conceived. The anchors symbolize the merchant service, to which, 
 his vessels, the Pinta, the Nina and the Santa Maria, belonged. The Genius 
 
 69 BUST OF COLUMBUS, MIRANDA FOUNTAIN. 
 
 and the Eagle below the figure are magnificent in conception, design and 
 execution. 
 
 The bass-reliefs under the Genius and the Eagle, represent two supreme 
 moments in the life of the Admiral. The ships, boats, banners and costumes 
 in both are fairly correct historically. In the first of these bass-reliefs, Colum- 
 
THE COLUMBUS GALLERY. 119 
 
 bus is depicted starting off in his boat, to step upon the newly discovered land, 
 the sight of which has just gladdened the hearts of himself and his compa 
 nions. The second bass-relief shows Columbus reverently returning thanks to 
 Heaven for his success. On the beach two sailors are hauling up his boat. 
 Pressing about him, caressing his hands and kissing the hem of his robe, are 
 grouped his companions, shedding tears of joy and entreating his forgiveness, 
 while peeping through a screen of tropical foliage, the wondering and half 
 frightened Indians gaze at the strangers. 
 
 The spaces between the bass-reliefs and at the sides of the Genius and the 
 Eagle bear the following inscriptions in English and Italian, composed by Ugo 
 Fleres, the Sicilian poet :- 
 
 The English inscription reads as follows, on the sides of the base between 
 the massive posts which form the corners :- 
 
 "TO CHRISTOPHER COLUMBUS, 
 THE ITALIAN RESIDENTS IN AMERICA. 
 
 SCOFFED AT BEFORE; DURING THE VOYAGE MENACED; AFTER 
 IT CHAINED ; AS GENEROUS AS OPPRESSED, TO THE WORLD HE 
 GAVE A WORLD. 
 
 JOY AND GLORY NEVER UTTERED A MORE THRILLING CALL 
 THAN THAT WHICH RESOUNDED FROM THE CONQUERED OCEAN 
 IN SIGHT OF THE FIRST AMERICAN ISLAND, LAND ! LAND ! 
 
 ON THE XVIITH OF OCTOBER MDCCCXCII THE FOURTH CENTE 
 NARY OF THE DISCOVERY OF AMERICA IN IMPERISHABLE RE 
 MEMBRANCE/ 
 
 The Italian inscription is :-"A CRISTOFORO COLOMBO-GLI ITALIANI 
 RESIDENTI IN AMERICA-IRRISO PRIMA-MINACCIATO DURANTE 
 IL VIAGGIO-INCATENATO DOPO-SAPENDO ESSERE GENEROSO- 
 QUANTO OPPRESSO-DONAVA UN MONDO AL MONDO-LA GIOIA E 
 LA GLORIA-NON EBBERO MAI PIT? SOLENNE GRIDO-DI QUELLO 
 CHE RISUONO -SULL OCEANO DOMATO-IN VISTA DELLA PRIMA 
 1SOLA AMERICANA-TERRA! TERRA1-NEL XII OTTOBRE MDCCCXCII 
 -IV CENTENARIO-DELLA SCOPERTA D AMERICA-A IMPERITURA 
 MEMORIA." 
 
 COLUMBUS FOUNTAIN, NEW YORK CITY. The projected Columbus Fountain 
 for Central Park, New York, is the work of the celebrated Spanish sculptor, 
 Fernando Miranda. The fountain is to have a basin one hundred feet in 
 diameter. From the centre rises a section of the globe on the summit of which 
 
120 THE COLUMBUS GALLERY. 
 
 stands the Admiral with his two Captains, Martin Alonzo Pinzon, and his 
 brother, Vicente Yafiez Pinzon. The total height of the globe and figures 
 above the water is to be twenty-nine feet, and the figures will be of bronze and 
 sixteen feet high. The fountain will also be of bronze, while the proposed 
 
 70 COLUMBUS FOUNTAIN, NEW YORK CITY. 
 
 site is the Plaza at the entrance to Central Park. The artist has put the 
 finishing touches to his model and nothing now remains to be done but the 
 casting of the group. 
 
 The figure of Columbus is to face Fifth Avenue. The technical difficulties 
 which the sculptor had to surmount were many. The grouping of the figures 
 
THE COLUMBUS GALLERY. 121 
 
 in juxtaposition was a serious problem without making a plexus of the legs, 
 but, as will be seen from the illustrations, Mr. Miranda has cleverly overcome 
 the difficulty. The figures stand in natural positions Columbus grasping the 
 cross-hilt of his sword and looking eagerly ahead, while Vicente Pinzon points 
 with the impulsiveness of youth to the land which is dimly discernible in the 
 distance, and Martin Pinzon shading his eyes with his left hand, is looking in 
 the same direction as his companions. (Cuts Nos. 69 and 70.) 
 
 The dress and arms are absolutely correct, even to the lesser details of the 
 decorations of the skirt of the tunic. 
 
 The fountain is a gift from the citizens of the Spanish race of America to 
 the city of New York, and the Spanish government has offered to supply from 
 her arsenals any deficiencies in metal ; a special act for that purpose having 
 been passed by the Cortes. Several of the South American Republics have 
 already sent their old cannon to New York, and church bells are also promised 
 to be used in combination with the gun metal. The total weight of metal 
 required will be 20,000 pounds. 
 
 Mr. Juan N. Navarro, the Mexican consul, and Mr. Arturo Baldasano y 
 Topete, the Spanish consul, have rendered valuable aid in pushing the project, 
 while the Spanish ambassador at Washington, Don Enrique Dupuy de Lome, 
 has so interested the Queen that she as well as the Infanta have promised to 
 send specimens of needlework and painting, the work of their own hands the 
 King s present consisting of toys; all of which are to be disposed of at a fair to 
 be held in New York. 
 
 Mr. Miranda gives the labor of years as his contribution. He is a native of 
 Valencia, Spain, and was a pupil of the sculptor Piquer of the court of Queen 
 Isabella II. During the Centennial Exposition he came to the United States, 
 and has since done considerable work for leading American publications. He 
 is the designer of a bust of Cervantes which it is proposed to place in Central 
 Park. King Alfonso XII created him a Comendador of the Royal Order of 
 Isabella, and he was knighted several years ago. 
 
 This fountain, which is the gift of the Spanish colony in New York, will 
 bear an inscription which reads as follows : 
 
 A COLON Y LOS PIN ZONES LOS ESP ANGLES E HISPANO-AME- 
 RICANOS DE NUEVA YORK." 
 
 "TO COLUMBUS AND THE PINZONS, THE SPANIARDS 
 
 AND SPANISH-AMERICANS OF NEW YORK." 
 
 NEW YORK HISTORICAL SOCIETY. The bust in the possession of the New 
 York Historical Society, has some artistic merit, but as it is simply a duplicate 
 
122 % THE COLUMBUS GALLERY. 
 
 of that in the Museo Capitolino, at Rome, which is entirely imaginary, it lias 
 no historical value. 
 
 Su5JoL. STATUE OF COLUMBUS. A replica of his famous work now in 
 Madrid, and which is to be erected by the New York Genealogical and Biogra- 
 graphical Society in April of this year, is now ready for dedication, the neces 
 sary funds for the purpose having been raised. Dr. Chauncey M. Depew will 
 deliver the oration and Edmund Clarence Stedman will read an original poem 
 written for the occasion. 
 
 As a complete description arid engravings of the original monument and 
 the statue at Madrid, is given elsewhere, it is unnecessary for me to enter into 
 any further particulars regarding the New York replica. 
 
 STATUE AT CENTRAL PAKE, NEW YORK. Mrs. Marshall O. Roberts has 
 presented the statue of the Admiral, the work of Miss Emma Stebbins, which 
 stands in Central Park. The statue is seven feet high, and represents Colum 
 bus as a sailor with a mantle thrown over the shoulder. The artist has followed 
 the facial characteristics of the Jovian type. 
 
 COLUMBUS MEMORIAL ARCH IN NEW YORK. A competition was opened on 
 September 1, 1892, and a prize offered for the most acceptable design for the 
 erection of a memorial arch at the entrance to Central Park, at Fifty-ninth 
 Street and Fifth Avenue. 
 
 The committee appointed were Richard M. Hunt, John Lafarge, Augus 
 tus St. Gaudens, L. P. di Cesnola and Robert J. Hoguet. These gentlemen 
 awarded the prize to a design signed "Columbia" which was submitted by 
 Henry B. Hertz, of this city. A gold medal was given to the artist, and a 
 permanent monument of metal and bronze to the Genius of Discovery, costing 
 $350,000, will be erected, a large part of the amount necessary for the purpose 
 having already been pledged. 
 
 The main body of the arch is of white marble and with its fountains, 
 its polished monolithic columns of pigeon-blood marble, its mosaic and gold 
 inlaying, and the bass-relief work and surmounting group of bronze, will be 
 an architectural monument of which the city may well be proud. 
 
 From the ground to the top of the bronze caravel in the centre of the allegor 
 ical group with which the arch will be surmounted the height will be 160 feet, 
 and the entire width of the arch will be 120 feet. The opening from the ground 
 to the keystone will be eighty feet high and forty feet wide. On the front of 
 each piei will be two columns of pigeon-blood marble. Between each pair of 
 columns and at the base of each pier will be large marble fountains, the water 
 playing about figures representing Victory and Immortality. The surface of 
 
THE COLUMBUS GALLERY. 123 
 
 the piers between the columns will be richly decorated in bass-relief, with gold 
 and mosaic. Above each fountain will be a panel, one representing Columbus 
 at the Court of Spain, and the other the great Discoverer, at the Convent of 
 La Rabida, just before his departure on the voyage which resulted in the dis 
 covery of America. In the spaces on either side of the crown of the arch will 
 be colossal reclining figures of Victory in bass-relief. 
 
 The highly decorated frieze will be of polished red marble, and surmount 
 ing the projecting keystone of the arch will be a bronze representation of an 
 American eagle. On the central panel of the attic will be the inscription : 
 
 "THE UNITED STATES OF AMERICA IX MEMORIAL GLORIOUS 
 TO CHRISTOPHER COLUMBUS, DISCOVERER OF AMERICA." 
 
 The ornamentation of the attic consists of Columbus entry into Barcelona. 
 Crowning all, is to be a group in bronze symbolical of Discovery. In this 
 group there will be twelve figures of heroic size, and a colossal statue repre 
 senting the Genius of Discovery, heralding to the world the achievements of 
 her children. 
 
 The designer is only twenty-one years old and is a student in the architect 
 ural department of Columbia College. 
 
 THE STATUE AT FAIRMOUNT PARK, PHILADELPHIA. In regard to this 
 statue which I saw at the World s Fair in 1876, I will avail myself of a 
 splendid work entitled The Masterpieces of tJie International Exhibition of 
 1876, Gebbie & Barrie, publishers, Philadelphia, from which I have taken the 
 following data :- 
 
 "The history of this memorial is closely connected with that of the Exhibi 
 tion. The Italian residents of Philadelphia, the year before the Centennial, 
 inaugurated a movement, having for its purpose the erection of a fitting 
 monument in memory of the Discoverer, and which should stand in the im 
 mediate vicinity of the Exhibition Building. The necessary funds were quickly 
 raised and the first statue of Columbus ever erected in the United States by 
 private subscription, was ordered from Italy. In 1876, Mr. Viti, the Italian 
 Consul at Philadelphia, who was in charge of the project, received photo 
 graphs of the model, and the statue was completed and dedicated before the 
 close of the Exhibition. 
 
 "It now ornaments the beautiful grounds of Fairmount Park, near the site 
 of the Exhibition. The monument is lofty and the figure of Columbus is of 
 colossal proportions : the whole structure being of the finest white marble. 
 The statue represents the Admiral, as Discoverer, Geographer and Navigator. 
 The position is a standing one, with the right hand resting on a globe while 
 the fingers are on the spot representing the American Continent. At his 
 
124 
 
 THE COLUMBUS GALLERY. 
 
 feet, is an anchor, typifying "Navigation," while his name, CHRISTOPHER 
 COLUMBUS, is carved in large letters on the socle beneath the figure. (Cut 
 No. 71.) 
 
 71 THE STATUE AT FAIEMOUNT PARK, PHILADELPHIA. 
 
 "On the pedestal below, is a bass-relief representing the Admiral leaving 
 the Pinta to plant the Castilian flag upon the beach." 
 
 MONUMENT AT SCKAISTTON, PA. The Italian residents of Scranton, Pa., and 
 vicinity, desiring to immortalize the memory of their illustrious countryman, 
 
THE COLUMBUS GALLERY. 125 
 
 have erected a monument to Columbus which is the work of the distinguished 
 Italian sculptor, Alberto Cottini. The statue, which is of heroic size, represents 
 the Admiral standing on a square marble plinth which rests on a base of the 
 same material. He is attired in the garb of the Admiral of the Indies. The 
 inscription on the front of the plinth reads as follows :- 
 
 1492-1892 COLUMBUS. 
 
 The design of the artist is the familiar one representing the Genoese with a 
 chart in his right hand and pointing exultantly to the newly discovered land 
 with the left. 
 
