Depictions of Guanche caves as part of a business model of competing Italian editorials (1815-1860)

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Abbildung Titelseite:
Tabona, Basalt-Werkzeug der Guanchen, der Ureinwohner von Tenerife,
Kanarische Inseln (Photo: Francisco Javier Velázquez)
* Institutum Canarium 1969-2020 für alle seine Logos, Services und Internetinhalte
ALMOGAREN 51/2020MM99
Inhaltsverzeichnis:
Almogaren Nr. 51 / 2020
Gustavo Sánchez Romero, Santiago López Arencibia & Abel Bello
Una pirámide/calendario solar Guanche en el norte de Tenerife:
referencias históricas, características, origen y función ....................................... 5
Andoni Sáenz de Buruaga & Agustín Ezcurra
Una estimación de cronología absoluta para una pintura rupestre
del abrigo de Legteitira-6 (Agüenit, Sahara Occidental) .................................... 57
Hans-Joachim Ulbrich
A short note about windbreaks and "U-shaped monuments"
in Lanzarote (Canary Islands) ...................................................................................... 75
Alain Rodrigue
Le Haut Atlas marocain: un patrimoine rupestre exceptionnel ....................... 85
Hans-Joachim Ulbrich
Depictions of Guanche caves as part of a business model
of competing Italian editorials (1815-1860) ...................................................... 101
Alain Rodrigue & Andoni Sáenz de Buruaga
Les spirales doubles de Zug (Sahara Occidental):
un symbole taurin? ......................................................................................................... 155
Buchbesprechungen: ...................................................................................................... 191
 Andrea Squitieri: Stone vessels in the Near East during the Iron Age and
the Persian Period (c. 1200-330 BCE). Archaeopress 2017
 Clarke, Joanne; Brooks, Nick (2018): The archaeology of Western Sahara.
Oxbow Books 2018
•
100MMALMOGAREN 51/2020
Ulbrich, Hans-Joachim (2020): Depictions of Guanche caves as part of a business
model of competing Italian editorials (1815-1860).- Almogaren Nr. 51 (Institutum
Canarium), 101-154
Zitieren Sie bitte diesen Aufsatz folgendermaßen / Please cite this article as follows:
ALMOGAREN 51/2020MM101
Hans-Joachim Ulbrich
Depictions of Guanche caves as part of a business
model of competing Italian editorials (1815-1860)*
Keywords: art, caves, Giulio Ferrario, Florence, France, Germany, Guanches, Wilhelm
Herchenbach, Italy, Charles-Nicolas Cochin Jun., J.-F. de La Harpe, London, Milano,
mummies, Paris, press, Abbé Prévost, printing, Roma, Spain, Tenerife, travels, Venezia.
Abstract:
This paper is in fact the second part of a previous article written in German (Ulbrich
2019) which deals with book illustrations basing on a design by the French artist Charles-
Nicolas Cochin Jun., Paris. They show a burial cave of the pre-Hispanic Guanches from
Tenerife (Canary Islands) whose picture was copied and modified by countless other
painters and engravers all over Europe (1746-19th c.). Especially Italian artists jumped on
the bandwagon when they illustrated the famous encyclopedia by Giulio Ferrario (Milano)
with a very special version of the Guanche cave (1815-1844). This interesting plagiarism
and its derivates are analysed and depicted here. To understand the latter and its impact
on the Italian editorial business one also needs to keep in mind the intensive wish of the
contemporary public to learn more about history, ethnology and customs of other peoples.
Zusammenfassung:
Dieser Aufsatz ist der zweite Teil eines zunächst in Deutsch verfassten Textes (Ulbrich
2019) über Buchillustrationen, die auf der Basis eines Entwurfes des Franzosen Charles-
Nicolas Cochin d.J., Paris, entstanden sind. Sie zeigen eine Grabhöhle der vorspanischen
Guanchen von Tenerife (Kanarische Inseln), deren Abbildung von zahlreichen Malern
und Kupferstechern in ganz Europa kopiert und modifiziert wurde (1746-19. Jh.).
Besonders italienische Künstler sprangen auf diesen Zug auf, als sie die berühmte Enzy-klopädie
von Giulio Ferrario (Milano) mit einer ganz speziellen Version dieser Guanchen-höhle
illustrierten (1815-1844). Diese interessanten Plagiate und ihre Weiterentwicklung
werden hier analysiert und reproduziert. Um letzteres und besonders die Auswirkung
auf die verlegerischen Akivitäten in Italien zu verstehen, sollte man die intensive Be-schäftigung
der Öffentlichkeit einbeziehen, die mehr über Geschichte, Ethnologie und
fremde Völker erfahren wollte.
Resumen:
El presente artículo es la segunda parte de otro publicado en alemán (Ulbrich 2019) sobre
ilustraciones en libros basadas en un bosquejo del autor fránces Charles-Nicolas Cochin
el Joven, en París. Dichas ilustraciones muestran una cueva de enterramiento de los
guanches prehispánicos de Tenerife (Islas Canarias), cuya reproducción copiaron y modi-ficaron
numerosos pintores y grabadores en toda Europa (desde 1746 hasta el s. XIX). A
*Local geographical names, institutions, persons etc were preferrably not translated into English.
Almogaren 51 2020 101 - 154
102MMALMOGAREN 51/2020
Fig.1 - Frontispiece of vol.1 of Green/Astley (London 1745). We see a combination of
different peoples, animals, fruits and geographical-historical reflections. The involved
artists are known: Hubert-François Gravelot (invenit) & Charles Grignion (sculpsit).
ALMOGAREN 51/2020MM103
esta tendencia se sumaron muy particularmente artistas italianos ilustrando la famosa
enciclopedia de Giulio Ferrario (Milán) con una versión muy especial de aquella cueva de
los guanches (1815-1844). Ahora analizamos y reproducimos aquellos interesantes plagios
y su ulterior desarrollo. Para entender esto último y, particularmente, su repercusión en la
actividad editorial en Italia, habría que considerar la marcada influencia del público,
ansioso de saber más sobre historia, etnología y pueblos desconocidos.
1. A decision in Paris (1746). The French book trader, printer and editor
François Didot (1689-1757) was a successful and respected entrepreneur when
he and his board of managing editors decided in late 1745 to translate a broadly
accepted four-part series of travel reports from English to French. The English
source was published by Green & Astley 1745 in London: "A New General
Collection of Voyages and Travels" (see fig.1 for the frontispiece of vol.1). The
basic translation business was handled by the French churchman and author
Antoine-François Prévost d'Exiles, in the public shortly known as "Abbé Pré-vost"
(Ulbrich 2019: 46-48, fig.3). At this time it was common practice to ignore
any copyrights so that François Didot and his redaction decided to not only
augment the texts considerably but also to illustrate the new series with notice-ably
more of the popular engravings; finally the first edition comprised 15
volumes. Tome 2 of the "Histoire générale des voyages, ou Nouvelle collection
de toutes les relations de voyages par mer et par terre" (A.-F. Prévost d'Exiles
et al., Paris 1746) contained the reports on the Canary Islands and especially
the news about the Guanches of Tenerife.
It was most likely the task of the redaction, led by Jacques-Philibert Rous-selot
de Surgy, to select the pictures for the tomes; one of the main contribu-tors
was the Parisian artist Charles-Nicolas Cochin the Younger (1715-1790).
He designed 65 scenes which served as submittals for the engravers. Nr.12
was the famous "Cave sépulchrale des Guanches" which was cut by Pierre-
Quentin Chedel (duodecimo) and Andrew Lawrence (quarto) for t.2 [Ulbrich
2019: 48, 50; Jombert 1770: 60]. We can start from the premise that Cochin
conceived the scene partly by following his ideas as an artist and partly by
using two informants about an actual cave in the Barranco de Herques (Ten-erife):
an Englishman who visited it in 1634 and an unknown French tourist
and/or scientist who went to see it around 1745 (Ulbrich 2019: detailed in
Chapter 2). Tome 2 – mainly Africa – was a full success and the Guanche cave
on plate No. XV [p. 261] was it too. The only more or less authentic illustration
of that cavern, a simple wood cut, can be found in Browne (1834: 65), first
published 200 years later (see also Ulbrich 2019: fig.29).
In the following years – starting practically immediately in 1747 – the
