Fig. 5. Left: America
by Dirck Barendsz, as
engraved by Johannes
Sadeler (Cologne, 1581).
Amsterdam, Rijksmuseum
(RP-P-OB-7440).
Fig. 6. Right: America
by Maarten de Vos, as
engraved by Adriaen
Collaert (Antwerp,
1586–1591). Amsterdam,
Rijksmuseum (RP-PBI-6060).
palette with brushes. Moreover, the scene in the background shows
present, but they are in the background, mesmerized by the bounty
that this modern allegory of Europe was compatible with the classical
of gold that America is throwing. Later works remind us that Europe
representation of the rape of Europa by Zeus in the form of a bull.
was still considered superior in the European mapping panorama,
The evolution of the subject of the four continents in cartography
as in the cartouche of the map of Europe of the Atlas portatilis by
is visible not only through the images at the corners of maps, but
Johann Christoph Weigel (Nuremberg?: Weigel, ca. 1740), where the
also through the title pages. One century after Abraham Ortelius’s
three continents pay homage to Europe, who, on top of the world,
Theatrum came to light, Arnoldus Montanus (1625–1683) published
specifically on the European area, rides the bull of Zeus, has a crown
his De Nieuwe en Onbekende Weereld (Amsterdam: Jacob Meurs,
and carries a scepter ended in a cross, and is surrounded by a bright
1671), translated by John Ogilby (1600–1676) in his America, Being
aura. The three other continents are holding a cloth with the title of
the Latest and Most Accurate Description of the New World (London:
the map and are represented through some of their standard attributes:
printed by the author, 1671). Illustrated with numerous engravings
dark skin for Africa, feathered skirt and hat for America, and turban
related to America, this work became the most popular book on the
for Asia (plate 19). In the context of this tradition, Montanus-Ogilby
New World and a standard work for a long time. The frontispiece
departed from the European artistic tradition and elevated the
of Montanus (plate 18), also copied by Ogilby, shows the allegory
American continent, who this time was not riding an armadillo (or
of America being lifted in the middle of a motley crowd of Indians
other exotic animal), but was standing up on a shell carried by two
wearing feathers, and exotic animals—among which a llama stands
bearded Atlases, both quintessential symbols of Western classicism.
out. Whereas in Ortelius’s title page Europe was the most graceful
continent, here the New World takes on that role. Europeans are still
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