Travelling Illustrations Travelling Narratives

The Traveling Illustrations of Sixteenth-Century Travel Narratives
Author(s): LISA VOIGT and ELIO BRANCAFORTE

Source: PMLA, Vol. 129, No. 3 (May 2014), pp. 365-398
Published by: Modern Language Association
Stable URL: https://www.jstor.org/stable/24769475
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12 9-3
The Traveling Illustrations of Sixteenth

Century Travel Narratives
LISA VOIGT AND ELIO BRANCAFORTE
times"—the printing press, gunpowder, and the compass (Bo

The commonplace triad
ruchoff)—was described by Francis Bacon of "greatest
in Novum Organum inventions of modern
(1620; The New Organon) as having "changed the appearance and state
of the whole world: first in literature, then in warfare, and lastly in
navigation" (370; bk. 2, aphorism 129).1 Two of those inventions—
the printing press and the compass—converged in the explosion of
printed travel narratives in the sixteenth century (many of which also
depict the violent results of transporting the third great invention,
gunpowder).
LISA VOIGT, associate professor of Span The expanded range of movement facilitated by the
ish and Portuguese at the Ohio State Uni
compass and the dissemination through print of information about
versity, Columbus, is the author of Writing
new places and peoples were, in a sense, mutually reinforcing. As Pe
Captivity in the Early Modern Atlantic: Cir
ter Mancall puts it in his introduction to an anthology of early mod
culations of Knowledge and Authority in
ern travel narratives, "Because printers had the technological ability to
the Iberian and English Imperial Worlds
spread
(Omohundro Inst, of Early Amer. stories and sensed an audience for travel accounts, news about
Hist,
and Culture; U of North Carolina P,the2009).
larger world circulated faster and farther than ever before" (8). In
his account
She is completing a book on festivals inof travel to Brazil, Les singularitez de la France Antarc
tique (1557;
colonial South American mining towns. The New Found Worlde, or Antartike ... [1568]), André
ELIO BRANCAFORTE, associate Thevet of
professor calls this technology a gift from God—one that enables trav
elers to depict
German and chair of the Department of other places "non seulement par écrit, mais aussi par
Germanic and Slavic Studies at Tulanevrai
Uni portrait" not onely by writing, but also by [a true] picture,' since
versity, is the author of Visions of the great distances of foreign lands mean that "il nest possible à tout
Persia:
Mapping the Travels of Adam Olearius (Har
homme de voir sensiblement toutes choses" 'it is not possible for all
vard UP, 2003) and the first to translate the
men to see sensibly all things' (Brésil 270; New Founde Worlde 118r).
Italian dramatist Sperone Speroni's Canace
Many scholars of early modern print culture and travel nar
(1542) into English (Centre for Reformation
and Renaissance Studies, 2013). ratives

His curhave pointed out, like Thevet, the important role that illus
trations played
rent book project examines the reception in the dissemination of knowledge about the wider
world.poet
of the thirteenth-century Persian Critics have emphasized different aspects of this role, from
helping readers
Sa'di's Gulistan in early modern Europe. to better visualize what the text describes (Hirsch
> 2014 LISA VOIGT AND ELIO BRANCAFORTE

rivLLA. 129.3 12014;, puDiisnea oy tne Moaern Language Association or America 305
366 The Traveling Illustrations of Sixteenth-Century Travel Narratives P M L A
121) to embedding tales of foreign lands

the in a
extra expense of printing illustrations. In
familiar set of referents (Johnson 32)the
to por
second edition of his Histoire d'un voyage
traying distance and difference in order
faictto en la terre du Brésil (1580; History of a
elicit an emotional response and satisfy an to the Land of Brazil)—an account of
Voyage
appetite for the exotic (Neuber, "Travel Re written in response to Thevet's—Jean
Brazil
ports" 741; Rubiés, "Instructions" 162;de Léry laments not being able to include
John
son 45). As the art historian Stephaniemore
Leitchillustrations, for "l'Imprimeur n'a
has argued in Mapping Ethnography in voulu
Earlypour ceste fois fournir à tant de frais
Modern Germany, illustrations could qu'il
also re
eust fallu faire pour la taille d'icelles"
inforce textual claims to eyewitness 'the
experi
printer was not willing this time to go
to the expense that would have been neces
ence and authenticity. And surely to printers
the paramount function of illustrations was
sary for their engraving' (C2r; lx). Discussing
to increase sales (Hirsch 49). These different
an example of recycling within a text—John
Foxe's
perspectives coincide in affirming the ways in Acts and Monuments (1563), in which
which images could make a printed text the same woodcuts are used to represent dif
"more
powerful" (Duffy and Metcalf 131) orferent
"more martyrs—Bradin Cormack and Carla
than just illustrations—mere doublings, as it suggest that "this feature reminds us
Mazzio
were—of the text," as Wolfgang Neuber that
puts woodblocks
it cost money and that early
in an overview of early modern Germanmodern
travel illustrations were as likely to be sym
narratives ("Travel Reports" 740).3 bolic in function as representational" (17).5
Indeed, William Ivins's claim in Prints
According to Peter Mason, the recurrent vi
sual elements (costumes, animals) employed
and Visual Communication that the novelty
of printing pictures exceeded that of to depict non-European peoples and places
print
ing books (2-3) suggests that we must in the early modern period are indeed sym
expand
and, perhaps, literalize Bacon's notion thatrather than representational, constitut
bolic
the printing press changed the "appearance
ing what he calls the "exotic genre": "Though
... of the whole world." According todrawing
Ivins, at times on information made avail
able during the age of discovery, the works
the printing of images "brought a completely
corresponding to this category cannot be
new thing into existence—it made possible
for the first time pictorial statements of a to represent any specific geographic
taken
kind that could be exactly repeated during
locality. They conjure up what is exotic, and
what
the effective life of the printing surface"; is exotic, in turn, can be applied to a va
Ivins
thus defined print illustration as the "exactly
riety of distant locations" (26).
repeatable pictorial statement (2, 3). And
Yet such a symbolic or generic function
would
exactly repeated the images were, not only inseem to run counter to the valoriza
the different printed copies of a text but
tion
also
of eyewitness authority and experiential
within a single text: a famous exampleknowledge
is the that scholars have long associated
Nuremberg Chronicle (1493), which usedwith
someEuropean travel literature of the "age
of discovery."
645 woodblocks over 1,800 times, resulting in Joan-Pau Rubiés, for example,
many different cities' being representeddescribes
with the "ethnographic impulse" of
sixteenth-century travel writing as arising
the identical city view.4 As this article shows,
from
the same illustrations could be repeated ina "desire for empirical information,
different texts altogether. learning about peoples in an ever more pre
In one sense it is easy to explaincise
whyand comprehensive fashion," and from an
"interest in diversity, combined with claims
such recycling occurred. Printers capitalized
(albeit not always accurate) to firsthand em
on the repeatability of images to minimize
12 9 3 Lisa Voigt and Elio Brancaforte 367
pirical observation" ("Travel Writing" 4-5).6 America gelegen 'The True History and De
Such concerns are evident in Thevet's claims scription of a Country of Wild, Naked, Sav
of representational faithfulness in the text age Men-Munching People, Situated in the
and in the illustrations—"le tout représenté New World America,' published by Weigand
vivement au naturel par portrait le plus exquis Han in Frankfurt in 1557. The audience ex
qu'il m'a été possible" 'showing it [all] lively pectations that conditioned Han's choices
and truely as neare as is possible' (Brésil 321; in illustrating Stadens account will be fur
New Founde Worlde)7—even if Hievet himself ther illuminated through comparison with
would be roundly criticized by contemporary another publisher who was reprinting illus
rivals like Léry and François de Belieferest trated travel accounts around the same time:
for providing false or plagiarized informa Christopher Plantin, the French founder of a
tion based on little firsthand experience.8 The renowned publishing house in Antwerp, who
rhetorical privileging of experiential author in 1558 reprinted both Stadens Warhaftige
ity may not in fact lead to more accuracy than Historia and Thevet's Singularitez.9
the exotic genre, but the claim that, as Lery
puts it, "est-ce cela parlé de science, c'est a dire
de veuê & d experience" 'I am speaking out of
my own knowledge, that is, from my own see Staden's Warhaftige Historia recounts the
ing and experience' (Histoire C3v; History lxi) German author's two voyages to Brazil and
relies on at least the appearance of particular his nine-month captivity among the Tupi
ity rather than on repeatability. nambd Indians. The first edition, published by
While there is a clear practical and eco Andreas Kolbe in Marburg in 1557, includes
nomic explanation for the reuse of illus fifty-three woodcuts that, according to the
trations in early modern texts, this article work's editor, Johannes Dryander, required
interrogates the functions and effects of recy "kostens / der nicht gering" 'considerable ex
cled images in travel accounts for what they pense' on Staden's part (Staden, Warhaftige
might tell us about this apparent contradic Historia B3v; 15).10 Most commentators have
tion between generic exoticism and ethno assumed that Staden not only paid for but was
graphic particularity. What can "traveling also directly involved in the production of the
illustrations"—images that travel between woodcuts, whether they were based on his
accounts—tell us about how texts describ own drawings or prepared under his direc
ing foreign peoples and places were received tion. In the most recent English translation,
and perceived by contemporary readers?Neil Or,Whitehead and Michael Harbsmeier ar
to put it in the terms of Ivins's definitiongue
of for Staden's involvement by citing internal
print illustration, what does it mean when
visual evidence—in particular, the presence of
an "exactly repeatable pictorial statement" is
Staden himself in many of the images—and
repeated in what appears to be an irrelevant
the fact that "there were no other significant
geographic context? To explore these quesvisual catalogues to which the woodblock
tions, this article focuses on a case where
maker might refer" (lxxv). In their 2012 book
the irrelevance of context to image has long
The Return of Hans Staden, Eve Duffy and
been asserted by bibliographers and critics:
Alida Metcalf dedicate a whole chapter to
the recycled illustrations in the secondthese
edi illustrations and offer the most careful
tion of Hans Stadens travel narrative, War
reading of them to date (103-35). Duffy and
hafftig Historia unnd Beschreibung einer Metcalf defend the argument made by several
previous critics that some of the woodcuts
Landtschafft der wilden, nacketen, grimmigen
menschfresser Leuthen, in der Newen Welt were based on Staden's own sketches, but they
also point out stylistic discrepancies at