"Histoire générale des voyages" as well as text and graphics of similar oeuvres
104MMALMOGAREN 51/2020
were copied all over Europe. Ulbrich
(2019: 62, figs. 8, 9, 10, 11, 12, 13, 14, 15,
16, 17, 19, 20, 21) counted over 13 some-what
different plates with alterations of
the original cave scene regarding for-mat,
structure and mirrored arrange-ments.
Twentyone more variants from
Europe, especially from Italy, could be
added in this paper (see figs. 4-7, 14-29)
summing up to 34 pictures basing on the
one macabre illustration designed once
by C.-N. Cochin jun. in Paris.
It was also a widespread business to
cut plates (the sheet) out of books or to
sell – especially when colorized – copper-plate engravings as part of overprints.
Indeed many such plates were produced because the printing offices of the books
(letterpress) and of the plates (a kind of gravure print) were frequently not the
same. In the case of the Guanche cave hundreds of art prints, often on better
paper, were distributed. Really bizarre is the result of a British colorist who
painted the fur clothing of a Guanche with a glaring blue (cutout fig.2), not
realizing that he is working on a scene designed for the early 18th century show-ing
an indigenous man with a sheep or goat outfit. The respective plate can be
seen in the book by Bankes (1800: 421) or as a colorized engraving of its own.
2. The development of an idea and its manifestations. To enrich an ency-clopedia,
a novel or a travel report with the picture of a burial cave of the
Guanches was not only a good idea to boost the sales figures; this scene was
in the heads of the contemporary editors the sepulcral cavern per se, the
prototype to combine information with gothic shudder. Some of these
illustrations are exemplarily presented here, quasi as introduction before we
turn towards the main topic of this paper: the use of certain variants of the
Guanche cave in the work of Giulio Ferrario and his Italian competitors.
Fig. 4. The original by Cochin (fig.3) was engraved slightly altered for
"Abrégé de l'histoire générale des voyages. T.2", revised and edited by Jean-
François de La Harpe (Paris 1780, Planche 8, p. 211 / see Ulbrich 2019: fig.13).
This was then translated into Italian and published as "Compendio della storia
generale de' viaggi. T.1", Venezia 1781. At first glance the Guanche cave looks
like the French version of 1780 but in fact it is a new engraving by an unknown
Italian artist [p.235] what can be seen through several details, e.g. the face of
a Guanche in the foreground left-hand and the array of the rocks.
Fig.2
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Fig.3 - The very first engraved version of the burial cave of the Guanches, designed
by Charles-Nicolas Cochin the Younger (Paris 1746). The Latin description reads as
follows: Cochin filius inv. [invenit = designed it] and L. sculp. [Laurent/Lawrence
sculpsit = engraved it]. XV is the number of the plate which belongs to the African
chapter of the "Histoire générale des voyages", tome 2, here the version in quarto.
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Fig.4 - Venezia 1781
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Fig.5 -
Venezia
1834
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Fig.6 - "Caves sépulcrales des Guanches". A knowingly mirrored copper-plate engra-ving
of the famous Guanche cave, interestingly structured with lesser visitors (only two
Europeans and one Guanche, the latter clad in a fur dress), merely one volcanic tunnel
with a notably slanting base and fewer mummies in the foreground (Paris 1830).
ALMOGAREN 51/2020MM109
Fig.7 - Regensburg 1868, die-stamping by an unknown German engraver
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Fig. 5. The third print of "Compendio della storia generale de' viaggi. T.1"
in Venezia 1834 contained an interesting version of the Guanche cave using a
kind of contour painting style which avoids heavy shadows and dark areas,
thus presenting a bright cavern with practically no impression of black lava
stone [p.212, b/w]. The artist was Ferdinando Cataneo. Curiously he also added
– unique among the Cochin cave variants – a dried corpse on a chajasco (bier)
leaning on the wall, not lying, what normally points to a mummy.
Fig. 6. It shows a rare example of a mirrored picture taken from "Biblio-thèque
Générale des Voyages. Prèmiere Partie 'Afrique'. Tome II", another
project by J.-F. de La Harpe which started in 1829. The illustration of the
Guanche cave was this time used as frontispiece.
Fig. 7. A very special case is the depiction of the Guanche cave in a German
novel: "Aus Oncle Nabor's Tagebuch" (1868) ["From uncle Nabor's diary"]. It
was written by the famous Wilhelm Herchenbach (Neunkirchen 1818-Düs-seldorf
1889) who deluged the literary market of the German speaking readers
worldwide with over 200 works of a mostly romantic, adventurous, historical,
mythical, religious and/or dramatic content, basically aimed at the youth but
also liked by adults. The story is told quickly: A seaman (Nabor) has survived
a pirate attack on sea and when he is rescued finds a warmhearted welcome
on the ranch of a big landowner ("Dom" [strangely not "Don"] Sablos) on Tene-rife,
Canary Islands. It does not surprise that Nabor fells in love with the daugh-ter
of his landlord. One day Dom Sablos arranges an excursion which among
other places leads to a more or less unknown burial cave of the Guanches
which is only accessible by insiders. The attached illustration [p.161] has its
roots clearly in the basic design by C.-N. Cochin, but the characteristics of this
untitled variant are so special and divergent – at the same time far away from
Cochin – that it is worthwhile to describe them elaborately:
 At the meeting point of two lava tubes exists a small hypogean place which
gets daylight from a hole in the ceiling of the cavern (please compare with
the description of the original scene in Ulbrich 2019: 47-48).
 In both tubes we can see dried corpses leaning at the walls. Their private
parts are covered by a loincloth (not the idea of Cochin and not authentic).
 Only two mummies in the foreground rest on biers (Span. chajascos).
 Also in the anterior cave are the two human protagonists, Nabor and Dom
Sablos, the latter the one with the lunch box and the shotgun.
 The hypogeum has an exit where we can see a section of a barranco, a
canyon, and therein a palm tree (both not the notion of Cochin).
To include the outerworld (sky etc.) is a specialty of German versions. From
where did Herchenbach and his engraver get such ideas?
ALMOGAREN 51/2020MM111
The depiction of the Guanche cave in the "Storia generale de' viaggi.Tomo 6",
Venezia 1751, is mentioned but could not be traced in a digital form in a library
(translation of "Histoire générale des voyages, T.2" by Prévost et al., Paris 1746).
3. Giulio Ferrario advanced the idea of encyclopedias. One of the most
colorful personalities of the Italian cultural establishment around 1800 was
without doubt Giulio Ferrario. This Lombard was not only a typical member
of an upper class family with a comfortable social status and best clerical
connections – far away from economic deprivation–, but also an intellectual
with his career clearly determined for the world of literature and arts.
Giulio saw the light of the day on January 28th, 1767, as son of Giovanni
Ferrario and the patrician Antonia Lanzavecchia. His native town of Milano
should always bring him good luck – with high-born patronizers and a broadly
conceived education covering ecclesial, scientific and general cultural subjects.
At the age of nine Giulio's childhood ended and he first passed the archiepis-copal
seminar in Arona, at the west bank of the Lago Maggiore, and subse-quently
another one in Milano, capital of Lombardia. His studium generale
started in 1786 when Giulio enlisted in a newly created seminar of the neigh-bourly
university town of Pavia. There he could further evolve his personality
and satisfy his thirst for knowledge what finally led in May 1790 to the degree
of "doctor in utroque iure" ("doctor of both laws", canonical and civil). Related
studies had him introduced also to the wide-ranging facets of the Italian cul-ture,
e.g. the Classic and Fine Arts. It became also clear that the young doctor