 THE WASHINGTON STATUE. Carderera says :-" In one of the fagades of 
 the Capitol of Washington, a beautiful group in marble representing Colum 
 bus with a symbolical female figure by his side, was erected in 1844. This 
 excellent work executed at Naples, by the sculptor Persico, has glaring incon 
 gruities in dress, notwithstanding the fact that the famous Discoverer is repre 
 sented as being clad in a suit of armor which it is said is still in the possession 
 of his descendants in Italy. Judging from the engraving before us, it will be 
 seen that neither the armor, nor a single detail of the dress in which Columbus 
 is attired, belonged to his time, but to a period of one hundred years after 
 wards." 
 
 I regret to dissent from the opinion of so eminent an authority as Carde 
 rera, but he never saw the statue, while I have unfortunately had the oppor 
 tunity of seeing it many times. Besides the inaccuracies that Carderera 
 mentions, the visage of Columbus bears no resemblance at all to the descrip 
 tions we have of him, while the attitude of the Admiral with the globe in his 
 hand strikes me as being supremely ridiculous : he looks like a warrior of 
 the XVIIth century, playing baseball with a preposterously large ball : his 
 position is also unnatural, while I cannot find words to express my surprise at 
 the inartistic handling of the figure of the Indian maiden. 
 
 The cost of the group was $24,000 and the sculptor was at work on it for 
 five years. I do not consider it worth reproduction. 
 
 DOOR OF THE CAPITOL AT WASHINGTON. The main central entrance of the 
 Capitol at Washington, is the famous bronze door, the work of the American 
 sculptor, Randolph Rogers, which was cast by F. vori Mtiller, at Munich, in 
 1861. The door is 17 feet high and 9 feet wide and weighs 20,000 pounds. It 
 is a folding or double door and is set in a bronze casing projecting about a 
 foot from the leaves. On the casing, are four figures which are allegorical 
 representations of Asia, Africa, Europe and America, and on the casing between 
 them runs a border typifying Conquest and Navigation. The high-reliefs on 
 the panels show important events in the life of Columbus, and at the sides of 
 
126 
 
 THE COLUMBUS GALLERY. 
 
 them are statues of sixteen of the most prominent persons who took part in 
 the discovery. (Cut No. 72.) 
 
 The eight large high-reliefs on the panels show : 1. Columbus before the 
 
 72 DOOR OF THE CAPITOL AT WASHINGTON. 
 
 Council of Salamanca. 2. Departure of Columbus from the Convent of La 
 Rabida for the Spanish Court. 3. Audience of Columbus at the Court of Fer- 
 
THE COLUMBUS GALLERY. 127 
 
 dinaiid and Isabella. 4. Departure of Columbus from Palos, on his first voyage 
 of discovery. 5. First meeting of Columbus with the natives. 6. Triumphal 
 entry of Columbus into Barcelona. 7. Columbus in chains. 8. Scene at the 
 death-bed of Columbus. 
 
 On the semicircular transom of the door, a semicircular high-relief shows 
 the landing of Columbus on the Island of San Salvador. On the jambs of the 
 doors, there are sixteen small statues set in niches representing : 1. The Pope 
 Alexander VI, (Roderigo Lenzoli). 2. Pedro Gonzalez de Mendoza, the Great 
 Cardinal, Archbishop of Toledo. 3. Ferdinand, King of Spain. 4. Isabella, 
 Queen of Spain. 5. Charles VIII, King of France. 6. Beatriz de Bobadilla, 
 Marchioness of Moya, who befriended Columbus. It is said that the likeness 
 is that of Mrs. Rogers, the wife of the sculptor. 7. John II, King of Portugal, 
 who rejected the plans of Columbus. 8. Henry VII, King of England, appealed 
 to by Bartholomew Columbus, on behalf of his brother. 9. Fray Juan Perez, 
 Prior of the Convent of La Rabida. 10. Martin Alonzo Pinzon, commander of 
 the Pinta. 11. Hernando Cortes, conqueror of Mexico. 12 Bartholomew 
 Columbus, brother of Columbus. It is said that the likeness is that of the 
 sculptor. 13. Alonzo de Ojeda, a companion of Columbus. 14. Vasco Nunez 
 de Balboa, discoverer of the Pacific Ocean. 15. Amerigo Vespucci, after 
 whom by a freak of fortune the New World was named. 16. Francisco 
 Pizarro, conqueror of Peru. 
 
 Over the transom, is a grand head of Columbus, beneath which is an Ame 
 rican eagle with extended wings. Between the panels and at top and bottom 
 of the leaves of the door, are ten projecting heads. Those between the panels 
 are historians who have written about the voyages of Columbus from his own 
 time down to the present day, ending with Irving and Prescott. The two heads 
 at the tops of the leaves are female heads, and the two next the floor have 
 Indian characteristics. 
 
 In the Rotunda of the Capitol, there are four high-reliefs over the doors, 
 one representing Columbus and the others, Raleigh, Cabot arid La Salle. 
 
 THE CHICAGO FOUNTAIN. On the site between the City Hall and the Court 
 Housebuilding in Chicago, on the Washington Street frontage, stands a statue 
 of Columbus, the gift of John B. Drake, proprietor of the Grand Pacific Hotel. 
 The style of the monument is Gothic, and the base is of granite from 
 Baveno, Italy. On the front of the pedestal will be placed a bronze statue of 
 the Admiral seven feet high, cast in Rome; the statue is the work of Mr. R. 
 H. Park, of Chicago. 
 
 The foundation has a receptacle holding two tons of ice, and has ten faucets, 
 each provided with a bronze drinking cup. 
 
128 THE COLUMBUS GALLERY. 
 
 The inscription reads:-" ICE WATER DRINKING FOUNTAIN PRE 
 SENTED TO THE CITY OF CHICAGO BY JOHN B. DRAKE, 1892." 
 
 At the feet of the statue of Columbus, who is represented as a student of 
 geography at the University of Pavia, is inscribed : 
 
 "CHRISTOPHER COLUMBUS, 14921892." 
 
 The red granite base for the fountain, came from Turin, Italy. 
 
 THE ST. Louis STATUE. In the city of St. Louis, Mo., in Shaw s Garden, 
 is a statue of Columbus, which is the gift of Mr. Shaw to the city. The figure 
 of the Admiral is of gilt bronze of heroic size and stands upon a granite pedes 
 tal, which has four bronze bass-reliefs portraying the principal events in 
 his career. The features follow the Genoa model and the statue was cast at 
 Munich. 
 
 THE STATUE AT SACRAMENTO, CAL. In the State Capitol at Sacramento, 
 stands a beautiful and artistic group in white marble, the work of Larkin G. 
 Mead of Vermont, which was presented to the State of California in 1883, by 
 D. O. Mills. It is of white marble and represents Columbus pleading his cause 
 before Queen Isabella of Spain. The Spanish sovereign is represented as 
 seated. At her left hand kneels the first Admiral, while a page on the right 
 contemplates the scene of the fabulous offer of the Queen to sacrifice her jewels 
 to aid in the project to discover the New World. The statue was executed 
 by Mr. Mead, in Florence, Italy. 
 
THE COLUMBUS GALLERY. 
 
 129 
 
 MEDALS. 
 
 TIIK MAURA MEDAL. The Academy of Fine Arts of San Fernando estab 
 lished at Madrid, opened a competition for a medal to commemorate the 
 Discovery of America, on its 
 fourth Centennial. The first 
 prize was awarded to the dis 
 tinguished artist, Mr. Bartolo- 
 meo Maura. He selected for 
 the design of his medal two of 
 the most momentous events in 
 the career of Columbus, the 
 discovery of land and the re 
 ception of the Admiral by the 
 Kings on his return. 
 
 This happy conception was 
 splendidly elaborated by the 
 artist as may be seen by the 
 annexed cuts, (Nos. 73 and 74.) 
 
 74 MAURA MEDAL REVERSE, FIRST DESIGN. 
 
 73 MAURA MEDAL, OBVERSE. 
 
 A curious story is connected 
 with this medal : in the first 
 design submitted, a friar was 
 kneeling in front of Columbus 
 as if in the act of thanking 
 God for the success of the expe 
 dition. Many persons having 
 with good reason objected to 
 the presence of a friar when 
 as is well established to-day 
 no ecclesiastic accompanied 
 the first expedition, Mr. Maura 
 made a change in this part of 
 the medal and substituted for 
 the figure of the friar, one of 
 the discontented crew. He thus 
 
 showed a respect for historical truth, which has, unhappily, not been followed 
 
130 
 
 THE COLUMBUS GALLERY. 
 
 in many countries and especially in the United States where every Colum 
 bian fairy tale has been deemed worthy of being chronicled in art. 
 
 The medal is three inches 
 in diameter and has been cast 
 in gold, silver and bronze ; it 
 is a beautiful work of art. 
 
 THE LOPEZ MEDAL. The 
 second prize was awarded to 
 another celebrated engraver of 
 medals, Mr. Francisco Asis 
 Lopez, the designer of the fa 
 mous medal commemorating 
 the Centennial of Calderon. 
 I also give a reproduction of 
 of it, as it has on the obverse 
 a magnificent bust of Colum 
 bus, taken from the descrip 
 tions and portraits which are 
 75 MAURA MEDAL REVERSE, SECOND DESIGN. considered to be the most 
 
 faithful representations of the Admiral. On the reverse, is Hope, seated in 
 a bark guided by Faith, in her search for the New "World, which is seen in 
 the background, and above the bark a flying figure of Victory points to the 
 newly discovered land. The 
 medal is very beautiful, though 
 as it is not historical but alle 
 gorical, the Commission with 
 excellent judgment awarded 
 the prize to the Maura medal. 
 
 THE ITALIAN MEDAL. The 
 Italian Government has award 
 ed the prize for a medal comme 
 morating the Fourth Centennial 
 of America, to an artist, who has 
 modestly desired to conceal his 
 name, and the medal has been 
 engraved by the celebrated art 
 ist, Capuccio, of Genoa. 
 
 One side of the medal repre 
 sents the bust of Columbus, 76 ~ THE LOPEZ MEDAL OBVERSEt 
 
THE COLUMBUS GALLERY. 
 
 131 
 
 almost in profile. The head is beautiful and agrees with all the descriptions 
 of the Admiral. It seems to have been taken from the Capriolo engraving, 
 and the Yafiez and Rincon portraits. On the right of tho bust is the New 
 World symbolized by an Indian, and on the left, the Old World represented 
 by a matron, both clasping hands under a sphere typifying the World. 
 Beneath tho bust is a condor spreading his wings in the act of night. 
 
 The reverse represents the American Indians looking with amazement at 
 the extraordinary development of their country in four centuries. America 
 
 77 THE LOPEZ MEDAL, REVERSE. 
 
 appears in the air surrounded by genii, with the attributes of Commerce, 
 Science and Plenty. The sun rises in the background, illuminating the 
 apotheosis of America ; around the medal are the coats of arms of all the 
 American Republics. Above the allegory is MDCCCXCII, and at the exergue 
 under the feet of the Indians are the figures, MCCCCXCII. The medal is 
 very large and exceedingly beautiful. I reproduce the obverse for the 
 purpose of showing a new effigy of Columbus. 
 
132 
 
 THE COLUMBUS GALLERY. 
 
 78 ITALIAN MEDAL. 
 
HISTORICAL PAINTINGS AND ENGRAVINGS. 
 
 T NOW proceed to enumerate the. most impoitant historical paint 
 ings referring to Columbus that I have been able to find. I will 
 simply mention the titles and names of the painters of some as I have 
 not met with descriptions or reproductions of many of them. Of 
 others, I give descriptions, and engravings of a few of the most im 
 portant. I have not followed the chronological order of the pictures, 
 but that of the events which they portray. 
 
 In order to avoid unnecessary repetitions, and so that readers who are not 
 familiar with the history of Columbus, may perfectly understand the significa 
 tion of some of the paintings which I am about to describe, I will preface each 
 series with a short historical notice of the events to which they refer. 
 
 I. Some authors state that Columbus in his youth instead of indulging in 
 juvenile sports with other boys, spent his leisure hours in study and medi 
 tation. He generally preferred to roam on the seashore : this is the subject 
 of the following picture, which is beautiful but entirely imaginary. 
 
 I. CONCONI, (MAURO.) THE YOUTH COLUMBUS. Exhibited at the Paris 
 Exposition of 1867, and belonging to the collection of M. Marozzi, of Pavia. 
 
 II. Very little is known about the life of the future Discoverer, before he 
 entered the service of the Catholic Kings. Only some dry facts obscured by 
 many legends and fables have come down to us. It is known that if it be true 
 that he left Genoa in 1470, lie certainly returned there in 1472, and soon left his 
 country forever. He then settled at Lisbon, where he married a lady of noble 
 birth, Felipa Mofiiz, by whom he had at least, one son, Don Diego, the second 
 Admiral. He made several sea voyages and went as far north as Iceland, as 
 far west as the Azores, and as far south as the coast of Guinea, and also during 
 this time, he entered into correspondence with the famous astronomer, Paolo 
 
134 THE COLUMBUS GALLERY. 
 
 Toscanelli, who confirmed his idea of the possibility of going to the East by 
 taking a westward course. 
 
