Ontdekkingsreizen van de vijftiende en de zestiende eeuw en de verspreiding van de papegaaiachtigen over de westerse wereld: het museum streeft op dit historische thema (Papegaaienkunde) geen volledigheid na, een handreiking volstaat.Â
Algemeen
Mantels en rokken van veren
The Letter of Pero Vaz de Caminha
We showed them a grey parrot the admiral had brought with him. They took it in their hands at once and pointed to the land, as if there were others there. (...)
Our men exchanged some varvels and other small things of little value which they had brought with them for some very large and beautiful red parrots and two small green ones, some caps of green feathers, and a cloth of many colors, also of feathers, a rather beautiful kind of material, as Your Majesty will see when you receive all these things, for the admiral says he is sending them to you. (...)
Whilst we were cutting timber in the wood, some parrots flew through the trees. Some were green, others grey, some big, others little. It seems to me, after this, that there must be many of them in this land, even though there cannot have been more than nine or ten of those I saw, if so many. (...)
Historia naturalis Brasiliae
A Parrot of the Caribbean
Two small bird bones retrieved from a 17th-century shipwreck off the Florida Keys are identifiable as those of a small parrot, referred to Aratinga / Pionus. The shipwreck is one of the small merchant vessels of the Spanish Tierra Firme fleet lost in a hurricane in 1622, homeward bound after loading cargo in Spanish colonial ports around the northern South American coast and Caribbean. The remarkable discovery of parrot remains provides unique evidence of a probably thriving 17th-century transatlantic trade in small parrots from the New World, for which, despite appearing in contemporary art and literature, no archaeological record appears to exist in Europe.
Mediaeval trade routes 1
The earliest image of an Australasian parrot by a European artist predates the arrival of Vasco de Gama's fleet at Calicut on the Malabar Coast in 1498. This article focuses on that image – a small but significant detail in Andrea Mantegna's Madonna della Vittoria, completed in Mantua in 1496. Although Mantegna's altarpiece has been the subject of attention in modern scholarship, the significance of the Sulphur-crested Cockatoo has not been explored. In this article, I consider why Mantegna would have included parrots in his altarpiece and the symbolic significance of the cockatoo's position in the composition. I also explore the intriguing issue of how a creature native to regions generally considered to have been beyond Europe's trading reach in 1496 could have appeared in a Renaissance artwork. The Sulphur-crested Cockatoo in the Madonna della Vittoria provides a unique opportunity to place fifteenth-century Italy in its global context. Its presence not only confirms the interests and purchasing power of Mantegna and his patrons, the Gonzagas, it reveals the complexity and range of South-East Asian trading networks prior to the establishment of European trading posts in the region.
Â
 Mediaeval trade routes 2
(...) four cockatoos depicted in the margins of Frederick II’ s De Arte Venandi cum Avibus. The story is that this bird suggests a mediaeval trade route from Australia to Italy, overturning the Eurocentric notion that Australia was a dark continent until ‘discovery’ by Dutch sailors early in the 17th century. (Figuur 4).
This means that the cockatoo gifted to Frederick II was taken from the northernmost tip of what is now Australia’s mainland, New Guinea or the islands off New Guinea or Indonesia. Based on the fact that my colleagues found red paint flecks in the irises of all four images, they also surmised it was probably a female.Â