felt attracted more to science than to preaching and care of souls. A prelimi-nary
line was drawn when the ecclesial education ended with his ordination.
Shortly afterwards the Lombardia passed to the troops of Napoleon (1796/1797).
Giulio Ferrario used the following years – despite experiencing uncertain times
– to work up the learnt, to evaluate it and to present and utilize it for scientific
tasks. In this context he showed big interest for the bibliographic reappraisal of
local book stocks. He got even more opportunities for this passion in 1802 when
he was appointed "assistant" to the famous Biblioteca Braidense in Milano for
the servicing of the extensive catalogue. Parallelly he was committed as mem-ber
of the "Società tipografica dei classici italiani" which started too in 1802;
his participation in the much-noticed edition of the classic Italian works of the
18th century (publ. 1818-1839) earned him many compliments.
Although Ferrario did not much care about the current political situation –
in 1815 the Austrian administration returned – he seems to have accepted the
Viennese side which he benefitted from. Quite skillfully he could apply the
resources of the Braidense library; already in 1813 he officiated as "coadjutor
and treasurer". Passing further stations he even reached in 1838 the directorship
112MMALMOGAREN 51/2020
of the entire library. Also as collector of rare works, book editor and proprietor
of an own printery he could register success and achievement. Among his
own works we find "Istoria e descrizione dei principali teatri antichi e moderni"
(Milano 1830); "Memorie per servire alla storia dell' architettura milanese dalla
decadenza dell' impero romano fino ai nostri giorni" (Milano 1843); "Monu-menti
sacri e profani dell' I.R. basilica di Sant' Ambrogio in Milano" (Milano
1824); "Storia ed analisi degli antichi romanzi di cavalleria e dei poemi
romanzeschi d' Italia ecc." (Milano 1828-1829), to mention only a selection.
Giulio Ferrario died in Milano on April 2nd, 1847.1
A special citation however deserves his opus magnum "Il costume antico e
moderno. O storia del governo, della milizia, della religione, delle arti, scienze
ed usanze di tutti i popoli antichi e moderni" which we will have a closer look
at. Giulio Ferrario published it together with several Milanese co-authors in a
broadly conceived edition (Milano 1815-1826). A detailed index (1829) – produ-
+Parts of Ferrario's personal history are taken from the biography by Nutini (1996).
Fig.8 - Contemporary
bust portrait of Giulio
Ferrario, Milano 1830
[Vincenzo Raggio deli-neavit,
Giovanni Boggi
sculpsit, in tome I of the
"Aggiunte e rettificazio-ni"
1831]. Some of his
known triumphs are ly-ing
on the table. In his
hands he is holding a
tome of his most impor-tant
project: "Il costume
antico e moderno". In
the background a globe
and a bookshelf, both
symbols for his biblio-phile,
bibliographic and
ethnographic raison d'être,
the inkpot ready to be
used for a note by this
erudite ecclesiastic.
(signature Giulio Ferrario)
ALMOGAREN 51/2020MM113
ced in a bigger print run to complete previously sold and most likely still not
sold sets – and a three-tome supplement, "Aggiunte e rettificazioni all' opera il
costume antico e moderno" (1831-1834), were finally published (figs. 33, 36).
The title alone (Il costume antico e moderno) misleads the reader, speaking
only of the mores, but in the subtitle we are told more: Practically all peoples of
the known world are described with their history, reigns, monuments, customs,
places and looks. Even characteristics of the local nature including animals and
plants are delineated. All continents, islands and oceans are considered whereby
of course the European countries and its adjacent seas prevail.
This monumental series surpassed other Italian encyclopedias by far
regarding its splendid layout with over 1500 color plates; the latter also exis-tent
in the French edition which Ferrario printed parallelly with the same
pagination. Especially the character of a universal reference book was ac-centuated
by the overwhelming impact of the graphical information – for many
people probably more interesting than the readable one.
The series started always with t. Asia 1 and a frontispiece which revered
Mother Earth (fig. 11) and additionally paid homage to Franz I, Emperor of
Austria (fig. 37). Ferrario got enough subscriptions to initiate the series in 1815;
he started it again in 1817, 1819, 1822 and 1826, five technical issues altogether
(mostly deliveries to subscribers). The logistical management must have been
enormous to provide all the clients in Europe free from errors; therefore the
name of the addressee was printed on the title page of each subscribed tome.
Giulio Ferrario published an appended second (1827) and dito a third and
last edition (1829) of the "Costume" series. Only 300 copies per volume were
printed for the final closing action considering the most up-to-date text mate-rial.
The highlight are the 1.619 thoroughly cut etchings which were meticu-lously
colorized (fig.38), but in most cases only a part of these. An uncom-promising
complete set of 1829/1831-1834 was and is therefore extremely rare
on the antiquarian market (currently a bibliophile "luxury" edition is offered
as of January 2020). Other full sets of the Milano "Costume" series – for sale
in 2020 – can in general be counted on the fingers of one hand.
Despite the undeniable success of the series it was not all gold that glitte-red.
The "Biographisches Lexikon des Kaiserthums Oesterreich" (4/1858 on
"Ferrario, Julius") criticised that Ferrario et al. in many cases did not document
the source material when describing the middle and northern European
regions; furthermore "some plates leave much to be desired". Even harsher
formulates an Italian compatriot in a German journal (Anonymous 1828): "...
Doch hat die Ausführung den großen Versprechungen des Herausgebers nicht
entsprochen, und der Theil, der die Kleidungen betrifft, scheint der einzige zu
114MMALMOGAREN 51/2020
seyn, auf den man sich mit einiger Sicherheit verlassen kann. Namentlich sind
in dem, was sich auf die Gesetzgebung bezieht, viele Mängel und Irrthümer,
und man sieht der ganzen Arbeit an, daß dabei mehr Gewinnsucht als gründli-ches
Studium die Feder führte."2 Especially informations from far away
countries and the respective illustrations evoke distrust also by the author of
these lines: It is – because of the sheer number of the volumes, pictures, informants,
subjects and artists etc – not possible to keep the quality and authenticity on a
throughout high level (for more details see figs. 9, 14, 15, 21, 23, 25, 27, 29).
To be consulted for reflections about the first Italian illustration of a Guan-che
burial cave is "Africa Volume Primo" published by Ferrario in 1815 (Africa
II followed 1819; please note that other editorials can use different text split-tings,
see fig. 33) [Read also Ulbrich 2019, p.62, on the picture layout.] The
chapter "Isole della Mauritania" [337-353] by Ambrogio Levati contains the
tavola 65 or LXV, designed and cut by Giovanni Bigatti [Milano 1774-1817]
(figs. 14-20) and copied by other Italian artists (figs. 21-29).
4. A hard-edged market for Italian editorials. From the start Ferrario
placed importance on the professional functioning of his publishing house:
graphics, printing, subscription management, distribution, customer care and
last but not least the necessary funding. Regarding the "Costume" series not
only the Italian edition had to be promoted but also the French one – both
aiming at readers in all of Europe. Especially the international aristocracy
communicated in French.
A network of co-operating book stores, print traders and related professions
was installed, besides the end clients of course which were not only book
,"The execution [structure, printing technique, graphics etc.] did not meet the big promises
of the editor, and the part dealing with the clothing seems to be the only one which can be
relied on with certain safety. Especially concerning law-making many shortcomings and
errors have to be named. One can see from the entire work that more profit seeking than
exhaustive research was in charge."
   	