 It is also said that at this period Columbus submitted his plans for carry 
 ing out his great projects to the Republics of Venice and Genoa : there is not 
 the slightest proof for this assertion, yet a distinguished artist three centuries 
 ago, depicted one of these apocryphal episodes. The pictures referring to this 
 period, are : 
 
 2. PlCKERSGILL, (FREDERICK R.,) COLUMBUS AT LlSBON, (1875.) 
 
 3. ELMORE, (ALFRED,) COLUMBUS AT PORTO SANTO, (1878.) 
 
 4. TAVARONE, (LAZZARO,) COLUMBUS EXPLAINING ins PLANS OF DISCO 
 VERY TO THE DOGE OF VENICE. Painted in the XVIth century and now in a 
 private palace at Genoa. 
 
 Like all paintings from the brush of Tavarone, the design and coloring of 
 this picture are beautiful : the accessories are strictly historical, but Italian 
 and not Spanish, and the head of Columbus is entirely imaginary. 
 
 III. It is not possible to accurately fix the date when Columbus arrived in 
 Spain, but according to critical researches, it must have been about 1484. He 
 spent some time in Andalusia trying to obtain the help of some of the grandees, 
 and lived, as Bernaldez who was his personal friend, says, by peddling 
 printed books and by drawing maps. In Seville, he called upon the Duke of 
 Medina-Sidonia, and at the Puerto of Santa Maria, on the Duke of Medina- 
 Cell, with whom he remained two years, and from whom he obtained letters of 
 introduction to the Queen, and to many important personages connected with 
 the Court. Among them was Cardinal Mendoza, who obtained for him an 
 audience with the Queen, and subsequently he had other audiences with the 
 Kings, but they differed in their opinions as to the feasibility of his plans. 
 The following pictures refer to this event : 
 
 5. TAVARONE, (LAZZARO.) COLUMBUS IN THE PRESENCE OF FERDINAND 
 AXD ISABELLA. Painted in the XVIth century ; in a private palace at Genoa. 
 
 From the notices which I have read regarding this picture, it seems that it 
 possesses great merit and is still well preserved, but I have been unable to 
 h nd any description of it. 
 
 6. CRESPO. PRESENTATION OF COLUMBUS TO THE CATHOLIC KINGS. 
 
 This picture which is one of the best of the modern Spanish School, has in 
 it only five figures : they are Queen Isabella seated on a throne, having on her 
 right hand the Marchioness de Moya, and on the other side, her husband, 
 King Fernando, who is standing. In front of the throne stands Cardinal 
 Mendoza presenting Columbus, who is poorly clad, to the Catholic Kings. 
 
THE COLUMBUS GALLERY. 135 
 
 The figures of the King and Queen are copied from well-known portraits, and 
 that of the Admiral looks very much like the one in the Naval Museum. The 
 dresses of all, as well as the accessories, are strictly accurate. 
 
 7. BKOZIK, (VACZLAV.) COLUMBUS SOLICITING AID FROM ISABELLA. 
 
 This fine painting is the work of the famous Bohemian artist Brozik, a dis 
 ciple of Karl Piloty. In a large and magnificently furnished chamber of the 
 Palace at Cordova, Columbus stands before a table at which Ferdinand and 
 Isabella are seated. On it are a number of charts and the caskets containing 
 
136 THE COLUMBUS GALLERY. 
 
 the Queen s jewels. With the left hand the Genoese is pointing to a chart, 
 while the other is raised. He is surrounded by monks, high Church digni 
 taries, learned men and others, who, with the Kings are listening to him 
 attentively. 
 
 All the figures are of life size and the artistic work is beautifully executed, 
 but the details are the fruit of the artist s imagination, including the caskets 
 containing the famous jewels, which had no connection with this scene, and 
 which have been introduced purely for sensational effect. (Cut No. 79.) 
 
 8. LEUTZE, (EMANUEL.) COLUMBUS BEFORE THE QUEEN. In the Diis- 
 seldorf Gallery. 
 
 9. COLLIN, (ALEXANDER.) FIRST ARRIVAL OF COLUMBUS IN SPAIN, (1857.) 
 
 10. ROTHERMEL, (PETER F.) COLUMBUS BEFORE ISABELLA, (1858.) 
 
 11. ROBERT-FLEURY, (JOSEPH N.) CHRISTOPHER COLUMBUS RECEIVED AT 
 THE COURT OF SPAIN. (1848.) 
 
 IV. Ferdinand never looked favorably on the projects of Columbus, but 
 Isabella, more enthusiastic and sanguine than her covetous husband, interested 
 herself in the undertaking of the bold navigator in the threadbare cloak and 
 ordered a consultation to be held shortly after, for the purpose of investigating 
 and reporting to her on his project. 
 
 Unfortunately this conference was presided over by a man who, after the 
 first interview with Columbus, became one of his bitterest enemies, and who 
 always opposed the Admiral apparently without reason. He was no less a 
 man than the favorite confessor of the Queen, and a man of great influence 
 and integrity, Fray Hernando de Talavera, who was subsequently the iirst 
 Archbishop of Granada. The meetings were held at Cordova, and on the 
 return of the Court to that city, an unfavorable report was made to the Kings. 
 The Queen did not act as Talavera and Ferdinand desired, and instead of 
 discarding Columbus entirely, she gave him evasive answers, putting off a 
 positive decision for a future day. 
 
 But Columbus did not give up his plans : in the meantime, he had made a 
 host of influential and enthusiastic friends, who had decided to assist him in 
 the carrying out of his great undertaking, and as the Queen really favored 
 him, thanks to the untiring zeal of his patrons, another commission was 
 appointed, and fortunately for him on this occasion, the president was one of 
 his most intimate friends, Fray Diego de Deza, tutor of the heir to the crown, 
 and the other members were the professors of the University of Salamanca, the 
 centre of learning in Spain 
 
 An error of the author of the Historie has led nearly all later writers to 
 confound the Junta presided over by the Prior of Prado, Hernando de Tala- 
 
THE COLUMBUS GALLERY. 137 
 
 vera at Cordova, and the conferences which took place at Salamanca, in the 
 church of the Dominican Convent, then called San Esteban. The first Junta 
 was composed of Councillors to the Crown and some cosmographers : the 
 second was composed of Dominican friars and the professors at the University 
 of Salamanca. The author of the Historic only mentions one Junta and adds 
 that "the persons appointed by the Prior of Prado were ignorant, 1 a remark 
 which he would not have made of the Faculty of Salamanca, but Ulloa s 
 version of Fernando s book is so full of corruptions and interpolations, either 
 by Ulloa himself or by others, that at present the work which Irving once 
 called " the corner-stone of the history of the Discovery," carries little weight 
 as an authority. These events are illustrated in the following series of 
 paintings :- 
 
 12. LEUTZE, (EMANUEL.) COLUMBUS BEFORE THE COUNCIL OF SALAMANCA. 
 This painting was in the Diisseldorf Gallery, but I do not know its present 
 
 whereabouts. (1841.) 
 
 13. ROTTING, (JULIUS.) COLUMBUS BEFORE THE COUNCIL AT SALAMANCA, 
 (1851.) Dresden Gallery. 
 
 14. PLUDDEMANN, (HERMANN.) COLUMBUS DISPUTING WITH THE JUNTA 
 AT SALAMANCA. 
 
 15. BARABINO, (NiccoLo.) COLUMBUS BEFORE THE COUNCIL OF SALAMANCA. 
 This is perhaps, the most beautiful picture ever painted, referring to the 
 
 history of Columbus, but it is so large that the reductions I have ordered made 
 of it are not satisfactory. I have therefore, only taken from it the magnificent 
 figure of Columbus, which I have reproduced on p. 41 of this work under No. 
 23. and on p. 40 I have given a full description of the whole picture. 
 
 16. IZQUIERDO, (D. V.) COLUMBUS BEFORE THE DOMINICANS. 
 
 This picture, which is the work of the famous Spanish artist Izquierdo, 
 represents a scene in the Dominican Convent at Salamanca. Columbus stands 
 in the centre of a group of monks. There are the usual accessories of the 
 globe, charts, MSS., etc., which appear in other pictures. He stands with 
 extended hand, addressing the monks on the feasibility of his projects. The 
 features of his face correspond with the generally accepted type, but he is 
 bald-headed, and this is the only picture of the famous Genoese, in which I 
 have seen him thus represented. He also wears a full white beard and mus 
 tache. (Cut No. 80.) 
 
 17. MASO, (FELIPE.) COLUMBUS BEFORE THE DOMINICANS. 
 
 This well-known painting is from the brush of Felipe Maso, a Catalonian 
 artist, and was painted about thirty years ago. Columbus is standing behind 
 a table in a room of the Dominican Convent at Salamanca. In front of him is 
 
138 
 
 THE COLUMBUS GALLERY. 
 
THE COLUMBUS GALLERY. 
 
 139 
 
140 THE COLUMBUS GALLERY. 
 
 a globe by means of which he is explaining his plans to a group of monks, who 
 are intently listening to him with expressions on their faces of more or less 
 incredulity. In the foreground are a sleeping page and dog, with a kettle 
 boiling on a brazier. The features of the great Genoese are typically correct, 
 while the dress and other details in the picture are historically accurate. 
 
 18. MERINO, (IGNACIO.) COLUMBUS BEFORE THE FACULTY OF THE UNIVER 
 SITY OF SALAMANCA. 
 
 This is a noble picture and accurate in its smallest details. Barabino misled 
 by the Historic of Fernando Colombo, made the confusion already mentioned 
 and in his grand canvas depicted Columbus in the presence of a number of 
 ignorant and prejudiced monks. The better informed Peruvian artist showed 
 the future Discoverer before an assemblage of more or less prejudiced men, 
 but possessing all the learning and science of the times. They do not laugh 
 at him, they wonder, they doubt, and think deeply over the new theories pro 
 pounded by the energetic and eloquent stranger who is trying to eradicate 
 from their minds long cherished ideas. The faces of all of his hearers express 
 the deepest interest. They are carefully consulting books, maps and globes 
 and are discussing the feasibility of his plans. It is almost possible to dis 
 tinguish those who espouse his theories from those who are opposed to them. 
 The figure of Columbus in the centre has all his well-known characteristics, 
 and is really splendid. The grouping cannot be improved and all the details 
 of the picture are of the greatest excellence. I have read that the portraits of 
 Cardinal Jimenez de Cisneros and Fray Diego de Deza, and other distinguished 
 ecclesiastics of the time are found in the picture. Cardinal Jimenez de Cisneros 
 is the only one I have been able to identify, but as I am not familiar with the 
 portraits of the other persons, I have been unable to find them. 
 
 The engraving which I have is so large that I cannot reproduce it, as the 
 reduction to the size of these pages is very indistinct. 
 
 V. The result of the conferences at Salamanca was very different from that 
 of the Junta at Cordova, as after the latter Columbus became a member of the 
 royal retinue, and received from time to time certain sums of money for his 
 maintenance. The Queen was well disposed towards him, and endeavored to 
 come to some agreement with him, but the pretensions of the Admiral were so 
 unreasonable, that finally in 1492, the Queen positively rejected his proposals. 
 Columbus then left the Court and went to Huelva with his younger son, Diego, 
 probably with the intention of leaving the boy with a brother-in-law named 
 Muliar, who resided there, when by chance or because he had heard of the 
 geographical knowledge of Fray Juan Perez, the Prior of the Franciscan Con 
 vent at La Rubida, near Huelva, who had been confessor of the Queen, he 
 
THE COLUMBUS GALLERY. 141 
 
 stopped at the Convent, asking bread and water for his child. The Prior saw 
 him, asked him who he was and whence he came, and Columbus explained his 
 projects and disappointments to him at length. Struck by the appearance 
 and conversation of the stranger, the good father offered him an asylum, and 
 sent for some friends who resided at Palos, among them the physician Garci- 
 Fernandez and the pilot Sebastian Rodriguez, to whom he introduced the 
 Genoese. After long consultations, they decided to send Sebastian Rodriguez 
 bearing a letter from Fray Juan Perez to the Queen warmly recommending 
 the enterprise. 
 
 While waiting the return of Rodriguez with a reply from Isabella, many 
 conferences were held at La Rabida, at which the brothers Pinzon and other 
 mariners of Palos were present by invitation of the Prior. 
 
 The messenger returned quickly bringing with him a sum of money for 
 Columbus, to enable him to buy a horse and appear at the Court suitably 
 dressed. The future Admiral then returned to the camp before Granada, 
 where the Catholic Kings were holding their Court. 
 
 Painters and poets have portrayed on canvas and immortalized in verse, 
 this episode in the life of Columbus, but unfortunately historians, desiring to 
 lend a poetical coloring to these events, have chronicled them in such manner 
 that this portion of the biography of Columbus is filled with innumerable con 
 tradictions. 
 
 The paintings describing this incident in the life of the Admiral, will be 
 found under the following numbers. 
 
 19. COLUMBUS DEMANDING BREAD AND WATER FOR ins SON AT THE CON 
 VENT OF LA RABIDA. 
 
 This event is supposed to have taken place in 1491, after the Queen had 
 declined any further negotiations with Columbus, and the despairing and 
 broken-hearted man had decided to pass to France or England. In the fore 
 ground are Columbus and Fray Juan Perez, engaged in earnest conversation : 
 the former is represented with white hair and holds a chart in his hand. In 
 the back ground, is a monk serving the boy with bread and water. 
 
 The painting is in the Convent of La Rubida and is the work of an 
 unknown artist. 
 