among
the University of Marburg, had connections
the illustrations and a "significant variation
with printing houses in Marburg and Frank
in quality and execution" (110). Theyfurt
assert
(Duffy and Metcalf 88). Frankfurt was
that the images result from "an unusuala major
col center of the European book trade
laboration between Staden, an artist,because
and a of its annual book fair, where we
woodcutter" (112). As they explain, the art
know Staden's work was sold: an early cata
ist's involvement accounts for the presence of Staden's work as the Menschenfresser
log lists
buchand
visual conventions for depicting natural 'Men-Eater Book' (Neuber, Fremde Welt
geographic features (sun, moon, rain, 259-60;
waves,Schmidt 189). The republication of
Staden's narrative accords with the usual
settlements, coastlines) with which Staden
practice of Han's publishing house: according
would likely not have been familiar (111).
However the images were generated, to Imke Schmidt, it was known primarily for
they
enjoyed a long life. The illustrations in Plan
reprinting editions acquired from other pub
tin's Dutch edition of Stadens account are for lishers, especially works that had sold well in
the most part closely based on them. In one the past; only twenty-one percent of its publi
instance, care was even taken to correct the cations were first editions (49-50).16
orientation of an image "welche verkert sein The illustrations in Han's edition of Sta
und versehen durch das formen reissen" 'that den were originally made by the artist Jörg
had been mistakenly turned around during Breu for the 1515 Augsburg edition of the
the production of the molds' in the Marburg Bolognese merchant Ludovico di Varthema's
edition, as noted in the errata (our trans.).11 travel account, Die ritterlich un lobwirdig
The Plantin illustrations were reprinted in Rayss 'The Noble and Praiseworthy Journey'
another Antwerp edition of the Warhaf (published in English for the Hakluyt Soci
tige Historia in 1563, as well as in the 1627 ety under the title The Travels of Ludovico di
Amsterdam edition.12 Also inspired by the Varthema in Egypt, Syria, Arabia Deserta and
Marburg illustrations are Iheodor de ßrys Arabia Felix, in Persia, India, and Ethiopia,
copperplate engravings, which were printed A.D. 15U3 to 15U8). Varthemas enormously
with his edition of Staden's account in the popular travel narrative, originally published
third volume of the Grands Voyages (1593).13
in Rome in 1510, was reprinted widely in the
sixteenth century: Rubiés calls it "one of the
And more than a century after the original
woodblocks were first used to produce the il striking successes of travel literature in
most
lustrations for the Marburg edition, Johann
the early history of printing" (Travel 126).17
Just Winckelmann rediscovered them and According to Leitch, the Augsburg edition
employed them to illustrate his rendition with the Breu woodcuts is "one of the first
of Staden's narrative in Der americanischen
printed books with illustrations produced by
an artist specifically for the text" (Mapping
neuen Welt Beschreibung. . . 'Description of
the American New World..(1664 [135-36]). 104). Hermann Giilfferich, Han's stepfather,
must have acquired the Breu woodblocks
The Marburg woodcuts were thus as
through his connections in Augsburg, since
highly valued by early modern printers as
he used them to illustrate his editions of Var
they have been by readers today.14 But in the
same year the first edition appeared (1557),thema's account in 1548 and 1549. Giilfferich
the Frankfurt printer Weigand Han published also used them to illustrate another popular
another edition of Staden's account, with a set
travel account, Johannes Schiltberger's Ein
of illustrations derived from a different tex wunderbarliche unnd kurtzweilige History...
tual source.15 Staden's editor, Johannes Dry An Amazing and Entertaining History . . .'
ander, a physician and professor of anatomy (an account of captivity in the Ottoman Em
12 9-3 Lisa Voigt and Elio Brancaforte 369
pire between 1396 and 1427), first printed in copy Stadens original illustrations or to create
Augsburg in 1476, which he published in 1549, new ones." Nevertheless, the fact that "it was
1553, and 1554. After assuming control of his the printer, Weigand Han, who decided how
stepfather's publishing house in 1555, Han to illustrate his edition of Stadens tale" makes
incorporated the Breu images into his 1556 that edition less worthy of their attention than
edition of Varthema's narrative as well as an the first one, which as they and other critics
undated edition of Schiltberger's History (Röt have highlighted is unique for its author's in
tinger 112; Schmidt 188-90). Gülfferich and volvement in the images' creation (107-08).19
Han clearly found it expedient and economi For these scholars, the use of the Breu il
cal to avail themselves of the Breu images for lustrations in the Frankfurt edition is what
the various travel and captivity accounts that Stephen Orgel, in his essay "Textual Icons:
they were printing in the mid-sixteenth cen Reading Early Modern Illustrations," terms
tury, regardless of the texts' geography.18 "'disjunctive,' i.e. unrelated to the text." He
Han's use of the Breu woodcuts in the goes on to explain that the disjunctive use of
Frankfurt edition of the Warhaftige Historia
illustrations "is generally taken to reflect the
has been largely ignored, when not dispar quality of the printing house. Since it is obvi
aged. The English translation by Albert Tooously a way of saving money, it is argued, bad
printers will tend to do it and good printers
tal, edited by Richard Burton for the Hakluyt
Society in 1874 (Staden, Captivity), must will not." As he points out, though, such an
have been made from the Frankfurt edition explanation "begs all sorts of questions," such
(despite Burton's assertion that the Marburg as "why are irrelevant illustrations a way of
original was used [xcv]), for the introduc selling badly printed books?" Yet with respect
tion claims of the illustrations, "Most of them to the Breu illustrations in Stadens account,
are purely fanciful, and seem borrowed from we might also ask—as Orgel does with his
some book on Turkey. In chapter ix we have own examples—"[Is the] iconography really
domes and crescents; in chapter xii, scimitars irrelevant?" (62).20
and turbans; and in chapter xxviii, an armed Perhaps surprisingly, the iconography is
A /"\t s\ ltr\rrr»t h r
elephant" (xcii). Whitehead and Harbsmeier
echo this assessment when they point out the "domes and crescents," "scimitars and
mat me original wooacuts were replaced oy turbans," and "armed elephant" that bothered
utterly irrelevant pictures of Turkey and the
Burton and that pertain to the Middle Eastern
Levant" in the Frankfurt edition (xv). The and Indian geography of Varthema's travels.
bibliographer Joseph Sabin, who at least idenHowever, some of Breu's woodcuts portray
tified Varthema's text as the source for the individuals wearing the stereotypical feath
images (although he referred only to the 1548 ered skirts and headdresses of the Tupinambâ
Frankfurt edition), states in his Bibliotheca (fig. 1). In Varthema, this woodcut illustrates
Americana that "they have no connection" the "Capitel von den Heusern zu Bider und
with Stadens account (Sabin, Eames, and Vail wie sy bedeckt seind allenthalben in der Yn
115). In their study of the illustrations that sel Sumatra" 'Chapter concerning the Houses
accompany the Marburg edition of Stadens [of Bider], and How They Are Covered, in the
narrative, Duffy and Metcalf discuss briefly Said Island of Sumatra' (04v; Travels 240-43).
the use of the Breu woodcuts in the Frankfurt But the costume of the figures on the far left
edition, pointing out that "it might have been and far right clearly derive from images of
cheaper (or quicker) for the Frankfurt printer Brazilian Indians that had been circulating in
to purchase and reuse the woodcuts from the Europe since the early sixteenth century. The
Varthema book than to employ an artist to first such depictions appear in illustrations
370 The Traveling Illustrations of Sixteenth-Century Travel Narratives PMLA
Fig. i
Jörg Breu, woodcut