 

   
 
  	 
		    	
  


   
 

  	     	


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ALMOGAREN 51/2020MM115
lovers but also many public libraries, authorities and institutions. For example
a German speaking customer could subscribe the second issue of the "Cos-tume"
series (starting in 1817) in a partner book shop in Mannheim (Buch-handlung
Fontaine / Grand Duchy of Baden) or with a specialised trader in
Vienna (Artaria & Co. / imperial Austria) – not to speak of more contact points
in Paris, London, St. Petersburg etc. Ferrario called all his clients associati.
Only in 1823 the first competitor – or more precisely plagiarist – of the "Cos-tume"
series appeared. It was Vincenzo Batelli and his printery in Firenze, the
city of three big libraries: the Biblioteca Magliabechiana, the Biblioteca Palatina
(both then not yet combined) and as third one the Biblioteca Medicea Lau-renziana.
For printers, book shops and scholars and generally for the literate
and bibliophiles Firenze was a paradise. Batelli had the nerve to call his version
of the "Costume" series "Edizione Seconda Riveduta ed Accreschiuta" (2nd
edition revised and extended) – "second" because Ferrario's second edition was
still in the making in 1823. Batelli could presume to do that because the legal
situation was unclear in the Toscana of Grand Duke Ferdinand III of Habsburg-
Lothringen. Florentine writers sued Batelli (Morgenblatt für gebildete Leser
1824) but his lawyer argued that the scattered regionalism (Kleinstaaterei) with
many small, often regardless aristocratic sovereignties did not allow a distinct
judgement. Batelli – who even moved from Milano to Firenze to enhance his
legal chances – went unpunished and published the entire series 1823-1837, incl.
tome II of "Africa" with a new but similar engraving of the Guanche cave (fig.
22, 24-27). He even issued a reprint in 1840. His b/w "Costume" books (quarto)
were sold around 25 % cheaper than the colorized ones; Ferrario made exactly
the same calculation for b/w or colorized fascicules (Brunet 1861: col. 1232).
Alessandro Fontana in Torino printed 1830-1833 a "Terza Edizione" of the
"Costume" series, reflecting the "2nd" edition of Firenze (1823) and the "2nd"
edition of Milano (1827). Although Fontana reproduced the pictures in a similar
format like the two aforementioned printers he considered only a part of the
graphic material, thus leaving out quite a few motifs. One of the latter is in
fact the Guanche cave which we miss in Fontana's tome of "Africa 1".
In 1830-1838 the Tipografia Vignozzi in Livorno (Toscana) produced a low-budget
edition of the "Costume" series (28 vols.). A new picture of the Guanche
cave can be found in t.1 of "Africa" (1831). The quality of the designs and the
colorations is in several cases not acceptable. Livorno is a harbour town at the
Tyrrhenian Sea; in the 18th/19th centuries it could – besides the port activities
– attract some printeries and editorials.
The Napoli printery "Dai Torchi Del Tramater" published 1831-1847 – an-nounced
as "Prima Edizione Napolitana" – another low-cost version of the
116MMALMOGAREN 51/2020
"Costume" series (25 vols.) which is considered as copy of the Livorno edition.
Tomo 8 (1833) contains the "Africa 1" text which features the plate with the
Guanche cave, also designed anew. The quality of quite a few illustrations in
several volumes is suboptimal.
With the prints by Celli e Ricci (1830-1843) we meet a second edition of the
"Costume" series from Firenze. The volume of "Africa 1" (1832) includes the
plate with a modified Guanche cave. These tomes can be classified as the third
low-budget production. Todays purchasers of such an issue who can afford a
complete antiquarian "Costume" set – no matter if produced by Celli e Ricci
or another low-cost editorial – will probably be glad to experience such
windfalls after all, despite small pictures or unaccurate colorations.
The chronologically last "Costume" series was the one described as the
"Prima Edizione Siciliana". It was basically printed by Alessandro Barcellona
(Palermo 1831-1860), although several other local printeries were also involved
with some volumes (Federico Garófalo, Stamperia di M.A. Console e C. °,
Stamperia Demetrio Barcellona, Stamperia Oretea). The illustrations are not
etchings but perfectly cut copper-plate engravings, finely colorized (fig. 28,
31). It really is great fun to study these volumes. The Guanche cave can be
found in the "Africa 2" volume (1844).
Ferrario and later his successors in the business had to keep in view not
only the direct competitors (regarding the "Costume" series), but also other
Italy-wide operating editorials which produced similar historical-ethnological
book sets with deliberately confusable titles. For example:
 "Usi e costumi di tutti i popoli del mondo" - Stabilimento Tipografico Fontana
- Torino
 "Usi e costumi antichi e moderni di tutti i popoli del mondo" - Edizione
Edoardo Perino - Roma (see fig.10 below)
 "Usi i costumi di tutti i popoli dell'universo" - Libreria de Francesco Sanvito
(thereafter Borroni e Scotti) - Milano
 "I popoli del mondo. Usi i costumi." - Casa Editrice Dr. Francesco Vallardi -
Milano. (see fig. 30)
With the last two namings book selling in Milano surely became not easier,
and one is amused that one of these producers wanted not only to describe the
mores of the world but even the ones of the whole universe! Noticeable is also
that the productive book and printing industry of Venezia did not participate
in the copying of neither these "Usi e costumi" variants nor of Ferrario's "Cos-tume"
series. A Belgian "Usi e costumi" – then of course "Le costume ancien
et moderne. Moers et usages de tous les peuples" – was printed in Bruxelles
(1862), published by Auguste Wahlen-Fierlants (fig. 12).
ALMOGAREN 51/2020MM117
 Fig.10 is a frontispiece for a
popular encyclopedia of the edi-torial
"E. Perino" in Roma (Italy).
 Fig.11 - This is the frontispiece
of the entire original "Costume"
series, placed in tome "Asia 1"
(1815 etc.). It shows a sculpture of
the goddess Terra/Cybele in the
Galleria Giustiniana (Roma). Gio-vanni
Bigatti fecit.
Having European competi-tors
in mind one has to mention
without doubt Friedrich Johann
Justin Bertuch (1747-1822) and
his impressive "Bilderbuch für
Kinder" (picture-book for child-ren)
which was published 1790-
1830 in Weimar in twelve big
tomes. Although meant for the
education of growing up child-ren
it was also a favourite ency-clopedia
of parents and adults
generally; the target audience
estimated that short texts were
accompanied by large illustra-tions,
the latter produced by an
army of artists. In fact 1185
plates featured around 6000
copper-plate engravings. Ber-tuch
outnumbered G. Ferrario
clearly by the illustrations and
also by the exact coloration of
these. Recommended in this
regard is also the Belgian four-tome
work by J.F.N. Loumyer
(1843-1844).
Italy itself has a broad ethno-logical
literature with Cesare
Vecellio (1521-1601) as one of
118MMALMOGAREN 51/2020
the prominent authors and artists. He was a cousin of the famous painter Tiziano
Vecellio and learned painting with Tiziano's brother Francesco Vecellio. Having
accompanied Tiziano on a journey to Augsburg and its printeries (imperial Ba-varia)
Cesare subsequently worked for him in his atelier in Venezia. Cesare's
famous "De gli habiti antichi et moderni di diverse parti del mondo" (Venezia
1590) (fig.13a) can be considered as an early predecessor of Giulio Ferrario's
"Costume" series; the over 500 designs by Vecellio were apparently cut by
Christopher Krieger (Nürnberg /imperial Franconia). Interesting for specialists
of the Canary Islands is Vecellio's illustration of an aborigine of this archipelago.
While the respective text contains some correct informations on their religion
Fig.12 - These fine cover graphics are taken from Wahlen-
Fierlants (1862). The book specialises on mores and ward-robes
from around the world (partly colorized).
Fig.13a - This book on customs
and clothes by Cesare Vecellio
(Venezia 1590) depicts a more or
ALMOGAREN 51/2020MM119
the woodcut shows a more than hypothetic mixture of imprecision (fig.13b): Bow
and arrows and also the shield were not used; the wooden lance [old-Canarian
banot] was utilized with a fire-hardened spearhead, the latter in some cases
replaced by a ground goat horn (Ulbrich 2014: 262) – not out of metal or stone.
The following 25 pages (figs.14-29) feature the Italian derivates of the cave design
once invented 1746 by the French artist Charles-Nicolas Cochin junior.
less fictitious native
of the then exotic Ca-nary
Islands (Fig.13b).