 20. HURLSTONE, (F. Y.) COLUMBUS DEMANDING ALMS. 
 
 21. LEUTZE, (EMANUEL) COLUMBUS AT THE GATE OF THE MONASTERY OF 
 LA RABIDA, (1844.) 
 
 22. MERCADK, (BENITO.) COLUMBUS BEGGING FOR BREAD AT THE GATE OF 
 THE CONVENT OF LA RABIDA. 
 
142 
 
 THE COLUMBUS GALLERY. 
 
 23. WILKIE, (Sin DAVID.) COLUMBUS AT LA RABIDA. 
 
 This painting is at present in the Halford collection. The great master 
 received 500 guineas for his work. Of course, it has great artistic merit, but 
 is very inaccurate in detail, both as to the features of Columbus and the cos 
 tumes of the times. The painting is entirely imaginary, and has no historical 
 value. (Cut No. 82.) 
 
 24. LANGSE. COLUMBUS AT LA RABIDA. 
 
 82 WILKIE. COLUMBUS AND THE PRIOR. 
 
 This painting was exhibited at the Paris Exposition of 1867, and was much 
 admired : it was bought at a high price for an English gentleman. I have not 
 been able to obtain any f urtlier particulars regarding it. 
 
 25. PLUDEMANN, (HERMANN.) COLUMBUS AT LA RABID A, (1845.) 
 
 26. LUCY, (CHARLES.) COLUMBUS AT LA RABIDA, (1S75.) 
 
 27. GUTEPBOCK, (LEOPOLD.) COLUMBUS AT LA RABIDA. 
 
 28. DEIIOHENCQ, (E. A.) COLUMBUS AT THE CONVENT OF LA RAHIDA, (1864.) 
 
 29. MASO, (FELIPE.) COLUMBUS AT LA RABIDA, (1884.) 
 
 30. COLUMBUS EXPLAINING ins PLANS TO THE MONKS AT LA RABIDA. 
 
 In this picture Columbus is represented in a room at La Rabida explaining 
 his plans to I 1 ray Juan Perez and the two Pinzons. He stands at a table 
 holding a globe to which he is pointing. Behind him his son is listening and in 
 the background are two monks standing on a balcony probably discussing the 
 
THE COLUMBUS GALLERY. 143 
 
 matter. The painter of this picture is also unknown, hut it is like the first in 
 the Convent of La Rabida. 
 
 61. MERINO, (!GNACIO.) COLUMBUS AT LA RABIDA. 
 
 This beautiful painting was exhibited at the Paris Exposition, in 1855, and 
 was greatly admired. I am told that it is now in a private gallery in the 
 United States, but I have not been able to ascertain the name of the owner. 
 
 32. CANO, (ALONSO.) COLUMBUS AT LA RABIDA. 
 
 This is another purely imaginary portrayal of the famous scene at the 
 Convent of La Rabida, when Columbus explained his project to the monks. 
 He is represented with white hair and beard, while the monks wear full beards 
 and the laymen beards of different styles. The picture is worthy of the artist 
 and one of the best of the modern Spanish Historical School. (Cut No. 83.) 
 
 YI. On his return to Court Columbus was heartily welcomed and negotia 
 tions were far advanced when his extravagant pretensions again prevented 
 an agreement being made. He left the camp and went to Cordova with the 
 intention of taking his other son and departing for France or England. But 
 the efforts of his friends at last prevailed with the Queen and she sent a mes 
 senger after Columbus, who overtook him at Puente de Pinos, a long distance 
 from the camp, and with the assurance that his conditions were accepted, he 
 returned to Santa Fe. This event is graphically portrayed in the following 
 painting. 
 
 33. HEATON, (A. G.) RECALL OF COLUMBUS. 
 
 This picture is in the Capitol at Washington, and has been reproduced in 
 the new issue of Columbian stamps. It is a beautiful, but entirely imaginary 
 work. 
 
 VII. The agreement was signed, Columbus obtaining all the honors, 
 dignities and interest for which he had asked. The funds of the Spanish 
 Treasury had been entirely exhausted by the protracted wars which resulted 
 in the expulsion of the Moors, and Luis de Santangel, the treasurer of Aragon, 
 offered to advance the sum required to the Queen. There is no painting com 
 memorating this event, but in the great monument at Barcelona, his statue 
 and the inscription do him ample justice. By a perversion of this fact 
 an anecdote was invented many years afterwards which relates that the 
 Queen offered to pawn her jewels in order to raise the money required for the 
 enterprise, but the eminent American critic Harrisse, has proven that such 
 an offer was never made, the Queen s jewels being already in the hands of the 
 money-lenders, and Mendez Duro, a very distinguished Spanish naval officer 
 and the greatest apologist of Isabella, has published a pamphlet showing that 
 
144 
 
 THE COLUMBUS GALLERY. 
 
 the whole story is false. Notwithstanding this, there is a beautiful painting 
 representing this apocryphal event by an eminent Spanish artist and the 
 United States government has made a great mistake in perpetuating a proven 
 
 falsehood by the issue of a one dollar stamp commemorating the alleged 
 incident : thus showing on the part of the officials who ordered the said issue, 
 either ignorance or far more love for art than for historical truth. 
 
THE COLUMBUS GALLERY. 145 
 
 34. MU^OZ-DEGRAIN, (ANTONIO.) ISABELLA OFFERING HER JEWELS IN 
 AID OF THE ENTERPRISE OF COLUMBUS. 
 
 This picture is a really beautiful one and is strictly accurate in the minutest 
 details. It is, however, much to be regretted that so much talent has been 
 squandered in the depiction of an event which never took place, thus helping 
 to falsify history. 
 
 VIII. Columbus having obtained what he desired, then started for Palos, 
 with authority to impress two caravels and the crews for the enterprise. 
 The following picture depicts the issuing of the edict calling for men for the 
 expedition. 
 
 35. PUBLICATION OF THE ROYAL EDICT AT PALOS, RELATIVE TO THE 
 ARMAMENT OF THE CARAVELS. 
 
 This painting is also in the Convent of La Rabida, and appears to be by the 
 same hand as the two preceding ones. The scene is laid in the church of the 
 Convent. In the foreground, his face radiant with joy stands Columbus amid 
 a group of his friends and patrons. In the pulpit, the messenger from the 
 Catholic Kings is reading the edict for the armament of the caravels and the 
 impressment of the crews. 
 
 IX. The Kings had agreed to place two-thirds of the sum required to 
 defray the expenses of the undertaking at the disposal of Columbus, and he 
 was to raise the other third. Fortunately for him, his guardian angel, the good 
 Prior of La Rabida, had paved his way by introducing him to the brothers 
 Pinzon, three rich and influential shipowners and navigators of Palos. They 
 entered energetically into the plans of Columbus, looking upon it as a very 
 risky but profitable commercial venture, and they obtained the vessels, the 
 men and the money required, upon conditions which have not been handed 
 down to posterity. The expedition was fitted out by them in the best style of 
 the time, and with vessels well adapted to their purpose. On the 3rd day of 
 August, 1492, they sailed from the port of Palos, after having duly confessed 
 and partaken of the Holy Communion, and bidden a sad farewell to their 
 families. The parting was more touching as many of the members of the 
 expedition had been impressed, and also because they sailed on a Friday and 
 did not expect to return home safely, as it is considered a day of bad omen by 
 sailors. This departure from Palos has been a source of inspiration for many 
 eminent artists as will be seen by the following paintings : 
 
 36. SEGNI. DEPARTURE OF COLUMBUS, PELOSO GALLERY, GENOA. 
 
 This old picture is mentioned in a guide book of the city of Genoa, but 
 without any description or notice whatever. 
 
146 
 
 THE COLUMBUS GALLERY. 
 
 oo 
 
THE COLUMBUS GALLERY. 147 
 
 37. BALACA, (RICARDO.) COLUMBUS TAKING LEAVE OF THE PRIOR. 
 
 This graphic representation of Columbus bidding farewell to his friend, 
 Fray Juan Perez, at Palos, is full of life and pathos. In the immediate fore 
 ground, is a group of the relatives of the crews and their friends. There is a 
 weeping wife and a little boy taking leave of the husband and father, while 
 directly behind this group is the central figure, Columbus, clasping the hand 
 of Fray Juan Perez. His boat is at the wharf, waiting to convey him to the 
 Santa Maria, which with the other caravels, is in the background with their 
 sails set in readiness to depart on their eventful expedition. The painting is 
 the work of the Spanish artist, R. Balaca, and was painted by order of the 
 late Duke of Montpensier, who married a sister of Isabella, ex-Queen of Spain. 
 The composition and grouping are admirable. (Cut No. 84.) 
 
 38. THE EMBARKATION AT PALOS. 
 
 In the foreground, stands Columbus in his boat, taking farewell of his 
 stanch friend, Fray Juan Perez. In the background, are the caravels, the 
 shore, and a number of friends of the departing adventurers and the Convent 
 of La Rabida. 
 
 This painting appears to be from the same brush as the three others in the 
 Convent of La Rabida, but none of them have any merit either historic or 
 artistic. 
 
 39. MERINO, (!GNACIO.) COLUMBUS BIDDING FAREWELL TO HIS SONS. 
 The distinguished Peruvian artist, Merino, painted this beautiful picture 
 
 which obtained a prize in the Paris Salon (1861), and was warmly commended 
 by the Press. Unluckily, I have not been able to find any detailed description 
 of it, but in view of the other works of Merino referring to American history, 
 I am inclined to believe that he has been as accurate in this as in his other 
 works. 
 
 40. GISBERT, (ANTONIO.) DEPARTURE OF COLUMBUS. 
 
 This celebrated picture of the departure of Columbus from Palos is from 
 (he brush of the eminent Spanish artist Gisbert. In the foreground, are 
 some kneeling figures, with Fray Juan Perez blessing the expedition, while 
 immediately in front, Columbus, who is in his boat, is kneeling, his hand laid 
 on his breast. Directly behind him, is a group of officers, knights and soldiers, 
 while his sailors are bending to their oars, preparing to convey him to the 
 caravels, in the background, with their sails set. (Cut No. 85.) 
 
 41. LEUTZE, (EMANUEL.) DEPARTURE OF COLUMBUS FROM PALOS, (two 
 with some slight variations,) (1853.) 
 
 42. ROTHERMEL, (PETER F.) EMBARKATION OF COLUMBUS, (1870.) Penn 
 sylvania Academy. 
 
1O 
 CO 
 
THE COLUMBUS GALLERY. 140 
 
 X. The expedition started for the Canaries on the 3rd day of August, 1492. 
 After touching at these Islands on the 6th of September, they steered a direct 
 westerly course. I think it proper to introduce here the two allegorical 
 engravings published by the famous artist, De Bry, and two paintings 
 referring to the voyage. 
 
 43. DP: BRY, (THEODORE.) THE DE BRY ALLEGORY. COLUMBUS AT SEA. 
 This quaint engraving shows the Admiral standing in the bow of his ship, 
 
 which is near the shore. He is clad in a long mantle and undercoat, while 
 his armor lies at his feet, and his standard is floating from the foremast. 
 Behind him is Minerva, carrying a spear and a shield with the head of 
 Medusa in the centre, presenting a laurel branch to Columbus. Behind the 
 goddess is Mars in full armor, standing on the back of a turtle for a chariot, 
 and drawn by three lions. Near him, are two Sirens, whilst at the head of 
 the vessel, are a Mermaid and a Triton acting as pilots. In the far distance, 
 is a flock of Harpies, typifying the sinister influences with which the Genoese 
 had to contend. In the East is the rising sun and the territory which he had 
 just discovered. All that can be said of it is that the engraver had a fertile 
 imagination and that the execution of the design is beautiful. (Cut No. 86.) 
 
 44. DE BRY, (THEODORE.) COLUMBUS AT SEA. 
 
 This engraving, which is also the work of De Bry, is a companion picture 
 to the foregoing, and is very similar to it, as may be seen from a comparison of 
 both. 
 
 In this engraving, however, Columbus appears clad in full armor as an 
 Admiral. (Cut No. 87.) 
 
 45. COLIN, (ALEXANDER.) FIRST VOYAGE OF DISCOVERY. 
 
 In the catalogue of the Paris Exposition of 1855, this picture is mentioned 
 but without any further particulars. 
 
 46. MASO, (FELIPE .) COLUMBUS AT SEA, (1884 ) 
 
 This picture was sold to one of the South American Republics, but to 
 which one I am unable to say. 
 
 XI. At length in the early dawn of October 12th, 1492, land was sighted. 
 I have found the following paintings of this momentous event. 
 
 47. PILOTY, (KARL VON.) THE DISCOVERY OF AMERICA BY COLUMBUS. 
 (1865 ) 
 
 This painting which, notwitstanding its theatrical and sensational character, 
 possesses remarkable merit, is in the possession of Count von Schaack, at 
 Munich. 
 
 It has the vigorous coloring and perfect design, so characteristic of the 
 
150 
 
 THE COLUMBUS GALLERY 
 
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THE COLUMBUS GALLERY. 151 
 
 eminent artist. It is to be regretted that so prominent a painter as Piloty should 
 not have taken the trouble to render his painting historically accurate. All 
 the figures, dresses and accessories, though admirable from an artistic point 
 of view, are entirely imaginary. It was painted in 1866. 
 