from Ludovico di
Varthema, Die rit
terlich uh lobwirdig
Rayss (Augsburg:
V
Hans Miller, 1515;
print; P1r). Cour
tesy of the John
Carter Brown Lib.
at Brown Univ.
5 r
accompanying descriptions of Amerigo Ves context, from the perspe

pucci's voyages, such as Dise Figur anzaigt uns readers who would associate this costume
das Folck und Insel "This Image Shows Us the with the indigenous Brazilians described
People and the Island,' printed in Augsburg in by Staden. That is, at least one reader—the
1505 (fig. 2). Several scholars have described printer Weigand Han—understood that the
how the feather costume eventually lost its iconography of some of the Breu woodcuts
ethnographic specificity and came to desig was not at all irrelevant to a text set in Brazil.
nate, as Leitch puts it, "the inhabitants of the The Frankfurt edition's title page also
New World, or . . . natives of many distant reveals the circuitous travels of Brazilian ico
lands more generally" ('"Better"' 181). William nography (fig. 3).22 It features a butcher dis
Sturtevant referred to this phenomenon as the membering a human body before what looks
"tupinambization" of North American Indi like a brick oven. By his side is an assistant
ans (qtd. in Feest 610). More broadly, Mason holding a human leg, as well as several na
discusses the use of this costume in depictions ked men, one with a staff and what may be
of Asians, as in Breu's illustrations for Var a feathered headdress. In its original con
thema. An example of Mason's "exotic genre," text, this illustration depicts the euthanasia
the feathered skirt contributes to a scene that
and cannibalization of the elderly in Java, as
"defies categorization in terms of geographic described by Varthema in a chapter entitled
specificity" (24).21 Yet one could also argue "Capitel wie Man an etlichen Ortten dyser
that the Frankfurt edition of the Warhaftige Ynsel die alten Menschen verkauft! zu essen"
Historia returns the feather costume of the
'The Chapter Showing How in This Island the
Breu illustrations to its proper geographic
Old People Are Sold . . . and afterwards Are
Eaten (P4r; den,

255-56). Yet from the has
as Leitch West Indies
shown,
back again—could
Breu may have borrowed some elementssuppor
of
propositions.
this composition from On one
an illustration han
of Bra
zilian ing illustrations
anthropophagy seem
in a Strasbourg t
edi
tion of Vespucci's terchangeability
letter of exotic
to Pier Soderini, Disz
Biichlin saget... 'This Little imagination.
European Book States ...
The
published in illustrations
1509.23 In in accounts1550
the of travel to different
Latin edition
of his Cosmographia, locales couldprinted
certainly corroboratein Mason's
Basel (Cos
mographiae universalis lib. VI), Sebastian argument about the exotic genre: teathered
Münster employed a similar illustration— skirts and headdresses, as well as turbans
a figure wielding an ax over a table covered and scimitars, "conjure up what is exotic, and
with human body parts—in sections devotedwhat is exotic, in turn, can be applied to a va
to both the East and West Indies ("De ter riety of distant locations." Metcalf and Duffy
Fig. 2
ris Asiae Majoris" 'Concerning the Major point to a similar mixing of exotic imagery
Dise Figur
Countries of Asia,' "Java insula" 'Java Island'on the title page of the 1550 German edition
anzaigt uns das
[1094], and "De novis insulis" 'Concerningof Münster's Cosmographia (CosmographeiFoick und Insel
the New Islands' [1100 (fig. 4)]). oder Beschreibung aller Länder), where in (Augsburg, 1505;
Tire travels of these illustrations—from the lower section a man wears both a turban print). Bayerische
Vespucci to Varthema to Munster and Sta and the feather costume of the Tupinambâ
Staatsbibliothek
München, Einbl. V,2.
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i f . ^ : " :
Fig. 3
Hans Staden,
Warhafftig Historia
(Frankfurt: Weigand
Han, [1557]; print).

Courtesy of the
John Carter Brown
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129-3 Lisa Voigt and Elio Brancaforte 373
(162n33 [fig. 5]).unprecedented

The iconography
investment in the practice of in this
part of the ethnography" (Mapping
illustration (as well 5). Han's use
asof the
the image
of Asian and American cannibal butchers Breu illustrations in Staden's account may
derive from a concern not so much for eth
in book 5) derives from an earlier map at
tributed to Münster and Hans Holbein the nographic accuracy as for ethnographic speci
Younger, Typus cosmographicus universa
ficity: the printer's familiarity with what the
lis 'Map of Universal Cosmography' (Basel,feathered skirt and headdress is "supposed"
1532). The turbaned and feathered man on to represent (native Brazilians). Since selling
Cosmographei's title page resembles both texts a was the ultimate goal of printers—espe
"Scythian" warrior in the upper-right-hand cially those like Han and his stepfather, who
corner of the Typus cosmographicus universaprincipally published titles that were already
lis and a figure representing Varthema him commercial successes—we can safely assume
that their decisions, at least to some degree,
self ("Vartomanus") in the lower right (fig. 6).
The man walking across the title page thus responded to audience expectations.24
conflates the exotic genre as applied to Asia Han's selection and placement of the Breu
and the Americas with a representation of images—more deliberate than one would ex
the European traveler. pect when illustrations created for one text
On the other hand, the presence of Bra(the Marburg edition) are replaced with those
created
zilian iconography in these borrowed il for another—corroborate the concern
lustrations may suggest a growing interest for specificity. For example, the illustrations
in ethnographic details of foreign cultures in the first seven chapters, which describe
among some mid-sixteenth-century EuropeanStadens journey to Portugal, first voyage to
readers. Leitch argues that the Breu illustra Brazil, return to Lisbon, departure from Se
tions in their original context, as well as other
ville, and arrival in Brazil on his second voy
German prints of the early sixteenth century, age, all appropriately feature ships, like the
reflect this interest: she describes a "unique original illustrations. One of them shows a
and early incidence of visual accuracy and an traveler arriving at city gates that display a
Canibali
Canibali antrhopophagi.
antrhopophagi.
du noftrorum
(flu noftrorum fugerûtjidfecctutquod
fugerilUdfecctutquod
coselle
efleCatiibalos,fennos fa/
autem infulani
infulani primum
primumaàconfpe
confa
putarent eos Canibaios,ferinosfti/
OVod autem licet populos,
licet populos,qui
qui inincibaru
cibaruhumanam
humanam
carnem gratiflimam
carncm gratiffimamhabet.Hosno
habet. Hos no
pmerierant,eosadadmeridiem
ftri pmerierant,eos meridiemrelinqucntes,
rdinquentes.
infulani moeftiffime
Vnde infulani inoeftilTimcnoftris
noftrisconqucreban
conqucreban Fig. 4
turdecfferatis Canibnlorn
turdecffcratis Canibnlorûmoiibus,qucdineos
moiibus,qucdineos
Woodcut from
fpuircnt quam tigris
non aliter fpuirenc tigiis uelleoinmaniut/
uelleoinmanfue/
. fa(â anima lia. Nâ impubères,fi quicorripnuur,
fadla animalia .Na impuberes,fi quicortipiatur, Sebastian Münster,
, exedb's teftibus fagmant uti nos
corpora hur exedisteftibusfaginantuti nosgallosgalbnac«/ gallosgallinacc Cosmographiae
corpora Mr os,puber
nana os,puberes uero mox contrucidantj quibus excn
nan*Çumaim es uero mox contrucidant, quibus
universalis lib. exen
VI
fumutur e~teratis
teratis iliacomeduntrecetia,membrorum'i|pa
iliacomeduntrecccia,membroriimq;p2r/ (Basel: Heinrich
res
tesextremas,citera
exrremas,cxterafaliuntfaliunt
adferuantcjuitnosin
adferuant'quitnosin
Petri, 1550; print;
fitiaSdfai'cimina
fitia 8i farciminaomis generis. Mulienbushaud
omis generis. Mulieribushaud
1100). Courtesy of
uefcuntur,uerum
uefcuntur,uenim eas ad proIem,ueluti nos gaîltnas ad ouaferuanc.Si
eas ad prolem,ueluti nos gallinasqua eft
adanuses
o uamâ/feruant.
the John Carter St ^f*ca
cipiiuicem
ciptj uicem gerit.Quando
gerit.Quando ergoCanibali
ergo Canibali uentunt,incolx
ueniunt,incolx mfuUrum
infularum dant tcrga,&. licetù dantrcrga, aiicctla
Brown Lib. at
gittis
gittis utantur3noniunt
utantur,non lltnt tarnen tamentantarum uirium,uccompefcereeos
tantarum uirium,ut compefcereeos queant. queant.
Brown Univ.
Fig. 5
Sebastian Münster,
Cosmographei oder
Beschreibung aller
ionf/er (Basel: Hein
rich Petri, 1550;
print). General Col
lection, Beinecke
Rare Book and
Manuscript Lib.,
Yale Univ.
as Co|mograpl)ei
otw fcfcgKtfum# alkx (dit/
SWun jTcru gcmcrct cnDgcbcffcrt/in roOCtlidji onC

