Impressions of many of the images used as illustrations in this book were owned by Hernando himself; references are provided here to the inventory numbers they bear in his Memoria de los dibujos o pinturas o Registrum C (Colombina 10–1–16), as well as to their entries in Mark P. McDonald’s Print Collection of Ferdinand Columbus, 1488–1539, 3 vols. (London, 2004).
Maps
The four maps in the prelims are reproduced courtesy of the British Museum © The Trustees of the British Museum.
In-Text Illustrations
A Drawing of the City of Cadiz, 1509 (España, Ministerio de Educación, Cultura y Deporte, Archivo General de Simancas MPD, 25, 047).
Illustration from De insulis nuper in mari Indico repertis (Basel, 1494, ee [1]v; photo by MPI/Getty Images).
Giovanni Battista Palumba, Diana Bathing with Her Attendants, c.1500; (Hernando’s inventory number 2150; see McDonald, 2:386; public domain from the Metropolitan Museum of Art).
Native Americans ride on a manatee, 1621 (courtesy of the John Carter Brown Library at Brown University, 04056; JCB Open Access Policy).
A page showing an eclipse from the Mayan Dresden Codex (Sächsische Landesbibliothek, Dresden, Mscr.Dresd.R.310, http://digital.slub-dresden.de/werkansicht/dlf/2967/55;CC-BY-SA4.0).
Principium et ars totius musicae, Francesco Ferrarese (Hernando’s inventory number 3097; see McDonald, 2:559; “The Guidonian hand,” Italian School, [16th century]/Civico Museo Bibliografico Musicale, Bologna, Italy/© Luisa Ricciarini/Leemage/Bridgeman Images).
Anonymous printmaker, after Jan Wellens de Cock, c.1520–30, The Ship of St. Reynuit (Hernando’s inventory number 2808; see McDonald, 2:518; image reproduced is Rijksmuseum RP-P-1932-119).
Illustration of Rome by Pleydenwurff and Wolgemut in The Nuremberg Chronicle, 1493 (Hernando’s inventory number 433; see McDonald, 2:566; reproduced by kind permission of the Syndics of Cambridge University Library, Inc.0.A.7.2[888]).
Andrea Palladio’s sketch of Bramante’s Tempietto (PRISMA ARCHIVO/Alamy Stock Photo).
Giovanni Battista Palumba, Mars, Venus, and Vulcan (Vulcan forging the arms of Achilles), c.1505 (number 2032 in Hernando’s inventory; see McDonald, 2:364; © The Trustees of the British Museum).
Leonardo da Vinci illustrations in Luca Pacioli, Divina Proportione (Venice: Alessandro Paganini, 1509).
Raphael’s sketch of the elephant Hanno, c.1516 (Kupferstichkabinett Berlin, KdZ 17949; Wikimedia Commons).
Map of Tenochtitlan, from Hernán Cortés (Biblioteca Colombina 6–2–28, BCC Sevilla).
Albrecht Dürer, sketch of Antwerp harbor, 1520 (Albertina Museum Vienna; World History Archive/Alamy Stock Photo).
Anonymous, c.1470–80, the relics, vestments, and insignia of the Holy Roman Empire (Hernando’s inventory number 2959; see McDonald, 2:541; © The Trustees of the British Museum).
The Utopian alphabet, from Thomas More, De optimo rei Statu deque nova insula utopia libellus vere aureus . . . (Basel: Johannes Froben, 1518, sig. b3r); “Signes Employés par Fernand Colomb dans son bibliotheque,” p. 59 in Guy Beaujouan, “Fernand Colomb et le marché du livre scientifique à Lyon en 1535–1536,” in Lyon: Cité de savantes, actes du 112e Congrès national des sociétés savantes (Lyon, 1987), section “d’Histoire des sciences et des techniques,” tome I (Paris: Éditions du CTHS, 1988), 55–63 (reproduced by kind permission of the CTHS).