 48. POWELL, (WILLIAM H.) COLUMBUS IN SIGHT OF LAND. 
 
 I have never seen anything but a ver}^ small and indifferent cut of this 
 picture, but I take it for granted that it may possess some merit, since it has 
 been reproduced in the series of Columbian stamps issued by the government 
 of the United States. 
 
 49. JOLLIVET, (PIERRE JULES.) CHRISTOPHER COLUMBUS DISCOVERING 
 AMERICA, (1833 ) 
 
 50. ESPALTER Y RULL, (JOAQUIN.) DISCOVERY OF AMERICA, (1877.) 
 
 51. RUBEN, (CHRISTIAN.) COLUMBUS DISCOVERING LAND, (1843.) Prague 
 Gallery. 
 
 52. PLUDEMANN, (HERMANN.) COLUMBUS DISCOVERING LAND, (1836.) 
 National Gallery, Berlin. Columbus leaning against a mast, raising his eyes 
 to heaven, while the officers and crew prostrate themselves before him, and the 
 sailors greet the land with passionate gestures. 
 
 XII. On the morning of the 12th of October, 1492, the navigators landed on 
 an island which Columbus named San Salvador, and which was called by the 
 natives Guanahani. The determination of the exact location of this island has 
 caused the expenditure of much money, brains and labor on the part of inves 
 tigators. The number of books, pamphlets, reviews, articles, etc., on this 
 subject is astonishing. I believe that the very first critical historian who 
 undertook to fix its exact position on the map, the eminent author of the 
 Historia del Nuevo Mundo, Juan Bautista Munoz, determined it accurately, 
 declaring that Guanahani was Watling s Island. Further researches by well- 
 known authors, especially those of Captain Becher and Rudolph Cronau, seem 
 to confirm this assertion conclusively. The latter has explained all the discre 
 pancies in the log-book of Columbus, by showing that the Admiral landed on 
 the western coast of the island, having been carried by the currents beyond 
 its northern side, where he probably saw the light to which he refers, shortly 
 before midnight on October llth, 1492. 
 
 Many paintings have been made representing the first landing, and I will 
 describe those which are known to me. 
 
 53. SOLIMENE, (FRANCESCO.) THE LANDING OF COLUMBUS ON AMERICAN 
 SOIL. 
 
 The famous Neapolitan artist Solimene, painted this work at the beginning 
 
152 
 
 THE COLUMBUS GALLERY. 
 
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THE COLUMBUS GALLERY. 153 
 
 of the last century in the palace of the Doge. It was unfortunately destroyed 
 in a fire in 1779. The sketches had been preserved, and Carlo Giuseppe Ratti, 
 a disciple of Mengs, was chosen at the suggestion of his master to reproduce 
 it, which he did in the most perfect manner, even reproducing the ana 
 chronisms in the original Solimene. It is a semicircular picture, in which 
 Columbus is represented in the act of planting the Standard of the Cross, and 
 taking possession of the land in the name of the Kings of Spain. The figure 
 of Faith encompassed by clouds and surrounded by angels, stands at the 
 head of the picture, and at the sides are graceful groups of figures which, 
 though they may charm the eye of the artist, would not be appreciated by the 
 historian, as not only the scenery, but the figures, costumes, animals and all 
 the accessories are entirely imaginary. 
 
 54. CARLONE, (GIAMBATTISTA.) COLUMBUS PLANTING THE CROSS ON THE 
 FIRST LAND DISCOVERED. 
 
 Fresco painted in 1665 in the chapel of the Ducal Palace at Genoa. 
 
 The design is excellent : Columbus is in the foreground sustaining a large 
 wooden cross, while his followers are planting it firmly by means of wedges 
 driven into the ground. On the left of the background, are the caravels, 
 depicted as Genoese vessels of the XYIIth century. On the right, are stone 
 altars, human remains, tents and soldiers. The types and attire of Columbus 
 and his soldiers are fairly accurate, and the powerful head of the Admiral is 
 beautiful and has a grand expression. According to my information this 
 fresco is still in good preservation and its colors are fairly fresh. 
 
 55. VANDERLYN, (JOHN.) THE LANDING OF COLUMBUS, (1776-1852.) 
 The Landing of Columbus, by Vanderlyn, which has been reproduced in a 
 
 great number of works especially educational, is one of the eight panels of 
 celebrated paintings now in the Rotunda of the Capitol at Washington, where 
 it was painted in 1842. This picture represents Columbus in the act of landing, 
 and taking possession of the country in the name of the Catholic Kings : it 
 seems to have been the intention of the painter to portray Columbus, Martin 
 Alonzo Pinzon, Vicente Yanez Pinzon, Rodrigo Escovedo, Rodrigo Sanchez, 
 Alonzo de Ojeda, and some other members of the crew, but none of the 
 portraits is worth anything historically ; among those who are represented 
 is a friar, and it is a well-known fact that no friar came to America with 
 Columbus on his first voyage. The picture is tolerably good from an artistic 
 point of view, but historically it is worthless. One of the vessels of the expe 
 dition is seen in the distance, and the foliage of the tropics is fairly well 
 rendered, in the large trees on one of the sides of the picture. (No. 88.) 
 
154 
 
 THE COLUMBUS GALLERY. 
 
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THE COLUMBUS GALLERY. 155 
 
 56. PUEBLA, (DlOSCORO.) LANDING OF COLUMBUS. 
 
 This painting is the work of the celebrated Spanish artist, Dioscoro Puebla, 
 and represents the landing of Columbus on the Island of San Salvador, in the 
 early morning of the 12th October, 1492. This picture is well worth a short 
 description. In the foreground, and the central figure, is the kneeling form 
 of the Admiral, who has just landed, saluting with his sword with his right 
 hand and holding a standard in his left. To the right, standing under a banana 
 tree, his left hand outstretched, and raising a crucifix in the right, is a friar. 
 In the rear of these two principal figures, are the other members of the 
 expedition, in the act of landing on the newly-discovered territory. In 
 the background, are the sails and masts of the caravels. There is only one 
 inaccuracy in the picture, which is the figure of the friar, as Columbus was 
 not accompanied by any ecclesiastic on this voyage, but it is, nevertheless, the 
 work of a master-hand. (Xo. 89) 
 
 57. HAMMAN, (EDOTJARD I.) LANDING OF COLUMBUS. 
 
 This picture was exhibited at the Paris Exposition of 1855, but I have been 
 unable to ascertain its present whereabouts. 
 
 58. GLOSS, (G. ADOLF.) LANDING OF COLUMBUS AT GUANAHANI. 
 
 This painting is in the Gallery at Stuttgart ; I have an engraving of it. The 
 artistic treatment is good, but the painter unfortunately paid no attention to 
 history or details of dress and other essential accessories. 
 
 59. BIERSTADT, (ALBERT.) LANDING OF COLUMBUS. 
 
 This picture was exhibited at the Centennial Exposition, Philadelphia, in 
 1876, but I know nothing further regarding it. 
 
 60. LEUTZE, (EMANUEL ) FIRST LANDING OF COLUMBUS IN AMERICA, 
 (1863.) 
 
 61. DIETIIK, (ALFRED.) LANDING OF COLUMBUS AT SAN SALVADOR. 
 
 XIII. Columbus continued his voyage discovering some of the small islands 
 in the Bahamas, next Cuba, and then steering eastward he reached Santo 
 Domingo. Pinzon had abandoned him with the Pinta, and on the night of 
 December 24th, the Admiral went to bed. The helmsman had left the rudder 
 in charge of a young sailor who fell asleep, when of a sudden, the vessel 
 carried by the currents struck on a rock near Cape Haytien. The Admiral 
 was soon on deck and tried to save his ship, but the panic-stricken sailors 
 abandoned it, and in a short time it was totally wrecked. This event is por 
 trayed in the following picture. 
 
 62. CLOSS, (G. ADOLF.) SHIPWRECK: OF THE SANTA MARIA. 
 
 This picture is very effective and well-drawn. The bright, sunlit sky, the 
 
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 THE COLUMBUS GALLERY 
 
THE COLUMBUS GALLERY. 157 
 
 sea, the rock, the shore, sea-fowl and vegetation of Santo Domingo, are well 
 rendered. The Santa Maria is accurately painted, but the scene is lighted 
 by brilliant sunshine, and it is well-known that the ship was wrecked and 
 abandoned shortly after midnight. 
 
 XIV. It is not my intention to follow Columbus step by step. I will there 
 fore proceed to the next important event depicted by painters, viz., his arrival 
 at. the Court of the Kings, and his reception by them at Barcelona. I will not 
 describe his hazardous return voyage, his arrival at Palos, nor his triumphal 
 progress through Spain. I will simply refer my readers, if they are fond 
 of glowing descriptions, to the splendid but highly colored one given by 
 Washington Irving in his now somewhat antiquated Life of Columbus. 
 Oviedo, who was present at the reception, says briefly that "Columbus was very 
 kindly and graciously received by the Kings." 
 
 Artists have given full scope to their imaginations in the portrayal of this 
 event, as will be seen by the following paintings : 
 
 63. PELAGIO, (PELAGI.) THE RETURN OF COLUMBUS. 
 
 By order of the Peloso family, this celebrated artist painted the fresco 
 which can yet be seen at the Peloso Gallery in their palace at Genoa ; it is still 
 in very good condition and has great merit as a work of art. 
 
 64. RECEPTION OF COLUMBUS AT BARCELONA. 
 
 In the palace of L Annunziata, Genoa, which formerly belonged to the Ferrari 
 family but which has often changed hands and is now known as the Coen, 
 there is a hall solely dedicated to the memory of Columbus. The finest of its 
 paintings is the reception of Columbus at Barcelona, but unfortunately I have 
 not been able to ascertain the name of the artist. It is full of life and move 
 ment, but the costumes in general are inaccurate. The fauna and flora of the 
 New World are, however, well portrayed by the artist, although he has not 
 confined himself to tho regions discovered by Columbus, but has depicted the 
 whole natural kingdom from Greenland to Tierra del Fuego. As a woik of 
 art, it is much admired. 
 
 65. GANDOLFI. RECEPTION OF COLUMBUS AT BARCELONA. 
 Council Hall at Genoa. 
 
 This is a very dramatic but untruthful picture. In the Court of the Palace 
 at Barcelona, a large graded platform has been erected specially for the 
 occasion. On the left, in the background, are the Kings seated on chairs of 
 state : in front of them, in the center, is Columbus standing before a chair in 
 a very dramatic attitude, describing his voyage : in the extreme background, 
 are buildings, ships and a large concourse of people, greeting Columbus by 
 
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THE COLUMBUS GALLERY. 159 
 
 waving hands and handkerchiefs, (handkerchiefs were not known at that 
 time.) Behind the Admiral and in front of him in the foreground are the 
 courtiers and attendant ladies, and even a Moor in full costume. The grouping 
 is excellent : pages are presenting fruits, birds and other products of the lands 
 discovered to the Kings, but there are no Indians present. The people, dresses, 
 ornaments, etc., are anything but Spanish, yet the picture is celebrated for its 
 artistic merit. 
 
 66. BALACA, (RiCAKDo.) 
 
 This picture represents the scene at the reception of Columbus by the 
 Catholic Kings in Barcelona, on his return from his first voyage. The Admiral 
 is represented in front of the Sovereigns addressing them. He is richly dressed 
 in the garb of an Admiral, the face is clean shaven, the hair white, arid the 
 features of his face correspond with the accepted descriptions of Columbus. 
 The Kings are seated under a canopy on chairs of state, which are placed on 
 a dais approached by three broad, low steps. At the back of the canopy, is 
 an escutcheon bearing the arms of Castile and Aragon, while at the side of each 
 of the Kings stands a herald in full Court dress, carrying a mace on his right 
 shoulder. Seated at the right hand of the Queen is a youth, and near him is 
 a group of the ladies of the Court. In the foreground are three chests, from 
 which a kneeling attendant has taken Indian spears, bows, clubs, pottery, 
 etc. Kneeling by the side of Columbus arid regarding the scene with astonish 
 ment are the nude figures of four Indians of both sexes. Immediately behind 
 the Admiral are a number of knights, courtiers and ecclesiastics, representing 
 the most distinguished men at the Court of Ferdinand and Isabella, who, 
 together with the Kings, are intently listening to the absorbing tale. All these 
 figures have been taken from statues and pictures of the time. The chamber 
 in which the reception is being held has stained glass windows, is hung with 
 tapestry and is very lofty. 
 
 The picture is a magnificent one; it was painted by the famous Spanish 
 artist, Balaca, and will forever reflect credit on his genius and skill. (No. 90.) 
 
 67. ANCKERMAN, (RICAKDO.) RECEPTION OF COLUMBUS AT BARCELONA. 
 The Admiral appears in the center of the picture, kneeling on the steps of 
 
 the throne and kissing the hand of Isabella, while Ferdinand stands by her 
 side. She is surrounded by her ladies of honor. In the background of the 
 picture to the right are a number of courtiers and military men. In the fore 
 ground on the right are seven Indians of both sexes, in different positions 
 wondering at the splendor of the Court. 
 
 It is not only a beautiful painting, but it is correct in the details of types, 
 attire, ornaments and architecture. The face of Columbus is very similar to 
 
160 THE COLUMBUS GALLERY. 
 
 that in the Naval Museum at Madrid and the lineaments of the King and 
 Queen are the same as in their well-known portraits. The distribution of the 
 groups is very effective, and even the number of Indians, seven, is strictly 
 accurate historically. 
 