naturfidjm jjijtoticrt. 3te offon nemos nut lutb^
fcftcn pguren onnC lattbtaffcn gcfitW funberltc^cn
aber tperCen Car in contvafljctcf fecbe onnC meting
ftctt/cnCer rcclclje bc» OiOffig auft Scufcfjer nation
nadj jrer gclegenftdt CarSu fomim1/ tmC son
Ccr (iotcn oberfettm Co bin fampt
jrmnbefefcahmgert
ocroiCnct.
vScmtcft^l^SafeL
Portuguese flag (as evident from the five qui had to fight with a vast number of Arabs,'
ttas, or small shields, of the Portuguese coat Varthema writes (B2v-3r; 18), while in Sta
of arms [fig. 7]), an illustration derived from dens text we read, "Wir musten uns aber irer
auff zwo zeite im jare mehr besorgen dann
Varthema's "Capitel wie ich floch vö Canonor
zu dë Portugalesern" 'Chapter Showing How sunst / furnemlich wen sie irer Feinde landt
I Escaped from Canonor to the Portuguese' mit gewalt gedencken einzunemen" 'We had
(R2r; 270); the last chapters of his account to guard ourselves against them during two
narrate his service to the Portuguese viceroy seasons of the year, when they plan to assault
in India, which earned him a knighthood. the enemy territory' (Warhafftig Historia
Chapter 5 refers to a hostile encounter with G2r; 46 [fig. 10]). The image of an elephant,
French ships in Potiguaras, and the accom meanwhile, appears in a chapter in which
panying image is lifted from a chapter of Var Varthema describes the use of elephants in
thema's narrative that also describes a naval battle in India, but Staden's printer seems to
battle (fig. 8). These images are repeated in pick up on the textual cue of the reference to
chapters 10 through 15, which likewise focus a prominent king (fig. 11). Varthema's text
on or refer to navigation, and the illustration reads, "[D]er kunig diser stat ist vast mechtig
in chapter 16 (the same naval battle scene) un reych un glaubt mit allem seinem reych
again correlates to the text's description of an apgöterey / Er hält stettigs an seynem hoff biß
attack, this time by hostile natives. in fyertzig tausent man zu roß" "The king of
The illustration repeated in chapters 9 this city is a pagan [H]e is a very powerful
and 14 (the one with "domes and crescents," king, and keeps up constantly 40,000 horse
as Burton complained) would appear to men' (B3v; 126), while Staden's describes "von
be the most "disjunctive" thus far, and it is dem Könige Konyan Bebe genant... es solte
reminiscent of the recycled cityscapes in the ein grosser Man sein / auch ein grosser tyran
Nuremberg Chronicle. However, both chapters menschen fleisch zu essen ... merckt ich / das
refer to Stadens arrival at harbors where there es einer von den furnemsten sein müste" 'this
are native settlements, on the islands of Santa king called Konyan Bebe ... was supposed to
Catarina and Säo Vicente. The illustration is be a great man, and also a great tyrant, who
in fact not only a cityscape but also a sceneate human flesh. ... I understood that this
of arrival (fig. 9). Leitch has pointed out thehad to be one of the most prominent persons'
importance of the unorthodox cropping in (J4v-Klr; 62). Reversing the expectation that
this image, such that the skiff's prow "pokes illustrations assist the reading of the text, here
into view on the shore at Calicut... positing the textual narrative seems to guide the inter
a viewer at a specific moment" (Mapping 114). pretation and deployment of the images.25
Even the illustrations that seem geo Textual and visual cues are also used in
graphically inappropriate are connectedthe illustration accompanying chapter 39,
with Staden's narrative. In the chapters ac where an image of suttee in India is juxta
companying a woodcut that features camels,posed with the description of the execution
both Varthema and Staden refer to passageand cannibal consumption of a captive in
through enemy territory: "waren sechtzyg Brazil (fig. 12). Breu created this image to il
mamalugken zu bewaren und zu verhüten lustrate how, as Varthema explains, "mit lan
die leut und gütter ... so kumpt man zu was gen Koioen una scniacnen aun sy mit Krenren
ser ... hat man aller zeyt an lauff scharmitz werffen auch etlich kuglen von bäch gemacht
len un streyt mit den arabiern" 'We were 60zu ir in das feur / da mit sy döster ee ir end
Mamelukes in guard of the said caravan.... nem" '[they] fall upon her with sticks and
When we halted at the said waters we always with balls of pitch, and this they do only that
Fig. 6
Sebastian Münster
and Hans Holbein
TYPVS COSM O G R AP H I
the Younger, Typus
cosmographicus
universalis (Basel,
1532). General Col
lection, Beinecke
Rare Book and
Manuscript Lib.,
Yale Univ.
L 2 9.3 Lisa Voigt and Elio Brancatorte 377
;CVS VNIVERSALIS-^
r.
578 The Traveling Illustrations of Sixteenth-Century Travel Narratives PML A
m.
Fig. 7
Jörg Breu, woodcut

from Ludovico di
Varthema, Die rit

Rayss (Augsburg:
Hans Miller, 1515;
print; R2v). Cour
tesy of the John
Carter Brown Lib.
at Brown Univ.
Fig. 8
Jörg Breu, woodcut

from Ludovico
di Varthema,
Die ritterlich uh
lobwirdig Rayss
(Augsburg: Hans
Miller, 1515; print;
R4v). Courtesy of
the John Carter
Brown Lib. at
Brown Univ.
Fig. 9
Jörg Breu, woodcut

from Ludovico di
Varthema, Die rit

Rayss (Augsburg:
Hans Miller, 1515;
print; I2v). Courtesy
of the John Carter
Brown Lib. at
Brown Univ.
Fig. io
Jörg Breu, woodcut

from Ludovico di
Varthema, Die rit

Rayss (Augsburg:
Hans Miller, 1515;
print; B2v). Cour
tesy of the John
Carter Brown Lib.
Ill .11 llll I pi at Brown Univ.
Fig. h ^ jS||
Jörg Breu, woodcut

from Ludovico di
Varthema, Die rit

Rayss (Augsburg:
Hans Miller, 1515;
print; B3v). Cour
tesy of the John
Carter Brown Lib.
at Brown Univ.
*I
m,.
•//m: g§*V
0^
i W3& "vSg^
• V
ft I
Fig. 12
Jörg Breu, woodcut

from Ludovico di
Varthema, Die rit

Rayss (Augsburg:
Hans Miller, 1515;
print; N3r). Cour
tesy of the John
Carter Brown Lib.
at Brown Univ.
she may die the sooner' (N3v; 207). Except einem singé" '[who] led me along, some in
for the gender difference, the image corre front and some behind, dancing and singing
lates closely to Staden's statement that they a song' (H3r; 54). The episode shares the fes
"schlegt in auff den kopff / das dz hirn her tive and processional connotations of the il
auß sprang" 'hit him on the head so that the lustration, which in Varthema's text depicts
brains spilled out' (Nlr; 81). Here the choice an unidentified king's pilgrimage with his
of illustration appears to have been based on family in India (G4v; 111 [fig. 14]).
a textual cue from Staden. Gender and age Sometimes the cues are more complex,
references do, however, seem important in demonstrating a tamiiiarity witn botn var
other contexts: in chapter 23, for example, thema's and Stadens texts. The woodcut in
Staden describes an encounter in which "da chapter 18 shows especially well how the
stund ich mitten innen / und zwey weiber beyprinter tried to choose an appropriate illus
mir" '[I] was in the center with two womentration for Stadens text (fig. 15). The chapter
next to me' (Jlr; 57 [fig. 13]). And in chap narrates Stadens capture by the Tupinambä,
ter 21, entitled "Wie sie des Tages mit mirand the illustration is the same one used for
umbgiengen / da sie mich bey ire Wonungethe chapter that describes Varthema's two
brachten" 'How They Treated Me on the Daymonth captivity after he is discovered as a
When They Brought Me to Their Dwelling,'Christian in Aden (D4v-Elr; 60-61). The se
Staden describes the presence of both "junglection seems purposeful since the captivity
und alt" 'young and old' before focusing onoccupies only a few chapters of Varthema's
the women "dieselbigë namen mich zwischentravel account. Similarly, the illustration in
sich / und giengen etliche vor mir / und etli the chapter describing how Varthema hides
che hinter mir her / Sungen und tantzten an in a mosque for fourteen days complaining
% •%/r.
Fig. 13
Jörg Breu, woodcut

from Ludovico di
Varthema, Die rit

\
Rayss (Augsburg:
Hans Miller, 1515;
print; H2r); rpt.
in Hans Staden,
Warhafftig Historia
(Frankfurt: Weigand
Han, [1557]; print;
Jlr). Courtesy of the
John Carter Brown
Lib. at Brown Univ.
Fig. 14 mm
Jörg Breu, woodcut

from Ludovico
di Varthema,
Die ritterlich uh
lobwirdig Rayss
(Augsburg: Hans
H1r); rpt. in Hans
Staden, Warhafftig
Historia (Frankfurt:
Weigand Han,
mi
[1557]; print; H3r).
Courtesy of the
John Carter Brown
Lib. at Brown Univ.
Fig. 15
Jörg Breu, woodcut

