NOTES

Introduction

Chapter 1: A Last Voyage

Chapter 2: The Emperor’s Ambassador

Chapter 3: The Fleets Are Prepared for the Voyage to the Barbarians

Chapter 4: Zheng He’s Navigators’ Calculations of Latitude and Longitude

Extensive notes on www.gavinmenzies.net.

Chapter 5: Voyage to the Red Sea

Chapter 6: Cairo and the Red Sea Canal

Chapter 7: To Venice of Niccolò da Conti

(Subsidiary Notes for Chapter 7)

a) Pisanello’s Drawings in Venice and Florence 1419–1438

Antonio di Bartolomeo Pisano, (later known as Pisanello), was born probably in Verona before 1395. He was painting murals in the Doges’ Palace before 1419 in association with or in succession to Gentile de Fabriano. In 1432 he was painting in Rome at Saint John Lateran, and between 1432 and 1438 he painted in Florence. He also painted in Mantua for the Gonzagas, in Ferrara for the Este family, and for the Catholic Church in Verona. He made medals for the Holy Roman Emperor Sigismund of Luxembourg and for the Byzantine emperor John VIII Palaeologus (who attended the Council of Florence in 1438). Pisanello is noted for the power of his sketches from real life. He was one of the greatest exponents of drawing of all time—in the view of some experts almost of the caliber of Leonardo da Vinci. Many consider the quality of his drawings exceeds that of his paintings.

b) The Mongolian General

The Louvre keeps a box of comments for each of Pisanello’s sketches. I have read the comments of various experts who have attempted an explanation of where and when Pisanello saw the Mongolian general or whether he saw another sketch or portrait from which he copied. The various opinions are collated and refuted one by one by “D” in a five-page opinion entitled “Pisanello: Quatre têtes d’hommes coiffés d’un bonnet, de profile ou de trois quarts,” which includes a bibliography of the twelve experts. I assume D was an expert working at the Louvre; his or her opinion is on our website. As may be seen, D does not consider that the Mongol general was part of the entourage of the Byzantine or Holy Roman Emperor and is unable to offer a solution as to where Pisanello saw him. D also advances an opinion on the second Mongol, whom, as he rightly says, has a retroussé nose.

c) Pisanello’s Mandarin Hat

On the 1434 website’s extended notes (chap. 7) is a portrait of a wealthy Chinese in a hat (Bulletin of the Metropolitan Museum of Art 15 (Jan. 1920), as reported in JSTOR). He wears a typical mandarin hat—black with flaps at the side and front (the front flap can only be clearly seen by viewing the original). These hats are very distinctive, shown in many Chinese paintings of the Ming dynasty and reproduced on the PBS documentary 1421. They were not worn by any other peoples than Chinese, as far as I am aware. So despite the retroussé nose, in my opinion the figure beneath the Mongol general can only be a mandarin.

d) Pisanello’s Dragon-Carrying Ship

This dragon has three claws. In China in the Ming dynasty, five-clawed dragons were for the emperor’s use; the imperial family and courtiers were granted four claws or fewer. This drawing, therefore, accords with a dragon ornament owned by a Chinese courtier.

e) Pisanello’s Drawing of “Macchina idraulica” (Deganhart 147)

As far as I am aware, this is the first European drawing of a piston pump—preceding Taccola and Leonardo. In the 1430s the piston pump was unknown in Europe but had been in use in China for two hundred years. Pisanello’s drawing also shows a bucket pump called in Italy tartari.

f) Pisanello’s Drawings of Guns with Triple Barrels (Deganhart 139)

Triple-barreled guns were unknown in Italy when Pisanello made this sketch but were in use in China (see chap. 19).

Pisanello’s Decorated Gun Barrels (140)

These accord with Francesco di Giorgio’s, drawn two decades later.

Pisanello’s Portrait of a Wounded Soldier (133)

This is a Mongol.

Pisanello’s Painting of the Mongol General

Note his rich silk clothes—mere “Archers” would not have worn these.

Other Pisanello Drawings, Not Yet Analyzed by the Author

Water Buffaloes: Louvre, inv 2409

Tartar pallet pump and water wheels: Louvre, 2284, 2285

Cold Desert Camels: Louvre, inv 2476

Ship with Carved Hull: Louvre, inv 2282 to 2288

Chapter 8: Paolo Toscanelli’s Florence

Chapter 9: Toscanelli Meets the Chinese Ambassador

Chapter 10: Columbus’s and Magellan’s World Maps

Chapter 11: The World Maps of Johannes Schöner, Martin Waldseemüller, and Admiral Zheng He

Chapter 12: Toscanelli’s New Astronomy

Chapter 13: The Florentine Mathematicians: Toscanelli, Alberti, Nicholas of Cusa, and Regiomontanus

Chapter 14: Alberti and Leonardo da Vinci

Chapter 15: Leonardo da Vinci and Chinese Inventions

Chapter 16: Leonardo, di Giorgio, Taccola and Alberti

Chapter 17: Silk & Rice

Chapter 18: Grand Canals, China and Lombardy

Chapter 19: Firearms and Steel

Chapter 20: Printing

Chapter 21: China’s Contribution to the Renaissance

Chapter 22: Tragedy on the High Seas: Zheng He’s Fleets Destroyed by a Tsunami

This chapter relies heavily on the work of Professor Ted Bryant and Dr. Dallas Abbott and colleagues; please refer to the Acknowledgments section.

Chapter 23: The Conquistadores’ Inheritance: Our Lady of Victory

This chapter relies heavily on a series of lectures on Medieval Spain given by Dr. Christopher Pollard at Dillington House near Taunton, Somerset, which the author was privileged to attend in 1999. Please refer to the acknowledgments section.