COLUMBIAN HISTORICAL EXPOSITION AT MADRID. 235 



Jomard (in Bulletin de la Socie te de Geographie, Troisieme&quot; Serie, Tome III, 1843), 

 &quot;though I was attracted by the ancient appearance of the painting, by its beauty, 

 and by the noble character of the whole figure. * * Drawing nearer to the 

 painting, what was ray surprise when I saw in gold letters of the style of the time, 

 on the right angle, these two words, Christopher Columbus. It will easily be be 

 lieved that I lost no time in collecting all information apt to enlighten me as to its 

 origin. Thanks to the kindness of the noble and learned Count Orti Maiiava, Podes- 

 tat of Verona, I was soon in possession of all facts. It will be easily understood 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.&quot; 



M. Jomard does not assert that it was painted from life, but believes it to be the 

 work of Titian or one of his students, perhaps Domenico Campagnola, between 1530 

 and 1540, and gives an extended argument to sustain this opinion. It is a superior 

 piece of art, and it has been frequently copied to illustrate modern works on Colum 

 bus and American history ; but the costume is that of a courtier of the eighteenth 

 century, and the beard as shown was never worn 

 in that way until more than eighty years after the 

 death of both Columbus and Titian. 



No. 49. THE MONTANTJS ENGRAVING (page 230). 



This portrait first appeared in Nieuwe en Onbe- / 

 kende Weereld, by Montanus, in 1671, and was Jj 

 copied in Ogilby s America. Also in the 1728 edi 

 tion of Herrera. It is supposed to have been 

 painted in Nuremberg in 1661. 



No. 50. THE PARMIGIANO PORTRAIT (page 231). 



There hangs in the Royal Museo Borbonaico, 

 at Naples, an alleged portrait of Columbus, which 

 has more artistic merit than most of the others 

 claiming to present his features, and was selected 

 by Prescott to illustrate his Ferdinand and Isabella. 

 It was formerly claimed to be genuine, but the best 



-LHlii BORGHESB. 



authorities now declare that it is not a portrait of see P a 8 e237. 



Columbus at all, but of one Gilberto di Sassuolo, 



an Italian statesman and scholar who lived in Naples* from 1502 to 1570. There is no 

 doubt that it was painted by Francesco Mazziolo, who took the name of Parinigiano 

 in honor of his native city, Parma. He was born in 1503, so that ho was but 3 years 

 old at the death of Columbus, and he died in 1540. He was a student of Rafael, and 

 produced many great works, including a portrait of Americus Vespucci, which was 

 also fanciful. Both the so-called Columbus and the Vespucci portraits were executed 

 at Parma in 1527, at the order of Cardinal Alexander Farnese, and remained as decora 

 tions of his palace for many years. The King of Naples succeeded to the Faruese 

 estates, and removed the painting to the Royal Museum some years later. The por 

 trait of Columbus is a rare example of art, but it does not bear the slightest resem 

 blance to the features of the Admiral as described by his contemporaries; nor is the 

 garb such as was worn in Spain at the time he lived. Beautiful copies of both the 

 Columbus and Americus portraits, by Antonio Scardiuo, were presented to the An 

 tiquarian Society of Worcester, Mass., in 1853, by Mr. Ira M. Barton. 



No. 51. THE ANTONIO MORO PORTRAIT (page 231). 



Another beautiful work of art, whose artistic authenticity is fully established, is 

 the portrait of Columbus purchased by Mr. Charles F. Gunther, of Chicago. It was 

 painted by Sir Anthony Moore, an artist of English origin, known in Spain as Sir 

 Antonio Moro, and in Flanders as Chevalier Antonius Moor von Dashhorst, who was 