from Ludovico
di Varthema,
Die ritterlich uh
lobwirdig Rayss
(Augsburg: Hans
E1r); rpt. in Hans
Staden, Warhafftig
Weigand Han,
[1557]; print; G3r).
Courtesy of the
John Carter Brown
Lib. at Brown Univ.
wasser vögel
of suffering "grosses die heissen Uwara
leyden .../ haben
imrote magen un
feddern"
leyb" 'intense pain in "There
my is another island close to the
stomach and body
(D3r; 53) appears island
in wherechapter 34
I was captured, where theofwater Staden's
birds with
narrative, entitled "Wie red feathers,
der namedkrancke
Uwara, nest,' König
Jeppipo Wasu wider it begins. Yet heim kam"
we soon read that on sailing to 'In Wha
Manner the Ailing King
that island to capture Jeppipo Wasu Re
the birds for their feath
turned Home' (Llr; ers ("Dann69 all ir [fig. 16]).vonThe caus
zierath ist gemeinlich
of the figure's prostration—illness—is
feddern gemacht" 'since their adornment is not
immediately evidentmostly made in fromthe illustration
these feathers' [G4v; 50]), and
requires the textual
Staden andgloss, suggesting
his captors encounter a group of that
familiarity with the
both Tupinambâs'textsenemies, the Tupiniquin,
informed Han's
along with "etliche
selection and placement of Portugaleser"
this image. 'several of
The reappearance the Portuguese'—the
of the illustration Tupiniquins' allies— for
Varthema's escape "so das "from
die meinten mich zu Canonor
erlösen" '[who] to th
wanted to rescue19
Portuguese" in chapter me' (Hlr;
of 50). Readers
Staden's could narra
tive also suggests thus
the associate the two Portugueseacquaintance
printer's men re
with both accounts (fig.
ceiving the 7). inThe
fugitive traveler text below
the Varthema
the illustration could not seem more discon illustration with the Portuguese who try (but
nected from it, except for the allusion to an
fail) to rescue Staden in chapter 19.26
island that the presence of the bridge might Han seems to have taken similar care
reinforce: "Es ligt ein kleine Insel bey der In

incorporating the Breu illustrations into his
sel darin ich gefangen wurd / in der nisten edition of Schiltberger's account of travels in
Fig. 16
Jörg Breu, woodcut

from Ludovico di
Varthema, Die rit

Rayss (Augsburg:
Hans Miller. 1515;
print; D3r); rpt.
in Hans Staden,
Warhafftig Historia
(Frankfurt: Weigand
Han, [1557]; print;
LIr). Courtesy of the
John Carter Brown
Lib. at Brown Univ.
384 The Traveling Illustrations of Sixteenth-Century Travel Narratives [ PMLA
a different geography. For example, the illus obligt / un in in dz gefencknuß bringt . . .

tration of suttee in India (fig. 12) accompa legt im Königliche kleider an / fürt in in ein
nies a passage describing a gruesome scene of hauß / dz darzu gemacht ist / darin sind eisene
retribution: after the city of Isfahan rebelled stecke / setzt in auff einen / darauff muß er
against Tamerlane, the ruler ordered his sol erfaulen" lit is the custom in this kingdom,
diers to ride over and trample to death all the that when two fight for that kingdom, which
city's children under seven years of age, who ever overcomes the other and brings him to
were gathered on a plain for this purpose. prison . . . and dresses him like a king, and
The suttee image was presumably selected leads him to a house made for the purpose in
to convey the horror and immorality of Ta which there are iron spikes, and he is put on
merlane's action. Another scene that Han one of those spikes, so that it comes through
takes from Varthema portrays the manner at the neck, and on the spike he must rot'
in which a murderer is punished in Calicut, (K3v-4r; 51).
by impalement (fig. 17). Han incorporates Other scenes from the Varthema account
this image into Schiltberger's narrative twice:that Han successfully integrates into Schilt
at the beginning of the account, to highlight berger's story include an image showing how
the barbarity of the Ottoman sultan Bayazid, precious stones are collected on the island of
and then later, in his description of the king Ceylon, deployed in Schiltberger's descrip
sultans of Arabia (i.e., Cairo). In the latter tion
epi of the Phison River, which emanates
from Paradise and flows through India and
sode we read, "Den es ist in dem Königreich
gewonheit / wen zwen mit einander kriegë
is said to contain gold and gems (Mlr-v; 61
[fig. 18]). Similarly, the image that accom
um dz Königreich / welcher den dem andern
a
Fig. 17
Jörg Breu, woodcut

from Ludovico di
Varthema, Die rit

Rayss (Augsburg:
Hans Miller, 1515; ^-jXw \ T f'V'h,//'/
print; K2r). Cour
tesy of the John
"*'; <WE>'
OcTjt^ *- .
Carter Brown Lib.
at Brown Univ.
Fig, 18
Jörg Breu, woodcut

from Ludovico di
Varthema, Die rit

terlich un lobwirdig
Rayss (Augsburg:
Hans Miller, 1515;
print; M4r). Cour
tesy of the John
Carter Brown Lib.
at Brown Univ.
panies Varthema's description of the many the "Würme[r|" 'reptiles' at the pope's be
wonderful properties of the palm tree reap hest, winning the Romans' gratitude (Q3r-v;
pears in Schiltberger's narrative, where it 46-49). These examples confirm Han's care in
illustrates the legendary "withered tree" lo recycling the most appropriate Breu images
cated near Hebron—which supposedly was for his editions of Stadens and Schiltberger's
always green until Christ was crucified and travel narratives.
will become green again and bear fruit when

Christians once again "das heilig grab . . . II
gewinnen" 'take possession of the holy sep
ulcher' (L2v-3r; 56 [fig. 19]). Finally, Han ap We might also compare the illustrations
propriates for Schiltberger's account an image that Han recycled in the Warhaftige Historia
of two unicorns in a cage and of Varthema, with the original woodcuts in the Marburg
presumably, looking at them through the bars edition, which he replaced. As already sug
(fig. 20). While in Varthema's narrative the gested, the illustration that Han selected for
image corresponds to a detailed description chapter 22 of Stadens account is perhaps the
of two unicorns that were given by the Moor most ethnographically specific of the Breu
ish king of Ethiopia to the sultan of Mecca images (fig. 1). Entitled "Wie meine beyden
(Dlv), in Schiltberger's account it illustrates Herrn zu mir kamen und sagten mir / wie
a legend about a dragon and a unicorn who sie mich ihrer Freunde einen verschenckt
fought each other on a mountain near Rome, hetten / der solte mich verwaren un todt
making the streets unsafe for the people liv schlagen / wenn man mich essen wolte" 'How
ing nearby, until the king of Armenia killed My Two Lords Came to Me and Told Me That
Fig. 19
Jörg Breu, woodcut

from Ludovico di
Varthema, Die rit

Rayss (Augsburg:
Hans Miller, 1515;
print; L2r). Courtesy
of the John Carter
Brown Lib. at
Brown Univ.
Fig. 20
Jörg Breu, woodcut

from Ludovico di
Varthema, Die rit

Rayss (Augsburg:
Hans Miller, 1515;
print; D1v). Cour
tesy of the John
Carter Brown Lib.
at Brown Univ.
They Had Given heto