 68. GREGORY (LuiGI.) COLUMBUS PRESENTING THE NATIVES TO THE 
 QUEEN. 
 
 This picture is at the University of Notre Dame South Bend, Indiana. 
 
 69. GONZALEZ DE RlBERA, (ANTONIO.) COLUMBUS OFFERING- A NEW 
 WORLD TO THE CATHOLIC KINGS. 
 
 This large fresco is painted on the ceiling of Hall No. 21, in the Royal 
 Palace at Madrid. I have examined guide-books of Madrid, and have ques 
 tioned many of my friends who have resided there, in regard to this picture, 
 but to my great regret I have not been able to obtain any more information 
 about it than the simple notice found in one of the guide-books. However, 
 as the painter was a talented artist, I suppose it deserves more than a passing 
 notice. 
 
 70. COLIN, (ALEXANDRE MARIE.) RECEPTION OF COLUMBUS BY THE 
 CATHOLIC KINGS. 
 
 This picture apears in the Catalogue of the Paris Salon of 1861. 
 
 71. DEVERIA, (EUGENE.) RECEPTION OF COLUMBUS BY FERDINAND AND 
 ISABELLA. (Paris Salon, 1861.) 
 
 72. PLUDDEMANN, (HERMANN.) ENTRY OF COLUMBUS INTO BARCELONA. 
 (1842.) 
 
 73. LEUTZE, (EMANUEL.) RECEPTION OF COLUMBUS ON HIS FIRST 
 RETURN FROM AMERICA. (1847; in the Diisseldorf Gallery.) 
 
 XY. The famous engraver, Theodore de Bry, published in his Collection 
 of Voyages, an apocryphal story which has been widely circulated. He avers 
 that after Columbus returned from his first voyage, he was generously enter 
 tained by some of his friends. One of them, Cardinal Mendoza, gave a 
 banquet in his honor and some of the grandees at the table murmured at 
 Columbus occupying the place of honor, as he was not a man of noble birth, 
 and went so far as to declare that any man present would have discovered the 
 Indies just as Columbus had done. The Admiral took an egg and asked if 
 any of the guests could stand it upright on the table. All tried to do it but 
 without success. Then Columbus slightly broke the top of the egg and stood 
 it on the table, observing that he had discovered the Indies just as he had 
 found a way of standing the egg on end. This anecdote, which was first related 
 by de Bry, was the origin of the following engraving and paintings. 
 
THE COLUMBUS GALLERY. 
 74. DE BUY, (THEODORE.) COLUMBUS AND THE EGG. 
 
 161 
 
 I reproduce this engraving, No. 91, from the seventh plate of the fourth part 
 of the Voyages of De Bry, (Frankfort, 1594. ) 
 
 75. HOGARTH, (WILLIAM.) COLUMBUS AND THE EGG. 
 
 This picture represents a man with a full beard, holding an egg in his hand 
 and in the act of making some explanation. The features are of the Montanus 
 type, "but the painting is entirely imaginary. Notwithstanding the usual 
 
lti~ THE COLUMBUS GALLERY. 
 
 accuracy of Hogarth in all his works, in this instance he did not pay the 
 slightest attention to the descriptions of Columbus that have been handed 
 down to posterity by his contemporaries. It has great artistic merit, but 
 historically, it is absolutely worthless, as all the figures portrayed in it are of 
 the most common-place and burlesque type. 
 
 XVI. The saddest and most dramatic episode is his imprisonment and 
 return to Spain in chains by order of the brutal Bobadilla. This was on his 
 return from the third voyage. As a criminal, heavily ironed, he crossed for 
 the sixth time, that Sea of Darkness which his genius had opened to his con 
 temporaries. Poets and painters have vied with each other in depicting 
 this sad event. I will describe the most important pictures relating to it. 
 
 76. DUVAL, (CHARLES.) IMPRISONMENT OF COLUMBUS. (Paris Salon, 1861.) 
 
 77. MENOCAL, (ARMANDO.) THE FALL OF COLUMBUS. 
 
 I have only a very indifferent photograph of this painting. Aside from 
 some short notices in the Havana papers, I have read three articles regarding 
 it. One is from the pen of one of the most gifted sons of Cuba, the eloquent 
 orator and eminent writer, Manuel Sanguily: another by the accomplished 
 art critic of Havana, Aniceto Valdivia, widely known under his nom de plume, 
 "Conde Kostia," and the last by an anonymous but very able writer on the 
 staff of the Union Constitutional, a journal published in Havana. From 
 these articles I will endeavor to give a short description of the picture, and 
 the writers opinions regarding it. I must add that it will be exhibited at 
 the Chicago World s Fair. 
 
 I will commence by stating that Menocal, although still a very young 
 artist, has attained a prominent rank in his profession, as he follows the 
 established traditions of the old Spanish School and is a hard worker. 
 
 The picture represents Columbus in the act of stepping into the boat, 
 ready to take him to the ship in which he is to sail for Spain, as a prisoner, 
 by order of his brutal foe, Bobadilla. He is fettered, and Captain Yallejo, in 
 armor, holds his hand, aiding him to enter the boat, in which there are already 
 three sailors and two guards: behind the Admiral, are his two brothers, also 
 fettered and surrounded by a strong guard. In the center of the foreground, 
 is a priest with folded hands, looking sadly at the pathetic scene. Other 
 passengers are taking leave of their friends, and some of the onlookers seem to 
 deplore the disgraceful proceeding. On the sea in the background the vessel 
 is lying at anchor which is to carry the Admiral. On the other side is a 
 tropical landscape. The grouping is excellent and all the accessories are 
 strictly historical. 
 
THE COLUMBUS GALLERY. 
 
 According to the above-mentioned critics, the coloring is superb, and the 
 sea, the sky and the land are as beautiful as can be depicted by the painter s 
 brush. 
 
 Sanguily says: "The light is astonishing and wonderful it seems 
 
 impossible to achieve such a marvel with the brush it must be seen 
 
 It is necessary to stand before that colossal canvas in order to understand the 
 deep pathos resulting from the happy conception of the artist, the dazzling 
 and wonderful richness of coloring of the Cuban painter. Perhaps some 
 may find fault with the picture that may mean that it is not perfect - 
 Granted but place yourself before it in a proper position, and then deny, 
 if you can, that you are looking at something perfect." 
 
 Valdivia says: "Every one who has seen it has been surprised at the marvel 
 ous coloring and the wonderful execution of the painting. It is impossible to 
 
 crown misfortune with more greatness all the figures on shore are in 
 
 motion the portion of the picture showing the bark is of the first order. . . 
 
 the sea breaking against the reefs the foam raised by the restless sea 
 
 the moving horizon form a really wonderful painting." 
 
 The anonymous writer says: "At a glance, it shows that Menocal is a master 
 in painting the human form. The Christopher Columbus that he has painted, 
 tall, thin, old, bent by misfortunes, is the ideal type of the Discoverer of 
 
 America Menocal studied at Madrid the works of the great masters, and 
 
 has returned to Havana possessing an original style, and versed in all the 
 secrets and resources of the Spanish School, which he knows how to 
 skilfully employ. This picture is admirable in color and design, in relief and 
 in the life of its subjects. Menocal is destined to be a glory to Spain and to 
 Cuba. 
 
 I take pleasure in acknowledging that I am indebted for these notices and 
 a photograph of the picture, as well as for almost all the details and reproduc 
 tions of monuments and paintings in Cuba, to the kindness of a prominent 
 Cuban lawyer, Mr. Carlos I. Parraga, of Havana. 
 
 78. PLUDDEMANN, (EIERMANN). COLUMBUS IN CHAINS LANDING AT CADIZ. 
 
 79. JOVER, (FRANCISCO.) COLUMBUS RETURNING IN CHAINS. 
 
 This interesting and finely executed painting portrays one of the most 
 pathetic incidents in the life of the Admiral his return to old Spain in 
 chains after the third voyage. He is represented as wearing fetters on the 
 left wrist and with both legs manacled and chained. He is seated at a table 
 on which are writing materials which he has evidently just been using. On 
 his right hand stand the Captain of the vessel and another officer, pleading 
 with him to allow the removal of the chains. With his right hand he is 
 
164 
 
 THE COLUMBUS GALLERY. 
 
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THE COLUMBUS GALLERY. 
 
 waving them away, and refusing to listen to their well-meant solicitations. 
 He wears a fur-trimmed robe with a coat beneath it extending to the knees, 
 and confined at the waist by a girdle. His hair is snow-white, and the 
 dejected expression and attitude are those of one who has lost all hope and is 
 plunged in deep despair; (No. 92.) 
 
 80. MURATON, (ALPHONSE.) COLUMBUS IN CHAINS. 
 
 My friend, the distinguished artist, Mr. Juan Peoli, has shown me the 
 valuable original sketch of this picture, which was presented to him by the 
 artist. It represents Columbus in chains on board of a ship, and in the back 
 ground are seen some Indians, who are being sent to Spain as prisoners. 
 Columbus is standing ; he wears a scarlet coat and a cap of the same color ; 
 the features and the dress are strictly historical. 
 
 I saw the finished picture in this city some years ago, but I cannot remem 
 ber in what collection, I have also seen an engraving of it, but have not been 
 able to obtain a copy. 
 
 81. PORTMAN, (CHRISTIAN J. L.) COLUMBUS IN CHAINS SENT TO 
 EUROPE. (1840.) 
 
 82. LEUTZE, (EMANUEL.) THIRD RETURN OP COLUMBUS FROM AMERICA. 
 (1842.) Providence, R. I. 
 
 83. WAPPERS, (GUSTAAF.) COLUMBUS IN IRONS. 
 
 This is a beautiful picture. I have reproduced the most important part, 
 the portrait of Columbus, in cut 24, page 42, where I state my reason for not 
 having reproduced the entire picture. 
 
 84. MARECHAL, (CHARLES L.) COLUMBUS BROUGHT BACK IN CHAINS. 
 This magnificent water-color was formerly in the collection of Prince 
 
 Napoleon. Years ago I saw a beautiful engraving of it, but have never been 
 able to find another. The description by the eminent critic Maxime du Camp, 
 says among other things: "All the suffering that human nature can bear is 
 imprinted upon that thoughtful face resting on the contracted hand. It is the 
 desperation of a man of genius who apparently begins to doubt the existence 
 of a God. There are many paintings 100 feet square which do not contain the 
 burning pathos and the great drama shown in this water color, the most beau 
 tiful that I have ever seen. Mr. Marechal has given a sublime reality to a 
 popular tradition." (1851.) 
 
 XVII. The brutal conduct of Bobadilla to Columbus greatly displeased 
 the Catholic Kings. Immediately after the arrival of the Admiral they gave 
 orders for his release, sent him a large sum of money, and ordered him to 
 appear at once before them. When he reached the Court he was received with 
 
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THE COLUMBUS GALLERY. 167 
 
 the highest marks of favor, and was reinstated in all his honors and titles. 
 At another audience he had an opportunity to give a detailed account of his 
 third voyage. A great and well-known Spanish painter and a distinguished 
 German painter have portrayed these events in the following paintings. 
 
 85. JOVEII, (FRANCISCO.) COLUMBUS DESCRIBING His THIRD VOYAGE TO 
 THE CATHOLIC KINGS. 
 
 The Admiral is represented as narrating the story of his voyages to the 
 Kings, who are attentively listening to him. This picture, like all those on 
 Spanish subjects of the modern Spanish school, has the great merit of 
 accurately following the most minute details of the types, dresses, ornaments, 
 furniture and architecture of the day. (See cut No. 93.) 
 
 In the central group are the Kings, and on their left stand the Marchioness 
 of Moya and other ladies of the Queen s suite. On the right of Ferdinand 
 stand Deza and a lady of the Court. On the left of the picture is the group 
 showing the seated figure of Columbus, and three courtiers standing behind 
 his chair. 
 
 The features of Columbus and of the Kings are admirable in expression, 
 and the picture is of great artistic merit. 
 
 86. LEUTZE, (EMANUEL.) KING FERDINAND REMOVING THE CHAINS FROM 
 COLUMBUS. (1843.) 
 
 87. JOVER, (FRANCISCO.) COLUMBUS REINSTATED IN His HONORS. 
 
 XVIII. The last days of Columbus and his death form the subject for the 
 two pictures now to be described. 
 
 88. (JACQUAND, (CLAUDIUS.) COLUMBUS ON His DEATH-BED, SHOWING 
 His CHAINS TO His SON. (1870.) 
 
 89. EDWARD, (MAY.) LAST DAYS OF CHRISTOPHER . COLUMBUS, OR 
 COLUMBUS MAKING His WILL. Paris Salon, 1861. 
 
 90. WAPPERS, (G-USTAAF.) DEATH OF COLUMBUS. 
 
 This is a very dramatic picture. Columbus blesses his son who is kneeling 
 by his side. The chains are seen over a large chest. There is a beautiful 
 engraving of it by Devachez. 
 