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ALMOGAREN 51/2020MM121
Fig. 14
The reference picture for all
subsequent illustrations in
this comparison:
Il costume antico e moderno.
Africa 1 / Milano 1817 (fol-low-
up of the 1815 version) /
tavola 65. We see:
 a cavern (two lava tubes) of
dark brownish stone
 some hanging plants
 24 naked dried brownish
corpses standing at the walls
(three-dimensional)
 18 yellowish corpses on
wooden biers (Span. chajascos)
 some of the lying corpses in
the foreground are in fact mum-mified
and wrapped in leather
(one can see the seams).
 5 Europeans
 2 Canarios (Guanches?)
 bright daylight in the back-ground
 original view (not mirrored)*
 4 jars with milk as provi-sion
for the dead.
Read also the caption to Fig.
21 in Ulbrich (2019: 62; *in-teresting
are also two mir-rored
scenes in figs.15 / 20).
A new mirrored motif is de-picted
here in fig.6.
This plate was executed as
etching with aquatint colo-ration.
This means that the
etching in this case served
only as framework for the
color parts, thus creating less
sharpness than a copper-plate
engraving (read also p.
146).
Please compare fig.14 also with
the French original in fig.3.


"8"9
122MMALMOGAREN 51/2020
ALMOGAREN 51/2020MM123
Fig. 15
Le costume ancien et mo-derne.
Afrique 1 / Milano
1815 / planche 65. We see:
 a cavern (two lava tubes)
of pink stone
 some hanging plants
 23 naked dried corpses at
the walls (partly only to be
guessed, nearly clear)
 18 pink corpses on wooden
biers (Span. chajascos), un-naturally
and blurred
 some of the lying corpses
in the foreground are in fact
mummified and wrapped
in leather (one can see only
two of the seams)
 5 Europeans
 2 Canarios (Guanches?)
 very bright daylight in the
background and in the tube
 original view (not mir-rored)
 4 jars with milk as pro-vision
for the dead
 aquatint looking washed-out
(too much water used?)
 faint contours.
$
"8":
124MMALMOGAREN 51/2020
ALMOGAREN 51/2020MM125
Fig. 16
Il costume antico e moder-no.
Africa 1 / Milano 1819 /
tavola 65. We see:
 a cavern (two lava tubes)
of ochre and reddish stone
 some hanging plants
 24 naked dried corpses
standing at the walls (only
partly three-dimensional),
in the background with see-through
effect
 18 corpses on wooden
biers (Span. chajascos)
 some of the lying corpses
in the foreground are in fact
mummified and wrapped
in leather (one can see the
seams)
 5 Europeans
 2 Canarios (Guanches?)
 bright daylight in the
background
 original view (not mir-rored)
 4 jars with milk as pro-vision
for the dead.
Corpses with greyish, yel-lowish
or beige hue.


"8";
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ALMOGAREN 51/2020MM127
Fig. 17
Le costume ancien et mo-derne.
Afrique 1 / Milano
1819 (1820 unlikely) /
planche 65. We see:
 a cavern (two lava tubes)
of brown, grey or yellowish
stone
 illogically a very bright
foreground
 some hanging plants
 23 naked, dried, grey or
yellowish corpses standing
at the walls, too yellowish
near the exit (three-dimen-sional)
 18 yellowish or grey corp-ses
on wooden biers (Span.
chajascos)
 some of the lying corpses
in the foreground are in fact
mummified and wrapped
in leather (one can see the
seams)
 5 Europeans, three with a
grey dress
 2 Canarios (Guanches?)
 original view (not mir-rored)
 4 jars with milk as provi-sion
for the dead.
Grey corpses or mummies
do not correspond with
scientific understanding.
$
"8";
128MMALMOGAREN 51/2020
ALMOGAREN 51/2020MM129
Fig. 18
Il costume antico e moder-no.
Africa 1 / Milano 1827 /
tavola 65. We see:
 a cavern (two lava tubes)
of reddish stone, structure
completely different to
figs.14,16,17
 some hanging plants
 23 naked dried corpses
standing at the walls (only
partly three-dimensional),
see-through effect
 18 corpses on wooden
biers (Span. chajascos)
 some of the lying corpses
in the foreground are in fact
mummified and wrapped
in leather (one can see the
seams)
 5 Europeans
 2 Canarios (Guanches?)
 bright daylight in the
background
 original view (not mir-rored)
 4 jars with milk as provi-sion
for the dead.
An overall acceptably co-lorized
scene with naturally
looking brightness.