Me was about
One to beFriends,
of Their killed:
Who Was First to brauch so wol
Keep Menit als ich
andin darnach
Thenerfuhr" Slay Me,
When They Wanted '[Backto
then] Eat
I did notMe'
know their customs 55), this
(H3v;
chapter recounts what happens
as well as I later after
on got to know them' (H3v; Staden
is taken to his captors'
55), he confesses.village.
The illustrationIn the Mar
may place
viewers in the same position
burg edition, the illustration for of this
unfamiliarchapter
corresponds to the ity, for the textual
latter part explanation
of is necessary
the chapter
and depicts a group of the
to interpret women leading
two scenes that are depicted him
through the village with
simultaneously: athe
while rope around
bearded Staden is his
neck (on the left)recognizable,
and shaving hisactions
the indigenous women's eyebrows
(on the right [fig. are unclearStaden
21]). without the textual gloss.
insists at several
points in this chapter
Conversely,
that the illustration
he did Han chooses
not know
what was happening to
for the him
same and
chapter helps assumed
clarify a complicated that
Fig. 21
Woodcut from Hans
Staden, Warhaftige
Historia (Marburg:
Kolbe, 1557; print;
F3v). Courtesy of
the John Carter
Brown Lib. at
Brown Univ.
of the by
passage in the text (fig. 1). The chapter opens Tupinambâ. The fact that this is one of
describing what motivates Stadens two the images that Han did not include in his
captors
edition of Schiltberger's travels further sug
to give him away, before relating the women's
treatment of him: gests that he may have attributed a degree of
ethnographic specificity to this image.
Uber eine kleine weil kamen die so mich
In this case the recycled image func
gefangë hatten / mit namen Jeppipo Wasutions/ almost seamlessly in its new context,
und sein bruder Alkindar Miri / Sagten / Wiethough it acquires different meanings
even
sie mich ires vatters bruder Ipperu Wasu / We could say the same about the im
there.
auß freundtschafft geschenckt hatten / der
age Han chose for the title page of Staden's
selbige solt mich verwaren / und mich auch
account to replace the Marburg edition's
todt schlage / wann man mich essen wolte /
und ime also einen namen mit mir machen.
title-page woodcut, in which a naked "sav
age" reclines in a hammock while munch
Dann derselbige Ipperu Wasu hette vor ei
ing on a human foot, as other limbs roast
nem jar auch einen schlaven gefangen / und
inen dem Alkindar Miri auß freundtschafft over a fire nearby (the speech scroll reads
geschenckt. Den selbigen er tod geschlagë / un "sete katu" in Tupi-Guarani, or "it is good"
einen namen darvon gewunnen hatte. So das [5nl (fig. 22)]).28 In its original context, the
der Alkindar Miri dem Ippern Wasu verheis Frankfurt edition's title-page illustration ap
sen hette / den ersten so er fienge / ime wider zu pears in the chapter of Varthema's narrative
schencken / Der jenige ich da war. (H3r-4r) describing the cannibalism of the sick and
elderly in Java (fig. 3). On the title page of
After a short while, the brothers, named Jep Han's edition of Staden's account, the same
pipo Wasu and Alkindar Miri, who had cap
image suggests the threat of cannibalism to
tured me, approached me and told me that
Staden himself, if we may identify the mel
they had given me to their father's brother, Ip
ancholic naked, bearded figure seated on the
peru Wasu, out of friendship. He was to keep
right with the naked, bearded captive that
me and [then] kill me when they wanted to
eat me; thus he would acquire another name
appears throughout the Marburg woodcuts
through me. The reason was that the said Ip (e.g., fig. 21). Both title pages, that is, depict a
peru Wasu had captured a slave a year beforedistinctive and marketable aspect of Staden's
and had, out of friendship, presented him to narrative, the anthropophagie practices of his
Alkindar Miri, who had slain him and gainedcaptors—the "men-munching people" of the
another name. Alkindar Miri had therefore title. But whereas the original title page fea
promised to give Ipperu Wasu the first cap tures only the Tupinambâ cannibal, an image
tive he caught. And I was that captive. (55) of exotic otherness, the Frankfurt title page
emphasizes Staden's protagonism—his own
The illustration helps us visualize the com suffering and piety. In this sense, the second
plex ritualized exchange of a captive among title page may correspond more closely to
three indigenous men, if we imagine the fig Staden's own framing of his account in self
ure wearing only a loincloth to be Staden.27 promotional and hagiographie terms.29
Although the matching of narrative content
with the number of figures represented may
III
have influenced the image's placement in this
chapter, the prime motivation for its use in Two avenues of comparison have helped to
Staden's account was surely the costume of confirm that Han's selection and placement of
feathered skirts, headdresses, anklets, arm recycled illustrations in his edition of Stadens
lets, and staff typically featured in depictions Warhaftige Historia were done with an eye
to textual and even posingethnographic

them with the original woodcuts in
specificit
rather than to generic exoticism:
the Marburg edition comparing
of Staden's narrative. A
them with the illustrations chosen for his third and final avenue compares Han's recy
cled illustrations with the choices of another
edition of Schiltberger's History and juxta
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Fig. 22
ttifcttft ^ im i>iti-it
Ml.
M. D-LVIL
D. LVÎL Hans Staden,
Warhaftige Historia
(Marburg: Kolbe,
1557; print). Cour
tesy of the John
Carter Brown Lib.
at Brown Univ.
publisher who was reprinting accounts of

of Stadens narrative, whose title pages, as we
travel to Brazil, including Staden's, around
have seen, feature cannibalism. By contrast,
the same time. In 1558, the year that Plan
the title pages in Plantin's editions of Stadens
tin published a translation of Staden's textand
in Thevet's accounts display the printer's
Antwerp, he also reprinted Thevet's Singumotto ("labore et constantia" 'through work
laritez de la France Antarctique, whichandlikeperseverance' [our trans.]) and follow
Staden's account had first been publishedthethemore austere design of Thevet's first edi
year before, in Thevet's case in Paris. These
tion (figs. 23-24). Moreover, although Plantin
are among Plantin's earliest publicationsprinted
(he both books with ample illustrations,
had opened his printing house in 1555),he and did not recycle any of them between the
they feature woodcut illustrations; only two intexts, instead seeking mostly to repro
1559 did Plantin begin experimenting duce—albeit
with on a smaller scale—the illus
the engraved book illustrations that trations
have that appeared in the first editions of
made him famous (Bowen and Imhof 1).each. For the Warhaftige Historia, he had new
Despite the different national origins of
woodcuts produced that, with a few excep
the authors and languages of Stadenstions,
and are derived from the Marburg edition
of Staden's account. The difference in size,
Thevet's accounts, Plantin surely recognized
slight but noticeable, is more pronounced in
their shared subject matter and the fact that
Plantin's edition of Thevet, where some im
Thevet's narrative picked up where Staden's
ages are almost half the size of the original,
left off. Staden's account begins with his first
voyage to Brazil in 1548 but focuses onfull-page
his illustrations. They are also reversed,
captivity among the Tupinambâ, whichshowing oc that the prints were copied with
curred during his second trip there, while out accounting for the reverse orientation of
Staden served the Portuguese at a fort the nearwoodblock. But in contrast to Thomas
Sào Vicente on the southeastern coast. He Hacket—whose 1568 English edition of the
was eventually rescued by a French ship and Singularitez did not include any illustra
arrived in France in early 1555; later that tions and thus had to omit Thevet's frequent
references to them—Plantin took seriously
year, Thevet departed for Brazil on Nicolas de
Villegaignon's expedition to found a French Thevet's claims to accurate representation in
word and image.
colony in the bay of Rio de Janeiro, although
Thevet would remain there only two and a Plantin s refusal to recycle illustrations
half months. Had he wished, Staden couldbetween these two texts, even when their
discussions of Brazilian plants, animals,
probably have accompanied Thevet on that
journey: Staden relates how the captain who
and peoples overlap, may tell as much about
audience expectations as the careful way in
delivered him to Normandy "hette viel lieber
gesehê / das ich noch eine reise hette mit which
im Han recycled the Breu illustrations
gethan. Wie er aber sähe / das ich nicht blei
for his editions of Stadens and Schiltberger's
ben wolt / erlangte er mir ein paßport vonnarratives. Plantin seems to be anticipating
[dem] Oberste[n] inn Normandia" 'would
a demand for illustrations that are specific
not only to the lands and peoples depicted
have preferred for me to go on another voy
age with him, but when he saw that I did not
but also to the accompanying text. Recycling
images between the two editions—for surely
want to stay he managed to get me a passport
he hoped to sell them to the same readers—
from the supreme commander in Normandy'
(Qlv; 101 [Duffy and Metcalf 73-74]). would have undercut the illustrations' au
Plantin did not embrace the exoticizing

thenticating function. The anticipation of an
appeal of the Marburg or Frankfurt editions
audience demand for textual specificity out
weighed the cost of creating new ■5

woodcuts for each book.
WARACHT
W A R. A C H TII
Han calculated that cost dif
ferently, choosing instead to re

use the Breu woodcuts for both
G
GEE HISTORIE
HIST OKIEENDE
ENDEBE
BE
Stadens and Schiltberger's nar SCHRIVI
SCHRIVINGE NGEHEEE NtfsS L A NTS IN
ratives. But comparing the im [ /I America
Americaghelcgen,
ghelcgen,vviens
vviens inwoonders
inwoonders wilt,
wilt,
ages that the printers selected I iiaeekt,feer godloos,ende
liaeckt/eer godloos,cnde v vvrecde
vrecde
for a chapter of Stadens account ' mcnfchcn
mcnfchcneters
etcrsfijn.
fijn.
H
shows that their consideration
of audience expectations wasIISefchreuen
tefchreucn doory an
door Hans Staden Hans Staden
Homborch m lant yyon
ta Homlorch m lant Vta
not altogether opposed. Chap
I Hejjvn, diewelcke
Heßen, die welche feluer infeluer
perfoone in perfaone
■ het lands America
het knit bejocht hetft.
America beficbt heefi.
ter 30, "Wie sich die Obersten
des Abents bey Monschein ver
Vt
Vc denden
Hoochduyfch ouer ghefct,
H oochduyfch ouer ghefet*
sandeten" 'How the Chiefs As
sembled during the Evening in

the Moonlight' (K2v; 65), shows
Staden beginning to manipulate
his captors in a way that ulti
mately preserves his life. The im
age from the Marburg original
shows him again at the center
of the huts, here surrounded by
indigenous men blowing smoke,
with a prayer above him that
reads "O mein Herr und Gott
hilf mir dieses eilen zum seili
gen enden" 'O my Lord and God,

help me out of this misery to a TANTVVERPEN,
blessed end' (H2v; our trans,
[fig. 25]). A happy end is pro
By Chrißojfel
ChrijloffclPÎctntijn ,indegulden eenhoorem
Pkntijn ,indegulden eenhoorem
vided by the moon that appears if Sf8.8.
M
above, for Staden tells his cap
M E T PJ^l
METZ Jîy
y 1J LL EC
EG IF.
IF.
tors that the moon is angry and
glaring at their enemies' hut, an
interpretation that wins his cap
tors' favor. The prayer is repeated -cm v
in the chapter as well, tying text