 91. PLUDDEMANN, (HERMANN.) DEATH OF COLUMBUS. 1840. 
 
 92. ORTEGA, (FRANCISCO.) DEATH OF COLUMBUS. 
 
 This powerful and artistic painting represents the death-bed of Colum 
 bus, the closing scene of his eventful and unhappy life. The Admiral 
 is lying on a miserable pallet in a meanly furnished room of a poor inn ar 
 Valladolid. The coverlid is drawn over the lower portion of the face. Around 
 him are his friends, Diego Mendez, kneeling at the foot of the bed, and some 
 
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THE COLUMBUS GALLERY. 160 
 
 monks, together with certain of his relatives, while his son kneels at the head 
 of the bed with his face buried in the pillows and his arm supporting the head 
 of his father. (No. 94.) 
 
 XIX. The following are allegorical pictures referring to Columbus and his 
 discoveries. 
 
 93. THE TRIUMPH OF COLUMBUS, from a drawing supposed to be by himself. 
 This drawing has been taken from a MS. kept in the Ducal Palace at 
 
 Genoa, it being supposed that the design is from an original sketch by 
 Columbus himself. It is enclosed in a frame about 10 x 8 inches. In the 
 center of the picture is Columbus sitting in a chariot, whose wheels are bearing 
 him through a boisterous sea, in which are dimly seen some monsters, typify 
 ing Envy and Ignorance, his greatest enemies. Providence sits by the side of 
 the Admiral. Two sea-horses representing Constancy and Tolerance, are 
 drawing the chariot which is pushed by the Christian Religion, and in the air 
 above Columbus are Victory, Hope and Fame. (No. 95.) 
 
 94. ALEU, (RAFAEL.) THE APOTHEOSIS OF COLUMBUS. 
 
 The celebrated Spanish artist Aleu, in painting this picture now at Madrid, 
 has availed himself of a sketch which is supposed to have been drawn by 
 Columbus, now in the City Hall at Genoa, and in which the Admiral depicts 
 his own apotheosis. I have already described and reproduced this drawing. 
 The painter has not closely followed the original idea. 
 
 In the foreground Europe, Asia and Africa gaze wonderingly at the scene 
 before them, listening to the trumpet blast of an allegorical figure of Fame. 
 In another part of the picture, and above a cloud, is a group of Red Indians 
 contemplating Columbus with astonishment. He appears enveloped in clouds, 
 and radiant with dignity and majesty, seated in a golden car in the shape of a 
 shell, symbolical of the frail caravels, which is driven by a figure representing 
 Providence. In the background are two tmgels placing the crown of Viceroy 
 of the Indies on the head of the Admiral, and a throng of illustrious men is seen 
 through the mist applauding the great deeds of the Discoverer. On the border of 
 the picture are the portraits of Isabella, Fernando, Fray Antonio Marchena, Juan 
 de la Cosa, Martin Alonzo Pinzon and Juan Perez. At the head of the picture 
 is the coat of arms of Spain, at the foot is that of Columbus, while at the sides 
 are those of eight of the most important cities where the principal events in the 
 life of the Admiral occurred, viz : Genoa, Huelva, Granada, Salamanca, Barce 
 lona, Seville, Cadiz and Valladolid. 
 
 95. CHENAVARD, (PAUL J.) CONQUEST OF THE NEW WORLD. 
 Theophile Gautier gives the following description of this magnificent com. 
 
170 
 
 THE COLUMBUS GALLERY. 
 
 95 TETFMPH OF OOLFMBUS. 
 
THE COLUMBUS GALLERY. 171 
 
 position which was intended for a fresco in the Pantheon. "The Admiral s 
 vessel, commanded by Columbus, is seen standing crosswise in the foreground, 
 which is formed by the breaking waves. In the high castle on the poop, built 
 after the singular fashion of the naval constructions of those times, Christopher 
 Columbus stands, surrounded by his Spaniards and some Indian captives ; 
 the sailors and the slaves are loading the ship, which lies off the land, with 
 lumps of virgin gold, strange idols, feather mattresses, birds, parrots of bril 
 liant plumage, and all that European research was able to plunder from that 
 world, unveiled as the Eldorado of adventurers." 
 
 There is an admirable engraving of this cartoon by Hanf Staengl. 
 
 96. HUNT, (WILLIAM MORRIS.) 
 
 In the American Art Review I find an article by Mr. F. P. Yinton, in which 
 he describes a picture by the American artist, William Morris Hunt, repre 
 senting the Discoverer. Columbus is in a barque, steered by Fortune and 
 three allegorical female figures representing Hope, Science and Faith accom 
 pany him. The opinion of Mr. Vinton is not very favorable to the painting, 
 of which I have seen only a very indifferent engraving. The picture is in the 
 new Capitol at Albany. 
 
 97. HAMILTON, (JAMES.) VISION OF COLUMBUS. 
 
 In the possession of Mrs. Joseph Harrison, Philadelphia, Pa. 
 
 XX. The celebration of the first mass on the New Continent and in the city 
 of Havana, are commemorated in the following pictures. 
 
 98. THE FIRST MASS IN AMERICA. 
 
 This splendid work is from the brush of a young Cuban artist, Jose Arburu 
 y Morell, who was born at Havana, in 1864, and died in Paris, in 1889, before 
 he was 25 years of age. He first studied at the Academy of San Alejandro, 
 Havana, under Melero, and afterwards at the Academy of San Fernando, 
 Madrid, under the direction of Dominguez. He was also a distinguished 
 sculptor, and was awarded the first prize for his painting, "The First Mass in 
 America," in a competition opened in 1888 by La Ilustracion Espanola y 
 Americana, of Madrid. The picture was warmly commended by such eminent 
 artists as Pradilla and Plasencia, and in the opinion of painters should have 
 been on a canvas of 20x25 feet in length, but the painter had not the necessary 
 funds for such a large work. 
 
 I am indebted for these notes and a description of this splendid picture, 
 written by Julian Casal, to the kindness of my friend, Mr. Jose Ramirez de 
 Arellano, of Havana, who also sent me a photograph and an engraving, from 
 which it is impossible to take a satisfactory copy : 
 
172 THE COLUMBUS GALLERY. 
 
 "Under a light-blue sky dotted with rose, amber and violet-colored clouds, 
 is seen the calm, blue surface of the ocean, flecked with snowy foam. The 
 dim gray line of the horizon is merged in the vastness of the sea. On the 
 shore, to the left of the spectators, a large canopy has been raised, and the 
 wind is rustling the folds of the canvas, under which, on a crimson carpet, and 
 against a gigantic tree, stands an altar. A priest with a long beard, robed in 
 a white cassock fringed with gold, and attended by a fair-haired acolyte, 
 celebrates mass, and is represented in the act of blessing his congregation, the 
 members of which are grouped on the right, some standing and some kneeling. 
 In front of them and closer to the altar, saluting with his sword, and holding 
 a standard in his left hand is the venerable figure of the Admiral, his gray 
 hair shining under the rays of the sun. That austere face furrowed by grief 
 and misfortune, beams with benevolence and modesty. He appears to be deaf 
 to the cheers of one of the most enthusiastic of his followers who stands behind 
 him, and devoting his entire attention to the religious ceremony. 
 
 Near the great Genoese is a Dominican friar with his cowl thrown back and 
 praying fervently. The persons assembled in the background are in various 
 positions, and the expressions on their faces are different. The grouping is 
 splendid. On the left are a number of copper- colored Indians with bristling 
 hair, half-naked and crouched near the altar, showing in their large black eyes, 
 wonder or indifference. The whole composition which, but for the genius 
 of the artist would have bordered on the theatrical, is heroic, grand and 
 touching." 
 
 99. YERMAY, (JUAN B.) FIRST MASS IN AMERICA. 
 
 In the Templete at Havana, there is a picture representing the first mass 
 celebrated in America, on the spot where Havana was first founded, on the 
 southern coast of Cuba. It was said by one of the priests who accompanied 
 Columbus on his second expedition, and it is supposed that the Admiral was 
 present on the occasion. I last saw this picture about thirty years ago, and 
 have entirely forgotten its details. Perhaps, it did not attract my attention on 
 account of the bad light in which it is placed ; yet as this picture and the two 
 others in the same building are from the brush of the distinguished French 
 painter, Juan B. Yermay, I suppose that they must possess considerable merit. 
 
 XXI. The following five pictures I cannot properly include in any par 
 ticular series, for the reason that all I know about them is that I have seen 
 them mentioned in various catalogues, but with no description. I do not even 
 know whether they are portraits or paintings, but as they are all the works of 
 distinguished artists, I have thought proper to at least mention them. 
 
THE COLUMBUS GALLERY. 173 
 
 100. HARTE, (S. A.) COLUMBUS AND THE CHILD. 
 
 101. KEYSER, (NICAISE DE.) COLUMBUS WITH His SON LEAVING BARCE 
 LONA. 
 
 102. MASO, (FELIPE.) COLUMBUS AND His SON. (1875.) Valparaiso 
 Museum. 
 
 103. COLIN, (ALEXANDER.) CHRISTOPHER COLUMBUS. (1846.) 
 
 104. HAMMAN, (EDOUARD JEAN.) CHRISTOPHER COLUMBUS. (1869.) 
 
 To this long list I must add that there is a very large number of pictures, 
 both in private and public galleries, which are entirely unknown to me, and 
 many others which have been destroyed by fire, shipwreck or other accidents. 
 I have read that about the middle of the sixteenth century, il Fiazello, other 
 wise called il Sarzana, painted a number of large canvases illustrating the 
 history of Columbus for the Ducal Chapel at Genoa, and that they were 
 destroyed in a terrible conflagration in the following century. I have also 
 read that two pictures illustrating events in the life of Columbus, were 
 destroyed by the Communists at the Tuileries, in Paris, and that in the 
 Durazzo and Santi palaces at Genoa there are beautiful pictures referring to 
 Columbus ; also that Scaramuzza painted by order of the Faragiano family 
 some splendid pictures in the Acquaverde palace, and that in the Hall of 
 Deputies at Madrid there are some other paintings relating to the discovery 
 of America. I can only mention them, as I have been unable to obtain 
 any further information or any descriptions of these pictures. 
 
THE COLUMBUS GALLERY. 
 
 175 
 
 GENERAL INDEX. 
 
 Description of Columbus by his son Ferdinand Columbus, Las Casas, Martyr and Oviedo 
 
 PORTRAITS. 
 
 
 PAGE. 
 
 Albany 
 
 45 
 
 Altamira 
 
 19 
 
 Altissimo (Cut No. 3) 
 
 ~ 
 
 Anonymous (47) 
 
 71 
 
 ( < 
 
 72 
 
 Archives of the Indies 
 
 45 
 
 Banchero ( 17 ) 
 
 27 
 
 Barabino (23) 
 
 40 
 
 Bazin 
 
 73 
 
 Belvedere (8) 
 
 16 
 
 Berwick-Alba ( 27 ) 
 
 44 
 
 Bierstadt 
 
 63 
 
 Bol, Ferdinand 
 
 52 
 
 Borghese 
 
 18 
 
 Borgona, Juan de 
 
 46 
 
 Bossi 
 
 47 
 
 Bramantino 
 
 15 
 
 Bry Theodore de (28) 
 
 47 
 
 Bry, " " (29) 
 
 48 
 
 Cancellieri (9 ) 
 
 17 
 
 Cantu, Cesar (14) 
 
 24 
 
 Capriolo, Alessandro (11) 
 
 20 
 
 Carnicero 
 
 49 
 
 Carthagena 
 
 49 
 
 Cevasco (13) 
 
 22 
 
 Cladera (30) 
 
 49 
 
 Ciuny Museum 
 
 35 
 
 Cogoletto (G) 
 
 12 
 
 Columbine Library 
 
 52 
 
 Columbus on horseback 
 
 72 
 
 Concord 
 
 62 
 
 Cosa, Juan dela (18) 
 
 28 
 
 Cuccaro No. 1 
 
 14 
 
 No. 2 
 
 14 
 
 Dapper (39) 
 
 58 
 
 Edward, Bryan (48) 
 
 72 
 
 Ellsworth (19) 
 
 30 
 
 Ermitage 
 
 52 
 
 Esteva 
 
 45 
 
 45 
 
 Flameng, Leopold (Cut No. 31). .. 
 
 52 
 
 19 
 
 Florence Gallery ( 3 ) .... 
 
 
 i 
 
 Fontaine 
 
 .... 53 
 
 71 
 
 Giordano, Luca ( 32 ) 
 
 53 
 
 72 
 
 Giulio Romano ( 38 ) 
 
 58 
 
 45 
 
 Gunther (20) 
 
 35 
 
 27 
 
 Havana (33) 
 
 53 
 
 40 
 
 Herrera (34) 
 
 54 
 
 73 
 
 " vignette ( 35 ) 
 
 54 
 
 16 
 
 Holt (22) 
 
 40 
 
 44 
 
 Hull (36) 
 
 54 
 
 63 
 
 Huntington 
 
 .. .. 46-55 
 
 52 
 
 Jacotin ( 25 ) 
 
 43 
 
 18 
 
 Jomard (37) 
 
 55 
 
 46 
 
 Jovius ( 1 ) 
 
 4 
 
 47 
 
 
 
 15 
 
 Landon 
 
 73 
 
 47 
 
 
 73 
 
 48 
 
 Legrand Charles ( 12 ) 
 
 21 
 
 17 
 
 Lotto (19) 
 
 30 
 
 24 
 
 Maella(40) 
 
 59 
 
 9,0 
 
 
 18 
 
 49 
 
 
 61 
 
 49 
 
 Montano (39) 
 
 58 
 
 22 
 
 Moore More Moro Morus (20) 
 
 35 
 
 49 
 
 Munoz (40) . 
 