"8,9
130MMALMOGAREN 51/2020
ALMOGAREN 51/2020MM131
Fig. 19
Le costume ancien et mo-derne.
Afrique 1 / Milano
1827 / planche 65. We see:
 a cavern (two lava tubes)
of unnatural reddish stone
 some hanging plants
 23 grey, naked and dried
corpses at the walls (partly
a see-through effect)
 18 grey, pink* or brownish
corpses on wooden biers
(Span. chajascos), 12 of
these unnaturally colorized
 some of the lying corpses
in the foreground are in fact
mummified and wrapped
in leather (one can see the
seams). Furthermore their
heads and faces are some-times
pink or sometimes
grey.
 5 Europeans
 2 Canarios (Guanches?)
 bright daylight in the
background
 original view (not mir-rored)
 4 jars with milk as pro-vision
for the dead.
*In the middle and right
side of the scene there are
eleven mummies colorized
pink. This is of course to-tal
nonsense by the colorist
because the corpses were –
according to the rites –
wrapped in fine, bright
leather which by the time
became brownish (Ulbrich
2019: 49, 63, 64).
$
"8,9
132MMALMOGAREN 51/2020
ALMOGAREN 51/2020MM133
Fig. 20
Le costume ancien et moder-ne.
Afrique 1 / Milano 1827 /
planche 65. We see:
 a cavern (two lava tubes)
with mostly naturally looking
black lava stone
 some hanging plants
 23 pale, naked and dried
corpses at the walls, too
reddish near the exit
 18 greyish corpses on wooden
biers (Span. chajascos)
 some of the lying corpses in
the foreground are in fact
mummified and wrapped in
leather (one can see the
seams)
 5 Europeans
 2 Canarios (Guanches?)
 bright daylight in the back-ground
and in the tube
 original view (not mirrored)
 4 jars with milk as provision
for the dead.
It is worthwhile to compare
figs. 19 & 20. Both originate
from the same print but are
colorized differently. While
fig. 19 shows fantasy colors,
fig. 20 offers one of the most
naturally looking caverns of
the whole comparison line (al-though
pinkish corpses and
grey mummies of the Guan-ches
do not exactly corres-pond
with scientific experi-ence).
$
"8,9
134MMALMOGAREN 51/2020
Fig. 21
Il costume antico e moderno. Africa 1 / Livorno 1831 / tavola 7, picture 5. We see:
 a cavern (two lava tubes) with bright daylight in the background and foreground,
while the middle part lies in an illogic shadow.
 some hanging plants
 only 14 naked dried corpses near the walls (partly not recognizable)
 only 12 corpses on wooden biers (Span./Guanche chajascos)
 some of the lying corpses should be mummified and wrapped in leather but this is
not identifiable.
 5 Europeans / 1 Canario (Guanche?)
 the tube in the shady part (left hand) is not as deep as in the other pictures and
comprises no corpses.
 only two jars with milk as provision for the dead.
Fig. 21 (b/w) looks like an illustration which was originally arranged for a simple
combination of the etching technique and a coloration.
Fig.22 - Il costume antico e moderno. Africa 2, 1st ed. / Vincenzo Batelli / Firenze 1823
/ detail of tavola LXV. We see a fully professional copper-plate engraving with sharp
contours and complex details. Colorized versions were published too (figs.24-27).
Fig. 23 - Il costume antico e moderno. Africa 1 (= T.8) / Dai Torchi Del Tramater / Na-poli
1833 / tav. 7, pict. 5. This is the most frowsy illustration of the Guanche cave regarding
the primitive structure and the missing painting accuracy. For example: blue and ochre
corpses exist side by side. Only 4 Europeans and 2 Canarios (Guanches?). Only 2 jars.
Fig. 23
ALMOGAREN 51/2020MM135
Fig.22
136MMALMOGAREN 51/2020
Fig.24 - Il costume antico e moderno. Africa 2, 1st ed. / Vincenzo Batelli / Firenze 1823 / tav. LXV.
We see a colorized copper-plate engraving with the same details as in fig.14. This plate shows
ALMOGAREN 51/2020MM137
pale nude corpses leaning at the walls whereas more brownish looking mummies are lying on
the biers – a hue which the colorist interpreted more or less authentically.
138MMALMOGAREN 51/2020
Fig.25 - Il costume antico e moderno. Africa 2, 1st ed./ Vincenzo Batelli / Firenze 1823 / tavola LXV.


white
slip
ALMOGAREN 51/2020MM139
This plate was probably also made by this colorist who allowed himself some mistakes (see arrows).


white
illogic white
140MMALMOGAREN 51/2020
Fig.26 - Il costume antico e moderno. Africa 2, 2nd ed. / V. Batelli e Compagni / Firenze 1840 /
tavola 65. We see a thoroughly executed copper-plate engraving with coloration offering the
same details – or even more – as in fig.14.
ALMOGAREN 51/2020MM141
Apparently the makers of the Batelli versions (fig. 22, 24-27) wanted to offer illustrations with
more sharpness and contours to their readers compared to the impressions which figs.14-21 &
23 convey.
142MMALMOGAREN 51/2020
Fig.27 - Il costume antico e moderno. Africa 2, 2nd ed. / V. Batelli e Compagni / Firenze 1840
/ tavola 65. Although the black lava looks more or less naturally (nearly a dark violet), the
neighbourhood of the brownish rocks are geologically not explainable in such a combination
ALMOGAREN 51/2020MM143
within a cave which most likely has its prototype in the Barranco de Herques, Tenerife. An abso-lute
no-go are the green corpses and the missing coloration of the rocky ground. Apparently a
second colorist, with a sense for strange optical sensations, was used for this part of the issue.
144MMALMOGAREN 51/2020
Fig. 28 - Palermo 1844 (plea
ALMOGAREN 51/2020MM145
ase read text on next page)
146MMALMOGAREN 51/2020
 Fig.29 - Il costume antico e moderno.
Africa 1 / Celli e Ricci / Firenze 1832 /
tavola 3, picture 5 (a competing series to
the one of V. Batelli). This very small and
strikingly simple illustration of a sepul-chral
Guanche cave on Tenerife (with only
six dried corpses and only nine mummies)
indicates that this company operated as a
low-budget editorial. The red color for the
dresses of the two visitors is placed quite
inaccurately. Some color for the chajas-cos
(biers) is missing (see also figs.21 &
23 for similar unsophisticatedness).
Fig.28 (p. 145) - Il costume antico e moderno. Africa 2 / Salvatore Barcellona / Paler-mo
1844 / tavola 65 / "Prima Edizione Siciliana". This is another copper-plate engraving
which shows the same elements like fig.14, an etching. But similar like figs.22 & 26
it offers more exactitude for all parts of the picture (incl. 21 dried corpses and 17
mummies). The coloration is applied perfectly and the overall style of the engraver
(not the colorist) uses finer contours regarding the persons and their dresses (legwear).
 Fig.30 - This cover belongs to Fasc.61
(brochure) of "Africa II", a tome of the
series "I popoli del mondo. Usi e costumi."
(Milano 1849). Such fascicules were com-mon
in book trade (and partly still are),
intended for subscribers of a series and of
course to finance the costs of printing.
ALMOGAREN 51/2020MM147
Fig.31 - This scene demonstrates the edge-exact colorizing of the Palermo version
(see tome America IV, 1860, "Desolazione de'Peruviani durante l'ecclisse della
Luna"="Despair of the Peruvians during the eclipse of the moon").
Numerous modern editorials around the world are specialising in reprints or
excerpts of the "Costume" series by Giulio Ferrario; these books and plate
collections are not subject of this paper.
Fig.32 - The six engravers (incisori) and etchers of the "Cave Sepolcrali de'
Guanci" deployed between 1815 and 1844 for the "Costume" series.