Fig. 23
and image together. The woodcut for Plantin's gesture dramatically and a small boy points
Hans Staden,
edition draws on this image but does not copy to Staden, presumably spreading the news of
Warachtige Historie
it as closely as most of the others, rearranging his special powers to the man emerging from
(Antwerp: Plantin,
many of its elements (Staden and the chiefs,the hut.30 1558; print). Cour
huts, moon, and palisade [fig. 26]). Instead For his edition, Han chose the best im tesy of the John
of allowing the reader to view the full sceneage available to evoke the shining moon and Carter Brown Lib.
from above, the artist draws the viewer into the intercultural dialogue that are central at Brown Univ.
the moment of encounter—several figures to this passage (fig. 27). This image, though,
392 The Traveling Illustrations of Sixteenth-Century Travel Narratives [ PMLA
of Varthema's account—the im
1 LBS
age Han recycles in chapter 30 of
Warhafiige Historia presumably
depicts the natives of Calicut, yet
S IN GVL A R I
SINGVLARI the feathered headdress and cape
visible on two of the figures evoke
TEZ DE LA FRANCE AN the stereotypical Tupinambâ cos
TARCTI
tarctiq^ve,
Q^V Ej
avtrement
avtrement nom
nom tume, albeit less obviously than
mcc
mcc Amcric)uc,&
Amcricjuc,& de de
pluficurs
plufieurs in Breu's depiction of the inhab
Ter Tcr
res
res &&lfles
Iflesdccouucrtes
decouucrtes
de no
dc no itants of Sumatra (fig. 1). The
recycled illustration thus seems
fire temps:
ftre tempi;
to have been chosen, again, for
.i, ,x fV the way it reflects the ethno
PtSTR F. AND'FF
l\AR F. iAHD'RF T
T II
!IFETFT,
FFT,N.yf
NA graphic and narrative content of
TJF
TIF DAN
V'tsfN
GOKLE
G Or LFSME.
S MF.
the text—responding, in a dif
ferent way, to the same audience
demand for textual and ethno
graphic specificity that Plantin

was seeking to meet.
In Les singularitez de la
France Antarctique, Thevet
himself could not decide be
tween denying the appropriate

ness of Indies as nomenclature
for the Americas and accept

A
AAANN
V IV
R S,
£ R S, ing it because of the cultural
similarities that he supposedly
De
Defimpr'merie
l imprimerie de Chriftophle Planm
de Chrißophle Flamin found between the East and
aa lalaLicorne
Licorne
d'or. d'or.
West Indies.31 European print
1 5
5 îJ 8 ers of travel accounts like Han
A
AVEC
V E C
PRIVILEGE
PRIVILEGEDDV
V ROY;
ROY; and Plantin were also grappling
with how to represent the two
Indies, and they did not always
come down on the side of "eth
nographic interchangeability"
and generic exoticism in their
choice of illustrations (Mason
40)—even when, as in Han's use
of recvcled imaees. thev seemed
seems to depict a shining sun, whose rays are to do so most obviously. The Breu woodcuts in
shielded by a parasol that is held aloft by one the Frankfurt edition of Stadens account are
of the three figures. They are seated, as in the not as "utterly irrelevant" as Whitehead and
Marburg woodcut, and actively engaged in Harbsmeier aver, even if they are utterly (and
conversation, as evident from their gestures.perhaps literally) out of place. Like the trav
In its original context—the Augsburg edition elers themselves, the illustrations are altered
by the new context in which they find them imagination stimulated only by the text, notFig. 24
selves, but they are able to forge connections by direct experience of the travels. The art
André Thevet, Les
with that context, however foreign and distant ist was subject to only two requirements re
singularitez de la
it may seem. specting the illustrations: that they do justice

France Antarctique
(Antwerp: Plantin,
Han followed a complex assortment of to the text, and that they correspond to the
1558; print). Cour
textual and visual cues to carefully select and scientific and aesthetic expectations of the
tesy of the John
place the Breu illustrations in his edition of European readership" ("Travel Reports" 741). Carter Brown Lib.
Stadens Warhafiige Historia. In pointing out Han's employment of the Breu illustrations at Brown Univ.
the distinctiveness of Stadens involvement in in his edition of Stadens travels helps to illu
the images created for the first edition, Neu minate what some of these expectations may
ber maintains that ordinarily travel-accountbe, and, as counterintuitive as it appears, they
illustrations were "the product of an act of seem to revolve more around representational
min »n»eM—I*—«
Tr ^ ih ,
# +' #.*« 4^
'v: ^"A
-iA fc
liLsJrf!
r\ „ am
vfejr
* m^lPT M
"3) . ,i. r\ It i A11**'-, &•"<

Hft.Utitity
>2*fo
""S \fA a
faj
. - ^r"rr"
Fig, 25
11 ^s]y
iJLiu.1'-^' n ip/^msk ^^...i,!l^ ■ Woodcut from Hans
)!•>: Staden, Warhaftige
»»'
Historia (Marburg:
mnffHiriv^ Kolbe, 1557; print;

H2v). Courtesy of
the John Carter
Brown Lib. at
Brown Univ.
Fig. 26
Woodcut from Hans
Staden, Warachtige
Historie (Antwerp:
Plantin, 1558;
print; G6r). Cour
tesy of the John
Carter Brown Lib.
at Brown Univ.
Fig, 27
Jörg Breu, woodcut y

from Ludovico
di Varthema,
Die ritterlich tin
lobwirdig Rayss
(Augsburg: Hans >^j
Q1v); rpt. in Hans
Staden, Warhafftig
Weigand Han,
[1557]; print; K2v).
Courtesy of the
John Carter Brown
Lib. at Brown Univ.
modern authors; see Kusukawa's discussion of the bota

specificity than around generic exoticism.
nist Leonhart Fuchs ("Leonhart Fuchs" 411). In another
Indeed, they suggest that the opposition be
essay, however, Kusukawa points out the lack of consen
tween the "ethnographic impulse" and the sus on the use of illustrations and their relation to the
repeatability of print illustration was not ir text they accompanied ("Illustrating" 109).
resolvable. The use of these recycled images 4. In "Textual Icons: Reading Early Modern Illustra
tions," which discusses several examples of image recy
does not, ultimately, reveal whether Europe
cling, Stephen Orgel writes that some cityscapes of the
ans were more interested in exotic stereotypes
Nuremberg Chronicle are "repeated up to eleven times"
or in ethnographic specificity when they and that "in all, 645 blocks are used 1809 times" (63).
bought, read, and looked at printed travel ac Leitch states that 134 illustrations were taken from 19
counts; surely there were readers interested in blocks in the Nuremberg Chronicle (Mapping 30).
5. Duffy and Metcalf make a similar point about re
both. But the analysis of recycled images can
cycled images in texts like the Nuremberg Chronicle and
at least suggest how carefully some printers Münsters Cosmographia: "Readers were used to 'reading'
worked to meet the demands of an audience images as stock or generic images—meant to gesture to
that, by the middle of the sixteenth century, ward a broader subject rather than to reproduce an indi
had seen enough printed travel accounts and vidual moment, event, or person" (107).
6. Pagden describes this impulse as "autoptic imagi
other visual and textual representations of
nation." Autoptic is derived from autopsy, the name of an
foreign peoples and places to be discerning ancient rhetorical category: "the appeal to the authority
about how they were illustrated. of the eye witness, to the privileged understanding which
those present at an event have over all those who have
only read or been told about it" (51).
7. Since the illustrations were not included in the
1568 English edition of Thevet's narrative, the transla

