Portraits of Columbus s First Landing, 1494-1600

1. Portraits of Columbus’s First Landing, 1494-1600

2. Woodcut accompanying a publication of Columbus’s first Letter, 1494 http://www.library.upenn.edu/exhibits/rbm/kislak/viewers/columbus3.html This edition of Columbus's letter contains the first portrait of the peoples whom the Admiral encountered. A woodcut entitled "Insula hyspana" shows two groups of naked Indians looking at each other as well as at the approaching Europeans in wonderment and apprehension. Two Europeans in a small boat row to the shore, while the caravel (resembling more Noah's ark than a 15th century sailing ship) sits in the water with its oars up. The scene is the moment before an exchange of gifts, while the scenery vaguely resembles a European pastoral. The image places the notion of exchange at the center of the encounter: each side was giving, each was getting. http://www.library.upenn.edu/exhibits/rbm/kislak/viewers/columbus3.html This edition of Columbus's letter contains the first portrait of the peoples whom the Admiral encountered. A woodcut entitled "Insula hyspana" shows two groups of naked Indians looking at each other as well as at the approaching Europeans in wonderment and apprehension. Two Europeans in a small boat row to the shore, while the caravel (resembling more Noah's ark than a 15th century sailing ship) sits in the water with its oars up. The scene is the moment before an exchange of gifts, while the scenery vaguely resembles a European pastoral. The image places the notion of exchange at the center of the encounter: each side was giving, each was getting.

3. Jan Van der Straet, The Discovery of America, 1575

4. Theodore Galle (after Jan Van der Straet), The Arrival of Vespucci in the New World, 1600 http://www.mith2.umd.edu/summit/vespucci.jpghttp://www.mith2.umd.edu/summit/vespucci.jpg

5. Theodor De Bry, Columbus Discovers the New World, c. 1590?

6. Theodor de Bry, Columbus Landing at Guanahani, 1594, engraving http://www.hdg.de/eurovisionen/html_eng/th2_4.htmlhttp://www.hdg.de/eurovisionen/html_eng/th2_4.html

7. Francesco Bertolozzi, after Benjamin West, An Indian Cacique of the Island of Cuba, Addressing Columbus Concerning a Future State, 1794 http://www.fairmaps.com/cgi-bin/map-builder.cgi?Cuba+K922 Also see article, Ann Uhry Abrams, “Visions of Columbus” The American Art Journal XXV pp. 75 ff.http://www.fairmaps.com/cgi-bin/map-builder.cgi?Cuba+K922 Also see article, Ann Uhry Abrams, “Visions of Columbus” The American Art Journal XXV pp. 75 ff.