     
Latin "incidit" means "has cut [the engraving or etching]". Latin "fecit" means
"has made [design and/or cut]". The names of the colorists are unknown.
"
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148MMALMOGAREN 51/2020
148MMALMOGAREN 51/2020
BC ?
 D ,E,E
Fig. 33 - Distribution of Italian book illustrations showing a burial cave of the Guanches
"
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:
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9
8
;
"E
""
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"/
"2
":
Author Year Title Editorial
Ferrario, Giulio [et al.] 1815-
Le costume ancien et moderne. Imprimerie de l'Éditeur
1820- (first edition)
1826 [b/w, partly hand-colored or fully hand-colored]
Ferrario, Giulio [et al.] 1815 Le costume ancien et moderne. Afrique 1* Imprimerie de l'Éditeur
(from first edition) [this version hand-colored]
Ferrario, Giulio [et al.] 1819 Le costume ancien et moderne. Afrique 1* Imprimerie de l'Éditeur
(1820 (from first edition) [this version hand-colored]
Ferrario, Giulio [et al.] 1827 Le costume ancien et moderne. Afrique 1* Imprimerie de l'Éditeur
(second edition) [this version hand-colored]
Ferrario, Giulio [et al.] Il costume antico e moderno. Tipografia dell'Editore
1820- (first edition)
1826 [b/w, partly hand-colored or fully hand-colored]
Ferrario, Giulio [et al.] 1817, Il costume antico e moderno. Africa 1* Tipografia dell'Editore
1819 (reprints from first edition) Hand-colored.
Ferrario, Giulio [et al.] 1827 Il costume antico e moderno. Africa 1* Tipografia dell'Editore
(second edition) [this version hand-colored]
Ferrario, Giulio [et al.] 1829 Il costume antico e moderno. Tipografia dell'Editore
(third edition)
Ferrario, Giulio [et al.] 1831 Il costume antico e moderno. Africa 1* Tipografia Vignozzi
(illustr. b/w; hand-colored available) (Later: Fratelli Vignozzi e Nipote)
Ferrario, Giulio [et al.] 1830 Il costume antico e moderno. Africa 1* Alessandro Fontana
(illustr. b/w or hand-colored)
Ferrario, Giulio [et al.] 1833 Il costume antico e moderno. Tomo8 (= Africa 1*) Dai Torchi Del Tramater
(illustr. hand-colored, also b/w) (Società Tipografica Tramater)
Ferrario, Giulio [et al.] 1823 Il costume antico e moderno. Africa 2* Vincenzo Batelli
(illustr. hand-colored or b/w)
Ferrario, Giulio [et al.] 1840 Il costume antico e moderno. Africa 2* V. Batelli e Compagni
(illustr. hand-colored, also b/w)
Ferrario, Giulio [et al.] 1832 Il costume antico e moderno. Africa 1* Celli e Ricci
(illustr. hand-colored, also b/w)
Ferrario, Giulio [et al.] 1844 Il costume antico e moderno. Africa 2* Salvatore Barcellona
(illustr. hand-colored, also b/w)
-Subtitle of all Italian editions: "O [ovvero] storia del governo, della milizia,
1826
1815-
1826
Tipografia dell'Editore
(António Fortunato Stèlla was only
a subscriber, not the printer in this case)
1815
not
likely)
Reprints
1817, 1819,
1822
Reprints
1817, 1819,
1822, 1826
*
     @  
     	  
  

incl.Index
+ Suppls.
1831,1832,
1834
[b/w, partly hand-colored
or fully hand-colored]
ALMOGAREN 51/2020MM149
MMALMOGAREN 51/2020MM149
(originally basing on a design by Charles-Nicolas Cochin jr.). [blue = depicted in this article]
Partly selectable
Partly selectable
Partly selectable
Partly selectable
Location Pages Book format Subscription Language Guanche cave Remarks
Milano ___ quarto, Yes French Yes Subscription in 143 fasc.
folio for the entire first series
(14 tomes in 17 volumes).
Milano 472 p. quarto, Selectable French p. 353 / pl. 65 Hardcover.
folio *Two tomes for Afrique.
Milano 472 p. quarto, Selectable French p. 353 / pl. 65 Hardcover.
folio *Two tomes for Afrique.
Milano 472 p. quarto, Selectable French p. 353 / pl. 65 Hardcover.
folio *Two tomes for Afrique.
Milano ___ quarto, Yes Italian Yes Subscription in 143 fasc.
folio for the entire first series
(14 tomes in 17 volumes).
Milano 472 p. quarto, Selectable Italian p. 353 / tav. 65 Hardcover.
folio p .353 / tav. 65 *Two tomes for Africa.
Milano 472 p. quarto, Selectable Italian p. 353 / tav. 65 Hardcover.
folio *Two tomes for Africa.
Milano ___ folio Select.) Italian Yes Hardcover. Last production
of 300 prints per vol./part. The few complete, fully hand-colored sets can be termed as bibliophile.
Livorno 597 p. duodecimo Partly Italian p. 429 / tav. 7'5 Hardcover.
selectable *Three tomes for Africa.
Torino 468 p. octavo Italian ___ Hardcover. The so-called
"Terza Edizione". *Three tomes for Africa. Attention:The picture of the Guanche cave was omitted.
Napoli 519 p. duodecimo Italian tavola 7'5 Hardcover. "Prima Edi-zione
Napolitana". *Three tomes for Africa. Eight tavole at the end.
Firenze 256 p. octavo Italian p.152/tav.LXV Hardcover. "Edizione
Seconda Riveduta ed Accreschiuta" (= 1st edition in Firenze). *Four tomes for Africa.
Firenze 256 p. octavo Partly Italian p.153/tav.65 Hardcover. Reprint of the
selectable 1st edition in Firenze. *Four tomes for Africa.
Firenze 691 p. octavo Italian p.543/tav.3'5 Hardcover or brochure.
Competing edition in Firenze (see Batelli). *Three tomes for Africa. Partly colorized.
Palermo 262 p. octavo, Selectable Italian tavola 65 Hardcover. "Prima Edi-quarto
zione Siciliana". *Four tomes for Africa.
della religione, delle arti, scienze ed usanze di tutti i popoli antichi e moderni."
octavo,
duodecimo
1820 estimated by a trader.
p. 353 / pl. 65
    


  5 

 


 	 
 