tion omits the reference to portraits in this phrase, which
Notes
is found in the preface to the reader.
Lisa Voigt would like to thank those who invited her to 8. In his preface, Léry derides Thevet's Singularitez as
present talks based on this project: Jonathan Burgoyne, "singulièrement farci de mensonges" 'singularly stuffed
Barbara Fuchs, Stephanie Leitch and Ashley West, Evelyn with lies' (Histoire A6r; History xlvi). On Thevet's oft
Lincoln and Laura Bass, and John Charles. She also thanks challenged claims of eyewitness authority and ethno
Claudia Cornejo Happel for research support and Les graphic knowledge, see Campbell 30-50 and Lestringant.
lie Tobias-Olsen and John Minichiello at the John Carter 9. Scholars usually use the spelling of the first edition,
Brown Library for assistance with the illustrations. Elio Warhaftige Historia, to refer to Staden's work. We adopt
Brancaforte would like to express his gratitude to the at this spelling when using a short title to refer to the work,
tendees of the 2012 Frühe Neuzeit Interdisziplinär Confer regardless of edition.
ence for their comments, and he thanks Bodo Gotzkowsky 10. Unless otherwise noted, English translations of
for sharing his expertise on sixteenth-century German Staden's text are from Whitehead and Harbsmeier's edi
publishing houses and artists. tion (Hans Staden's True Flistory).
1. On these three inventions as a Renaissance topos, 11. The errata are listed on the last page of the Marburg
see Boruchoff, who argues that they "not only signaled a edition. According to the modern editors of Staden's text,
break from the hegemony of classical and ecclesiastical the illustration for chapter 2 is one of the five woodcuts
culture ... but also afforded a practical means to search that had been accidentally reversed (Hans Staden's True
out, reach, subdue, communicate with, and assimilate the History 145n57). While in the Marburg edition Cap Ghir
New World beyond the physical and mental boundaries (Morocco) mistakenly appears on the left of the ocean, in
of the Old" (157). Plantin's edition it appears on the right. Duffy and Met
2. In his overview of early modern German printing, calf argue that these errors "make clear the collaboration
Stephan Füssel describes how the "quantity and distri between Staden, the artist, and the woodcutter" (113).
bution of printed books increased immensely" during 12. These editions are Warachtighe Historie ende
the sixteenth century, particularly the second half, and Beschriivinghe eens Lants in America gelegen wiens In
highlights the popularity of "fictional and empirical woonders wilt naect. . . (Antwerp: Ian Roelnads, 1563)
travel reports," citing the forty-six printings of Sebastian and Beschrijvinghe van America wiens Inwoonders wilt
Münsters Cosmographia (243). naechkt... (Amsterdam: Broer Iansz, 1627).
3. The power of pictures to convey knowledge more 13. De Bry's publishing house in Frankfurt am Main,
effectively than words was also recognized by some early established in the late 1580s, "was to become one of the
most important in Europe, known above all for25.

itsOn
lav
the expectation that illustrations guide the
ishly illustrated travel accounts" (Gaudio xii). reading of texts, see Hirsch 121 and Orgel 60.
14. The attention that Duffy and Metcalf, as well as descriptions of these images in the John Carter
26. The
Brown Library's database Archive of Early American Im
Whitehead, recently paid to the Marburg illustrations
ages confirm the appropriateness of these illustrations to
has helped remedy the woodcuts' "underappreciat[ion]"
(Whitehead and Harbsmeier xv). Stadens text. This one, for example, is described as "Eu
ropeans
15. Joseph Sabin's Bibliotheca Americana lists four meet
is native American in front of a settlement"—
sues of Staden's text in 1557: two published byhowever,
Andreas the figure presumed to be a Native American
Kolbe, in Marburg, and two by Weigand Han,originally
in Frankrepresented the European traveler Varthema
furt (Sabin, Eames, and Vail 114-16). ("[Wie sie mit mir wolten wider zurück fahren ...]").
27. Indeed, Archive of Early American Images con
16. For the history of the Giilfferich-Han publish
ing house, see Schmidt, esp. 27-44. Hermann firms this reading of the illustration: the "[t]ext discusses
Gülffe
rich founded the firm in 1542, having recentlyhow two in
settled Brazilians had given Staden to a friend to kill
and eat" ("[Wie meine beyden Herrn ...]"). On the ritual
Frankfurt, where he married Margarethe Han, the widow
dimensions of this passage, see Villas-Bôas.
of the bookbinder Georg Han. After Gültferich died in
28. Duffy
1554, his stepson, Weigand Han, led the firm until he and Metcalf compare the Marburg title
page until
died in 1562, at which point Margarethe took over illustration to contemporaneous depictions of can
nibalism (114-16).
her death in 1568. Several printers (such as Georg Rab,
Sigmund Feyerabend, and Thomas Rebart) became 29. Onin
Stadens self-presentation as a martyred saint,
see TenHuisen,
volved with the firm, but eventually it was Weigand Han's who points out how the Marburg edition's
illustrations
heirs—including his wife, Katharina, and their sons, distinguish Staden from his captors through
Kilian and Hartmann—who ran it from 1570 to 1580. his beard and his position in relation to others, usually
17. Rubiés identifies "at least five editions in Italian,separated or off to the side—just as the bearded man ap
one in Latin, three in German, and two in Castilian be pears on the Frankfurt edition's title page: "The woodcuts
portray this by showing Staden with his beard in the pos
tween only 1510 and 1523" (Travel 126).
ture of a teacher or prophet... often with a bush or cloud
18. This recycling is not inconsistent with other pub
reminiscent of a halo above his head" (248-49).
lished work by Staden's editor, Dryander. Duffy and Met
30. This recalls Leitch's reading of Breu's images for
calf point out that some of the illustrations in Dryander's
Varthema's narrative: "Breu adjusts recycled content into
anatomical works appear to have been copied from An
compositions that establish Varthema's sight lines, his
dreas Vesalius (87).
eye taking in parts of cities, segments of harbors, and
19. On the unique nature of Staden's involvement in
views of people. Breu illustrates moments of lived expe
the Marburg illustrations, see also Neuber, who places
rience by positing a viewer with a circumscribed field of
Staden's text "among the state-of-the-art exemplars of vision" (Mapping 109).
contemporary scientific thought" ("Travel Reports" 741).
31. While at one point Thevet muses, "Quelle doive
20. For similar considerations of this question, see Ei être appelée Inde, je n'y vois pas grande raison" 'Why it
senstein 65; Leitch, Mapping 166 and Cormack and Maz shold be named India I know not' (122; 35v), he later rea
zio 17-18.
sons, "Et voilà comme ce pays a pris le nom d'Inde à la
21. Dutfy and Metcalf also make this point in their
similitude de celui qui est en Asie, pour être conformes
discussion of Breu's illustrations for Varthema's narra
les moeurs, férocité et barbarie" 'By this meanes hath
tive: "In the European imagination, and by the handAmerica
of obtained the name of India to the likenesse of
the artist, the Tupinambâ were becoming interchange
that which is in Asia, for ... they agree in maners, beastly
able with Muslims" (108). brutishnesse, & other things' (249; 106r).
22. Voigt examines how the Frankfurt edition's title
page reveals a multidirectional relationship of influence
among European images of exotic "others" (49-50).
Works Cited
23. Leitch points out that "Breu has borrowed the
butcher block and the smokehouse from the Vespucci
Bacon, Francis. The Works of Francis Bacon, Lord Chan
edition, as well as the Staffage" (Mapping 140). cellor of England. Ed. Basil Montagu. Vol. 3. Philadel
24. Rubiés finds German travel accounts and col phia: Carey and Hart, 1841. Print.
lections to be particularly concerned with audience
Boruchoff, David A. "The Three Greatest Inventions of
Modern Times: An Idea and Its Public." Entangled
expectations: "it was clear to the Frankfurt publishers
and engravers that they wanted to sell books profitably.
Knowledge: Scientific Discourses and Cultural Differ
If anything, both images and words were adapted to ence.
the Ed. Klaus Hock and Gesa Mackenthun. Mün
taste of the public" ("New Worlds" 174). ster: Waxmann, 2012. 133-63. Print.
Bowen, Karen L., and Dirk Imhof. Christopher Plantin Mason, Peter. Infelicities: Representations of the Exotic.
and Engraved Book Illustrations in Sixteenth-Century Baltimore: Johns Hopkins UP, 1998. Print.
Europe. Cambridge: Cambridge UP, 2008. Print. Münster, Sebastian. Cosmographiae universalis lib. VI.
Burton, Richard. Introduction. Staden, Captivity lxi-xciv. Basel: Heinrich Petri, 1550. Print.
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1999. Print. der Frühen Neuzeit. Berlin: Schmidt, 1991. Print.
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den. Baltimore: Johns Hopkins UP, 2012. Kindle file. Illustrations." The Renaissance Computer: Knowledge
Eisenstein, Elizabeth L. The Printing Revolution in Early Technology in the First Age of Print. Ed. Neil Rhodes
Modern Europe. Cambridge: Cambridge UP, 1983. and Jonathan Sawday. London: Routledge, 2000. 59
Print. 70. Print.
Feest, Christian. Indians and Europe: An Interdisciplin Pagden, Anthony. European Encounters with the New
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Füssell, Stephan. "Early Modern German Printing." Early ven: Yale UP, 1993. Print.
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The Traveling Illustrations of Sixteenth-Century Travel Narratives

Author(s): LISA VOIGT and ELIO BRANCAFORTE

The Traveling Illustrations of Sixteenth

LISA VOIGT AND ELIO BRANCAFORTE

times"—the printing press, gunpowder, and the compass (Bo

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reinforce: "Es ligt ein kleine Insel bey der In

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a different geography. For example, the illus obligt / un in in dz gefencknuß bringt . . .

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will become green again and bear fruit when

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They Had Given heto

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to textual and even posingethnographic

publisher who was reprinting accounts of

Plantin did not embrace the exoticizing

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gen enden" 'O my Lord and God,

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graphic specificity that Plantin

tween denying the appropriate

for the Americas and accept

it may seem. specting the illustrations: that they do justice

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