232 



COLUMBIAN HISTORICAL EXPOSITION AT MADRID. 



his students were scattered widely over Spain and Portugal. One of the legends 

 attached to this work is that it was painted while Columbus was at the court of 

 Portugal, and De Conches observes that it is entirely probable that Columbus might 

 have sat to a Flemish painter there. It is on a small wooden panel, and is of ancient 

 appearance. J. I). C. Gavard has reproduced it in his Galeries Historique,and it has 

 been beautifully engraved by Paolo Mercuri, the famous Roman artist. De Conches 

 also believes that this portrait is the original of theDe Bry (No. 46), which the latter 

 refers to as having been stolen from the council of the Indies. It has been reproduced 

 thirteen times with variations, by De Bry, 1595; J. Boissard, 1650; Isaac Bullart, 1682; 

 D. Pauli Freheri, 1688; A. Azett, 1690; Etienne Desroches, 1723; Bodonia. 1781 ; Luigi 

 Bosse, 1818; Geruano Scotto, 1821 ; J. D. C. Gavard, 1844; P. Mercuri, 1844 ; Angelos 

 Sauguieneti, 1850; Edouard Cat, 1862. 



The second Versailles portrait, which is said to have disappeared during the 

 Franco-Prussian war, Avas A r ery ancient also, and plainly of Dutch origin. It was 

 painted on a small panel of wood, 12 by 14 centimeters in size. It was not on 

 exhibition, but was retained in a private room. There was an anchor on the frame, 



and on the right side of the figure an inscription of 

 eight lines in ancient Dutch, which read, &quot;Cristoff 

 de Colornb Groots Admiral Vost Zee ouder Fern and,&quot; 

 that is, &quot; Christopher Columbus, Grand Admiral of 

 the Eastern Seas, under Ferdinand.&quot; 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 A\as evident, not 

 only because of the materials used, but because 

 of the costume and the style of letters and or 

 thography of the inscription, which were not in 

 vogue later than 1650. 



No. 39. PORTRAIT OWNED BY THE DUKE OF 

 TALLEYRAND (page 229). 



One of the most artistic of all the alleged portraits 

 of Columbus has hung for more than a century in 

 CLADERA PORTRAIT. * ne chateau of Valencay, department of Indre, 



see page 236. France, and belongs to the Due de Valencay de 



Talleyrand de Legan. It belonged to Prince Talley 

 rand, and is an ancient work. It is claimed that it was painted by Sebastian del 

 Piombo, and it bears his signature. Piombo lived from 1485 to 1547, and was an 

 artist of great fame. His family name was Luciano. His usual signature was 

 Sebastian Venetus faciebat. The picture bears the following inscription: &quot;Hsec est 

 effigies Liguri Miranda Columbi antipodum primus rate qui penetravit in orbem. 

 Sebastianus Venetus facit.&quot; 



The National Gallery at London has a Resurrection of Lazarus, bearing the same 

 signature as this portrait. 



In the National Library, Paris, is a copy of the Talleyrand portrait, of which the 

 engraver is unknown. 



No. 40. THE JULIENNE PORTRAIT. 



A modern fancy, painted in 1891 by M. Julienne, a celebrated artist of Madrid. 

 It does not claim to be anything more thau an ideal. 



No. 41. THE LOUIS PHILIPPE PORTRAIT. 



In 1837 King Louis Philippe, of France, presented to the chapter of the cathedral at 

 Seville an alleged portrait of Columbus, which has since been hanging in the library 

 founded by Fernando Columbus in that city. It is generally regarded as an excel 

 lent work of art, although the posture and drawing have sometimes been criticised. 

 There is no signature, and the artist is unknown. 