Illustration of Franciscan friars burning the sacred treasures of the Aztecs, Hunter ms. 242, fol. 242r. Reproduced by permission of University of Glasgow Library, Special Collections.
Hans Weiditz, Two shipwrecked men clinging to the same plank; the figure at left dressed as a fool; various drowning figures, cargo, and parts of the boat floating in the sea; illustration to Cicero, Officia (Augsburg: Steiner, 1531), woodcut (© The Trustees of the British Museum).
World map by Diego Ribeiro, produced under Hernando’s supervision during his time as pilót mayor, 1529 (photo by Fine Art Images/Heritage Images/Getty Images).
A perspective of Seville, showing Hernando’s house at the Puerta de Goles, from Civitates orbis terrarum (Cologne: Petrum à Brachel, 1612–18, vol. 1).
“Horti Publici Academiae Lugduno-Batavae cum areolis et pulvillis vera Delineatio.” by Jan Cornelisz van ’t Woudt (Willem Isaacsz. van Swanenburg, 1610). From the Rijksmuseum, RP-P-1893-A-18089.
Instruction in an apothecary’s shop, from Hieronymus Brunschwig, Liber de arte distillandi de Compositis (Strasburg, 1512), Aaa.vv (from Das Buch der Cirugia published Strasbourg in 1497; litho, Hieronymus Brunschwig [1450–c.1512]; after/Private Collection/The Stapleton Collection/Bridgeman Images).
Hans Weiditz, Winebag and wheelbarrow; satire on gluttony with a fat peasant facing right spitting and resting his large belly on a wheelbarrow, c.1521 (Hernando’s inventory number 1743; see McDonald, 2:311; engraving, Hans Weiditz [c.1500–c.1536]/Private Collection/Bridgeman Images).
Psalterium Hebreum, Grecum, Arabicum & Chaldeum (Genoa, 1516), c.viiv.
Plates
Sebastiano del Piombo, Portrait of a Man, Said to Be Christopher Columbus (portrait of Christopher Columbus, 1519. Found in the collection of Metropolitan Museum of Art, New York. Artist: Sebastiano del Piombo, [1485–1547]; photo by Fine Art Images/Heritage Images/Getty Images).
Portrait of Hernando Colón (BCC Sevilla).
Early map of Hispaniola, pasted into Biblioteca Colombina 10–3–3 (BCC Sevilla).
Elio Antonio de Nebrija [1441–1522], Spanish humanist, Nebrija teaching a grammar class in presence of the patron Juan de Zuniga (“Introducciones Latinae,” National Library, Madrid, Spain; photo by Prisma/UIG/Getty Images).
Sixtus IV Appointing Platina as Prefect of the Vatican Library, 1477, by Melozzo da Forlì (1438–94), detached fresco transferred to canvas (photo by De Agostini/Getty Images).
Portrait of Luca Pacioli, c.1495 (Pacioli [1445–1517], Italian mathematician, with his pupil Guidobaldo de Montefeltro [1445–1514]—painting by Jacopo de Barbari [1440/50–1516], oil on wood, 1495 [99 x 120 cm]—Museo di Capodimonte, Naples, Italy; photo by Leemage/Corbis via Getty Images).
Tommaso Inghirami [Portrait of Fedra Inghirami], c.1514–16, by Raphael Sanzio [1483–1520], oil on wood, 90 x 62 cm; photo by DeAgostini/Getty Images).
Charlemagne by Albrecht Dürer, 1511–13 (Emperor Charlemagne [742–814], king of the Franks, whose conquests formed the basis of the Holy Roman Empire. Painting by Albrecht Dürer c.1512; Bettmann/Contributor).
Vista de Sevilla, Alonso Sánchez Coello (atrib.). Museo de América, Madrid.
Endpaper
Índice numeral or Registrum B; Biblioteca Colombina 10-1-4 (BCC Sevilla).