 59 
 
 35 
 
 Naval Museum ( 12 ) 
 
 21 
 
 12 
 
 
 26 
 
 52 
 
 \ Y" Geographical Society 
 
 23 
 
 72 
 
 Orchi Court de ( 7 ) 
 
 14 
 
 62 
 
 Parmigiiinino ( 41 ) 
 
 61 
 
 28 
 
 Pas Crispin de ( 10) 
 
 17 
 
 14 
 
 Philoponus ( 42 ) 
 
 64 
 
 14 
 
 Piombo Sebastian del 
 
 15, 19, 28, 64 
 
 58 
 
 Ribera 
 
 64 
 
 72 
 
 
 43 
 
 30 
 
 Rinck (43) 
 
 64 
 
 52 
 
 Rincon Antonio del ( 15 ) 
 
 24 
 
 45 
 
 Rouen. No. 1. . 
 
 26 
 
176 
 
 THE COLUMBUS GALLERY. 
 
 PORTRAITS Continued. 
 
 Rouen No. 2. 
 
 Scardoni 
 
 Scotto 
 
 Selma 
 
 Stuppi 
 
 Suardi, Bartolomeo 
 
 Talleyrand 
 
 Terla 
 
 Thevet, No. 1 (Cut No. 44). 
 
 No. 2(45) 
 
 Titian (37) 
 
 Uffizi Gallery (3) , 
 
 Vanloo. . 
 
 PAGE 
 
 27 
 65 
 65 
 73 
 23 
 15 
 19 
 73 
 65 
 67 
 55 
 7 
 46 
 
 Vasco 
 
 Vazquez 
 
 Venetian Mosaic (Cut No. 26). 
 
 Veragua 
 
 Versailles No. 1 (46) 
 
 No. 2 
 
 Villafranca 
 
 Wappers (24) 
 
 YanezNo. 1 (4) 
 
 " No. 2 (5) 
 
 Zatta 
 
 Zschosch (21)... . 
 
 35 
 68 
 
 43 
 
 68 
 
 19 
 42 
 9 
 10 
 73 
 39 
 
 MONUMENTS, STATUES, ETC. 
 
 PAGE. 
 
 Barcelona, Spain, Monument at (53-54).. 84 
 
 Bayamo, Cuba, Statue 107 
 
 Boston, Statue 115 
 
 Cardenas, Cuba, (63) 106 
 
 Chicago, Fountain 127 
 
 Cifuentes, Cuba, Bust 107 
 
 Colon, Colombia, Statue (65) 109 
 
 Colon, Cuba, Statue (62) 104 
 
 Genoa, Italy, Monument ( 49 ) 75 
 
 " Custodia(50) 79 
 
 Statue 79 
 
 " Bust at the University 80 
 
 " Bust at the Royal Palace 80 
 
 Statue at the Red Palace... 80 
 
 Group, Genius of Columbus 81 
 
 Granada, Spain, Monument 83 
 
 Havana, Garbeille Statue ( 57 ) 96 
 
 " Bust at the Templete 96 
 
 Columbus in chains ( 58) 98 
 
 Monument (59) 98 
 
 Tomb at the Cathedral ( 60 ) 101 
 
 High relief at the Cathedral (61). 102 
 
 Huelva, Spain, Monument (52) 84 
 
 Lima, Peru, Statue ( 67 ) 113 
 
 Madrid, Spain, Statue ( 55 ) 91 
 
 Statue at Naval Museum.. 92 
 
 Monument (56) 92 
 
 Mexico, Monument ( 66 ) Ill 
 
 Milan, Italy, Statue 81 
 
 Monteverde, Infant Columbus, Staiue 115 
 
 PAGE 
 
 Nassau , Statue 96 
 
 New York Monument ( 68 ) 116 
 
 Columbus Fountain (69- 70).. 119 
 
 " Historical Society, Bust 121 
 
 Sunol, Statue 122 
 
 Central Park, Statue 122 
 
 " Memorial Arch 122 
 
 Paris, France, Statue 82 
 
 Pavia, Italy, Bust (80) 81 
 
 Philadelphia Statue ( 71 ) 123 
 
 Kevelli, Statue of Columbus 81 
 
 Rome, Italy, Capitoline Museum, Bust... 81 
 
 Sacramento, California, Statue 125 
 
 Salamanca, Spain, Monument 82 
 
 Santiago, Chili, Statue 115 
 
 Santo Domingo, Monument (6i) 108 
 
 Scranton, Pennsylvania, Statue 124 
 
 Seville, Spain, Archives of the Indies,Statue 82 
 
 " " Cartuja, Statue 82 
 
 St. Louis, Missouri, Statue 128 
 
 Trujillo, Honduras, Statue 109 
 
 Valparaiso, Chili, Bust 115 
 
 Vela, Columbus and America 81 
 
 Vignolo, Genius of Columbus. ... 81 
 
 Washington, Persico, Group 125 
 
 Doors of the Capitol (72)... 125 
 
 Bust. 127 
 
 High relief at the Rotunda.. 127 
 
 Watling Island, Monument 95 
 
THE COLUMBUS GALLERY, 
 
 MEDALS. 
 
 Ihr" 
 7 < 
 
 Italian Medal (Cut No. 78) 130 
 
 Lopez Medal ( 76 - 77 ) 130 
 
 Maura Medal (Cut No. 73-74-75). 
 
 PAGE. 
 
 120 
 
 HISTORICAL PAINTINGS. 
 
 PAGE. 
 
 Aleu. Apotheosis of Columbus 169 
 
 Anckermann. Reception of Columbus at 
 
 Barcelona 159 
 
 Arburu y Morell. First Mass in America 171 
 Balaca. Columbus taking leave of the 
 
 Prior (84) 147 
 
 Bdlaca. Reception of Columbus by the 
 
 Catholic Kings in Barcelona (90). . . . 159 
 Barabino. Columbus before the Council of 
 
 Salamanca ( 23 ) 137 
 
 Bierstadt. Landing of Columbus 155 
 
 Brozik. Columbus soliciting aid from 
 
 Isabella (79) 135 
 
 De Bry. Columbus at Sea ( 86 ) 149 
 
 De Bry. Allegory. Columbus at Sea ( 87 ) 149 
 
 De Bry. Columbus and the Egg 161 
 
 Cano. Columbus at La Rabida (83) 143 
 
 Carlone. Columbus Planting the Cross 
 
 on the first Land Discovered 153 
 
 Chenavard. Conquest of the New World 169 
 
 Closs. Landing of Columbusat Guanahani 155 
 
 Gloss. Shipwreck of the Santa Maria. ... 155 
 
 Colin. Cristopher Columbus 173 
 
 Colin. First arrival of Columbus in Spain 136 
 
 Colin. First Voyage of Discovery 149 
 
 Colin. Reception of Columbus by the 
 
 Catholic Kings 160 
 
 Columbus Triumph of by himself? (95) 170 
 
 Conconi Mauro The Youth Columbus. 133 
 Crespo. Presentation of Columbus to 
 
 the Catholic Kings 134 
 
 Dehohencq. Columbus at the Convent of 
 
 La Rabida 142 
 
 Deveria. Reception of Columbus by Ferd 
 inand and Isabella 160 
 
 Durazzo 173 
 
 Diethe. Landing of Columbus at San Sal 
 vador 155 
 
 Duval. Imprisonment of Columbus 162 
 
 Edward. Last Days of Christopher Col 
 umbus or Columbus making his Will 167 
 
 Elmore. Columbus at Porto Santo 134 
 
 Espalier y Rull. Discovery of America. . 151 
 
 PAGE. 
 
 Fiazello 173 
 
 Gandolfi. Reception of Columbus at Bar 
 celona 157 
 
 Gisbert. Departure of Columbus (85)... 147 
 Gonzalez de Ribera. Columbus Offer 
 ing a New World to the Catholic 
 
 Kings 160 
 
 Gregori. Columbus Presenting the Na 
 tives to the Queen 160 
 
 Guterbock. Columbusat La Rdbida. . . . 142 
 
 Hamilton. Vision of Columbus 171 
 
 Hamman. Christopher Columbus 173 
 
 Hamman. Landing of Columbus 155 
 
 Harte. Columbus and the Child 173 
 
 Heaton . Recall of Columbus 143 
 
 Hogarth. Columbus and the Egg 161 
 
 Hunt. Discoverer 171 
 
 Hurlstone. Columbus Demanding Alms 141 
 Izquierdo. Columbus Before the Do 
 minicans (80) 137 
 
 Jacquand. Columbus on His Death Bed 
 
 Showing His Chains to His Son 167 
 
 Jollivet. Christopher Columbus Discov 
 ering America 151 
 
 Jover. Columbus Describing His Third 
 
 Voyage to the Catholic Kings (93). . . 167 
 Jover. Columbus Returning in Chains 
 
 (92) 163 
 
 Jover. Columbus Reinstated in His 
 
 Honors 167 
 
 Keyser. Columbus with His Son Leav 
 ing Barcelona 173 
 
 Langse. Columbus at La Rabida 142 
 
 Leutze. Columbus before the Queen. ... 136 
 Leutze. Columbus before the Council of 
 
 Salamanca 137 
 
 Leutze. Columbus at the gate of the Mon 
 astery of La Rabida 141 
 
 Leutze. Departure of Columbus from 
 
 Palos 147 
 
 Leutze. First Landing of Columbus in 
 
 America 155 
 
THE COLUMBUS GALLERY. 
 
 HISTORICAL PAINTINGS Continued. 
 
 PAGE. 
 
 Leutze. Reception of Columbus on his 
 
 first Return from America . . 160 
 
 Leutze. Third return of Columbus from 
 
 America . ... 165 
 
 Leutze. King Ferdinand Removing the 
 
 Chains from Columbus 167 
 
 Lucy. Columbus at La Rabida 142 
 
 Maso. Columbus and his Son 173 
 
 Maso. Columbus at La Rabida 142 
 
 Maso. Columbus before the Domini 
 cans ( Cut No. 81 ) 137 
 
 IVTaso. Columbus at Sea 149 
 
 Marechal. Columbus Brought Back in 
 
 Chains 165 
 
 Menocal. The Fall of Columbus 162 
 
 Mercade. Columbus Begging for Bread 
 at the Gate of the Convent of La 
 
 Rabida 141 
 
 Merino. Columbus Before the Faculty 
 
 of the University of Salamanca 140 
 
 Merino. Columbus at La Rabida 143 
 
 Merino. Columbus Bidding Farewell to 
 
 His Sons 147 
 
 Munoz-Degrain. Isabella Offering Her 
 Jewels in Aid of the Enterprise of 
 
 Columbus 135 
 
 Muraton. Columbus in Chains 165 
 
 Ortega . Death of Columbus (94) 167 
 
 Pelagio. The Return of Columbus 157 
 
 Pickersgill. Columbus at Lisbon 134 
 
 Piloty. The Discovery of America by 
 
 Columbus 149 
 
 Pliiddemann. Columbus Disputing with 
 
 the Junta at Salamanca 137 
 
 Pliiddemann. Columbus at La Rabida... 142 
 Pliiddemann. Columbus Discovering Land 151 
 Pliiddemann. Entry of Columbus into 
 
 Barcelona 160 
 
 Pliiddemann. Columbus in Chains Land 
 ing at Cadiz 163 
 
 Pliiddemann. Death of Columbus 167 
 
 Portman. Columbus in Chains Sent to 
 
 Europe 165 
 
 Powell. Columbus in Sight of Land 151 
 
 Puebla. Landing of Columbus (Cut No. 
 
 89) 155 
 
 Robert Fleury. Christopher Columbus 
 
 Received at the Court of Spain 136 
 
 Rothermel. Columbus Before Isabella. . 136 
 Rothermel. Embarkation of Columbus. . 147 
 Rotting. Columbus Before the Council 
 
 at Salamanca 137 
 
 Ruben. Columbus Discovering Land... 151 
 
 Santi 173 
 
 Sarzana 173 
 
 Scaramuzza 173 
 
 Segni. Departure of Columbus 145 
 
 Solimene. The Landing of Columbus 
 
 on American Soil 151 
 
 Tavarone. Columbus Explaining His 
 
 Plans to the Doge of Venice 134 
 
 Tavarone. Columbus in the Presence of 
 
 Ferdinand and Isabella 134 
 
 Vanderlyn. Landing of Columbus (88). . 153 
 
 Vermay. First Mass in America 172 
 
 Wilkie. Columbus at La Rabida (82) 142 
 
 Wappers. Columbus in Irons 165 
 
 Wappers. Death of Columbus 167 
 
 Anonymous. Columbus Demanding 
 Bread and Water for His Son at the 
 
 Convent of La Rabida 141 
 
 Anonymous. Columbus Explaining His 
 
 Plans to the Monks at La Rabida 142 
 
 Anonymous. At La Rabida. Publica 
 tion of the Royal Edict at Palos Rela 
 tive to the Armament of the Caravels. 145 
 Anonymous. La Rabida. The Em 
 barkation at Palos . . 147 
 
 Anonymous. Triumph of Columbus 
 
 Ducal Palace at Genoa (95) 169 
 
 Anonymous. Annunziata Palace, Genoa 
 
 Reception of Columbus at Barcelona.. 157 
 
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