8. Columbus at the Capitol Building in the 1800s

9. Randolph Rogers, Columbus Doors (main entrance to Rotunda US Capitol), commissioned 1855, completed 1863 (The Doors are 17 Feet tall) http://xroads.virginia.edu/~CAP/COLUMBUS/colhome.html http://www.aoc.gov/cc/art/coldoors/col_door_0.htm The Rotunda is the heart of the U.S. Capitol, containing emblems of what have been considered the important events in U.S. history: paintings and reliefs of the signing of the Declaration of Independence, important events during the Revolution, and the discovery and founding of the country. The gateway, the Columbus Doors, to the display of these icons is symbolically just as important. The Columbus Doors at the east entrance of the Rotunda are an imposing welcome to the heart of the gallery of national myths. Standing nearly 17 feet tall, and weighing 20,000 pounds, Randolph Roger's alto-relief bronze doors make a powerful statement about not only their subject, Christopher Columbus, but the importance of Columbus to the national consciousness. Rogers, born in Waterloo, NY in 1825, studied sculpture in Rome and, through his acquaintance with Capt. Montgomery C. Meigs, Superintendent of the Capitol Extensions, received the commission for the rotunda doors in 1855. Meigs, in a letter to his superior, Secretary of War Jefferson Davis, described Rogers as "young, full of ambition, self-reliant, not younger than Ghiberti when his designs secured him the preference over all competitors for the gates of Florence Baptistry." (Fairman, 157) The allusion to Ghiberti's work (seen at the right) is of twofold interest: first, it emphasizes Randolph's great talent for his years, and second, it connects this American undertaking with that of Renaissance Florence. As can be seen in the analysis of the door panels, the treatment of the subject matter is everywhere reminiscent of Ghiberti's work. The commission for the doors was approved on May 25, 1855 and Rogers traveled to Rome to complete the models. The celebration of Columbus' life was Rogers' idea; he believed "Perhaps there is but one man [i.e., George Washington] whose name is more intimately connected with the history of this country, or who better deserves a lasting monument to his memory than Christopher Columbus." (Quincentenary, 10) Rogers based the narratives in the doors on Washington Irving's Life and Voyages of Christopher Columbus (1835), and included in his design busts of 10 historians famous for their work on Columbus. The models for the doors, which were initially intended to be placed at the entrance to the new House wing near Statuary Hall, were completed in 1857 and cast by the Royal Bavarian Foundry (which is rumored to still own the models) in Munich in 1860. The doors were enventually installed in 1863, and in 1871 were moved to their current position of honor at the main entrance to the Rotunda when the building was later remodeled in the mid-twentieth century. Rogers' design owes much to Ghiberti: the portrait busts of the historians; the allegorical figures of Asia, Africa, Europe and America; the dramatic and heroic representation of the subject matter. Beginning at the bottom left panel and moving clockwise, the narrative and symbolism of Columbus' life as expressed in these doors provide a basis for a basic American myth and a framework for American self-conception. http://xroads.virginia.edu/~CAP/COLUMBUS/colhome.html http://www.aoc.gov/cc/art/coldoors/col_door_0.htm The Rotunda is the heart of the U.S. Capitol, containing emblems of what have been considered the important events in U.S. history: paintings and reliefs of the signing of the Declaration of Independence, important events during the Revolution, and the discovery and founding of the country. The gateway, the Columbus Doors, to the display of these icons is symbolically just as important. The Columbus Doors at the east entrance of the Rotunda are an imposing welcome to the heart of the gallery of national myths. Standing nearly 17 feet tall, and weighing 20,000 pounds, Randolph Roger's alto-relief bronze doors make a powerful statement about not only their subject, Christopher Columbus, but the importance of Columbus to the national consciousness. Rogers, born in Waterloo, NY in 1825, studied sculpture in Rome and, through his acquaintance with Capt. Montgomery C. Meigs, Superintendent of the Capitol Extensions, received the commission for the rotunda doors in 1855. Meigs, in a letter to his superior, Secretary of War Jefferson Davis, described Rogers as "young, full of ambition, self-reliant, not younger than Ghiberti when his designs secured him the preference over all competitors for the gates of Florence Baptistry." (Fairman, 157) The allusion to Ghiberti's work (seen at the right) is of twofold interest: first, it emphasizes Randolph's great talent for his years, and second, it connects this American undertaking with that of Renaissance Florence. As can be seen in the analysis of the door panels, the treatment of the subject matter is everywhere reminiscent of Ghiberti's work. The commission for the doors was approved on May 25, 1855 and Rogers traveled to Rome to complete the models. The celebration of Columbus' life was Rogers' idea; he believed "Perhaps there is but one man [i.e., George Washington] whose name is more intimately connected with the history of this country, or who better deserves a lasting monument to his memory than Christopher Columbus." (Quincentenary, 10) Rogers based the narratives in the doors on Washington Irving's Life and Voyages of Christopher Columbus (1835), and included in his design busts of 10 historians famous for their work on Columbus. The models for the doors, which were initially intended to be placed at the entrance to the new House wing near Statuary Hall, were completed in 1857 and cast by the Royal Bavarian Foundry (which is rumored to still own the models) in Munich in 1860. The doors were enventually installed in 1863, and in 1871 were moved to their current position of honor at the main entrance to the Rotunda when the building was later remodeled in the mid-twentieth century. Rogers' design owes much to Ghiberti: the portrait busts of the historians; the allegorical figures of Asia, Africa, Europe and America; the dramatic and heroic representation of the subject matter. Beginning at the bottom left panel and moving clockwise, the narrative and symbolism of Columbus' life as expressed in these doors provide a basis for a basic American myth and a framework for American self-conception.

10. Columbus Doors (Detail—Lunette—First Landing) http://www.aoc.gov/cc/art/coldoors/col_door_5.htm The large lunette shows Columbus claiming the island now known as San Salvador for Spain. Columbus, in the center of the composition, raises his sword and the royal standard; a cross is raised behind him. The central group of Columbus and his men is balanced by another group of Columbus's men in a small boat at the left and by the natives hiding behind the tree at the right. http://www.aoc.gov/cc/art/coldoors/col_door_5.htm The large lunette shows Columbus claiming the island now known as San Salvador for Spain. Columbus, in the center of the composition, raises his sword and the royal standard; a cross is raised behind him. The central group of Columbus and his men is balanced by another group of Columbus's men in a small boat at the left and by the natives hiding behind the tree at the right.

11. Columbus Doors (Detail—Upper Right Panel—First Contact w/ Natives) This panel depicts the Spaniards taking possession by erecting a cross on the island of Hispaniola. One of the sailors is carrying an Indian girl he has taken prisoner on his shoulders, as Columbus shows his disapproval. The panel is flanked by statuettes of Pope Alexander VI, who supported Spain's claim to the new land, and explorer Francisco Pizarro. This panel depicts the Spaniards taking possession by erecting a cross on the island of Hispaniola. One of the sailors is carrying an Indian girl he has taken prisoner on his shoulders, as Columbus shows his disapproval. The panel is flanked by statuettes of Pope Alexander VI, who supported Spain's claim to the new land, and explorer Francisco Pizarro.

12. Constantino Brumidi, Columbus and the Indian Maiden, 1875, frescoe in Brumidi Corridor, Capitol Building

13. Luigi Persico, The Discovery of America, 1836 sculpture, Capitol Storage

14. John Vanderlyn, Oil on canvas, 12' x 18'Commissioned 1836/1837; placed 1847, Capitol Rotunda Christopher Columbus is shown landing in the West Indies, on an island that the natives called Guanahani and he named San Salvador, on October 12, 1492. He raises the royal banner to claim the land for his Spanish patrons, and he stands bareheaded, with his hat at his feet, in honor of the sacredness of the event. The captains of the Niña and Pinta follow, carrying the banner of Ferdinand and Isabella. The crew displays a range of emotions, and some search for gold in the sand. Natives watch from behind a tree. http://www.aoc.gov/cc/art/rotunda/landing_columbus.htm Christopher Columbus is shown landing in the West Indies, on an island that the natives called Guanahani and he named San Salvador, on October 12, 1492. He raises the royal banner to claim the land for his Spanish patrons, and he stands bareheaded, with his hat at his feet, in honor of the sacredness of the event. The captains of the Niña and Pinta follow, carrying the banner of Ferdinand and Isabella. The crew displays a range of emotions, and some search for gold in the sand. Natives watch from behind a tree. http://www.aoc.gov/cc/art/rotunda/landing_columbus.htm

15. Constantino Brumidi, Landing of Columbus, Frieze of American History, Capitol Rotunda, after 1877 Christopher Columbus disembarks from the Santa Maria on a plank, greeted by Native Americans. This is the first of four scenes of Spanish conquest. Brumidi's central figure seems to have been inspired by the statue of Columbus by Luigi Persico, which was then at the east central steps of the Capitol. Christopher Columbus disembarks from the Santa Maria on a plank, greeted by Native Americans. This is the first of four scenes of Spanish conquest. Brumidi's central figure seems to have been inspired by the statue of Columbus by Luigi Persico, which was then at the east central steps of the Capitol.