 	
Selectable
(only main series)
150MMALMOGAREN 51/2020
fig. 14 - Ferrario, Giulio (1817): Il costume antico e moderno. O storia del governo,
della milizia, della religione, delle arti, scienze ed usanze di tutti i popoli antichi
e moderni. Volume Primo dell' Africa.- Tipografia dell' Editore, Milano, 480 p.
(Tavola 65)
fig. 16 - Ferrario, Giulio (1819): Il costume antico e moderno. O storia del governo,
della milizia, della religione, delle arti, scienze ed usanze di tutti i popoli antichi
e moderni. Volume Primo dell' Africa.- Tipografia dell' Editore, Milano, 480 p.
(Tavola 65)
fig. 18 - Ferrario, Giulio (1827): Il costume antico e moderno. O storia del governo,
della milizia, della religione, delle arti, scienze ed usanze di tutti i popoli antichi
e moderni. Volume Primo dell' Africa.- Tipografia dell' Editore, Milano, 480 p.
(Tavola 65)
fig. 15 - Ferrario, Giulio (1815): Le costume ancien et moderne. Ou histoire du
gouvernement, de la milice, de la religion, des arts, sciences et usages de tous
les peuples anciens et modernes. Afrique 1er. Vol.- De l' imprimerie de l'éditeur,
Milan, 480 p. (Planche 65)
fig. 17 - Ferrario, Giulio (1819 [or 1820 ? by a merchant]): Le costume ancien et
moderne. Ou histoire du gouvernement, de la milice, de la religion, des arts,
sciences et usages de tous les peuples anciens et modernes. Afrique 1er. Vol.-
De l' imprimerie de l'éditeur, Milan, 480 p. [Planche 65]
fig. 19 - Ferrario, Giulio (1827a): Le costume ancien et moderne. Ou histoire du
gouvernement, de la milice, de la religion, des arts, sciences et usages de tous
les peuples anciens et modernes. Afrique 1er. Vol.- De l' imprimerie de l'éditeur,
Milan, 480 p. [Planche 65]
fig. 20 - Ferrario, Giulio (1827b): Le costume ancien et moderne. Ou histoire du
gouvernement, de la milice, de la religion, des arts, sciences et usages de tous
les peuples anciens et modernes. Afrique 1er. Vol.- De l' imprimerie de l'éditeur,
Milan, 480 p. [Planche 65]
This list does not necessarily mean that these books are the only ones reachable through
public libraries and/or digital sources. This itemization does express only that there
were observed graphical and ethnological peculiarities in some etchings.
Fig.34 - Citations of the "Africa 1" & "Afrique 1" tomes of Ferrario's "Costume" series
featuring Plate 65 (p. 353) = "Cave sepolcrali de' Guanci" [depicted in this paper].
Asia / Asie, vol. 1 [1815]
Africa / Afrique, vol. 1 [1815]
Europa / Europe, vol. 1, pt. 1 [1817]
Asia / Asie, vol. 2 [1817]
Asia / Asie, vol. 3 [1817]
Asia / Asie, vol. 4 [1818]
Africa / Afrique, vol. 2 [1819]
Europa / Europe, vol. 2, [1820]
America / Amerique, vol. 1 [1820]
Fig.35 - Chronological sequence of the complete "Costume" series,
Milano 1815-1826 (original timetable) [other print runs not considered here]
America / Amerique, vol. 2 [1821]
Europa / Europe, vol. 1, pt. 2 [1823]
Europa / Europe, vol. 1, pt. 3 [1823]
Europa / Europe, vol. 3, pt. 1 [1823]
Europa / Europe. vol. 3, pt. 2 [1823]
Europa / Europe, vol. 4 [1824]
Europa / Europe, vol. 5 [1825]
Europa / Europe, vol. 6 [1826]
[14 tomes in 17 volumes or parts]
ALMOGAREN 51/2020MM151
Fig.37 - Giulio Ferrario had to pay court to the Austrian Emperor Franz I., also sovereign
of the Regno Lombardo-Veneto (portrait in "Aggiunte e rettificazioni 1", Milano 1831).
Fig.36 - Titles of index & supplements:
Del costume antico e moderno di tutti i popoli. Indice generale. [1829]
Aggiunte e rettificazioni all opera il costume antico e moderno di tutti i popoli. 1 [1831]
Aggiunte e rettificazioni all opera il costume antico e moderno di tutti i popoli. 2 [1832]
Aggiunte e rettificazioni all opera il costume antico e moderno di tutti i popoli. 3 [1834]
Some libraries around the world and several antiquarian bookshops and
auction houses report versions of the "Costume" series (Milano) which do not
correspond with the "only" edition described chronologically in fig.35. Fur-thermore
the author of these lines has evidence of tomes, fascicules and diver-
152MMALMOGAREN 51/2020
gent series orders not mentioned by the editorial or in the "Aggiunte" (supple-ments).
Additionally some circulating complete sets seem to have been assorted
out of nonconforming production years, probably to make them more attrac-tive
for the potential buyer. This can for example be judged by a volume printed
before a younger one – id est II produced before I what normally is impossible
within the Ferrario print management – or a later added index (printed 1829).
A view on the final events: The exactitude of colorations reached in the last
edition of the Milano set (1829) can only be described as exemplary (fig. 38).
And the very last tome regarding "Il costume antico e moderno" (America IV)
was produced 1860 in Palermo by Salvatore Barcellona [reminding the time-frame
of this paper's explanations mentioned in the title].
Fig.38 - "Il costume
antico e moderno"
t. Africa II (Mila-no
1829), tavola 16:
"I Galla".
I thank Armin Hun-dertmark
(archiv-ka
narische-inseln.com)
and Francesco Chel-lini
(gozzini.it) for
their help and exper-tise.
ALMOGAREN 51/2020MM153
5. Literature:
Anonymous [Italian specialist] (1828): Uebersicht der neuesten italienischen Lite-ratur.
Zweiter Brief.- Das Ausland Nr. 66-67 (Cotta), München, p. 316
Bankes, Thomas (18007): A new, royal, and authentic and complete system of uni-versal
geography.- C. Cooke, London, 460 p. (first edition 1775) [Guanche cave
p. 421 / plate 55]
Bellinzoni, Luigi (1884, 1886): Usi e costumi antichi e moderni di tutti i popoli del
mondo.- Edizione E. Perino, Roma, 4 vols.
Browne, Daniel Jay (1834): Letters from the Canary Islands.- George W. Light
Ed., Boston (USA), 140 p.
Brunet, Jacques-Charles (1861): Manuel du libraire et de l'amateur de livres. Tome
II. Ciacconius-Gyron.- Firmin Didot, Paris, 1.848 columns ["Ferrario, Giulio"
in col. 1232-1233]
Brunialti, Attilio (1849, etc): I popoli del mondo. Usi i costumi. t. Africa II.- Casa
Editrice Dr. Francesco Vallardi, Milano, 415 p. (complete series 8 vols.)
Dally, Nicolas (1844): Usi e costumi di tutti i popoli del mondo. t. Asia.- (Stabilimento
Tipografico Fontana), Torino, 637 p. (transl. from French) [rip-off Napoli 1849]
de La Harpe, Jean-François (1780): Abrégé de l'histoire générale des voyages. T.1.-
Hôtel de Thou [chez Moutardier], Paris, 350 p. (Livre Second / Chap. II, 162-
243)
de La Harpe, Jean-François (1781): Compendio della storia generale de' viaggi.
Tomo Primo.- Presso Rinaldo Benvenuti, Venezia, 267 p. + index without list
of plates (first edition) [Guanche cave p. 235]
de La Harpe, Jean-François (1782): Compendio della storia generale de' viaggi.
Tomo Primo. Edizione Seconda.- Presso Vincenzio Formaleoni, Venezia, 267
p. + index incl. list of plates [Guanche cave p.235]
de La Harpe, Jean-François (1834): Compendio della storia generale de' viaggi.
Tomo Primo. Edizione Terza.- Stamperia Fibreno, Napoli, 448 p. + index incl.
list of plates [Guanche cave p.212]
de La Harpe, Jean-François (1829-1830): Bibliothèque Générale des Voyages.
Prèmiere Partie "Afrique". Tome II.- chez Froment (etc.), Paris, 256 p. + index
[Guanche cave as frontispiece]
Ferrario, Giulio (1815): Il costume antico e moderno. O storia del governo, della
milizia, della religione, delle arti, scienze ed usanze di tutti i popoli antichi e
moderni. Volume Primo dell' Africa.- Tipografia dell' Editore, Milano, 480 p.
(tavola 65)
Ferrario, Giulio (1815): Le costume ancien et moderne. Ou histoire du gou-vernement,
de la milice, de la religion, des arts, sciences et usages de tous les
peuples anciens et modernes. Afrique 1er. Vol.- De l' imprimerie de l'éditeur,
Milano, 480 p. [planche 65]
Ferrario, Giulio (1816-1829): see more citations of the "Costume" series featuring
the Guanche cave in the table of fig.33
154MMALMOGAREN 51/2020
Green, John (compiler 1745): A new general collection of voyages and travels. Vol.1.-
Thomas Astley (editor), London, 680 p. [incl. Canary Islands, Guanches etc.;
three more volumes published]
Herchenbach, Wilhelm (1868): Aus Oncle Nabor's Tagebuch. Die Geschichte eines
Flüchtlings.- Erzählungen für Volk und Jugend 1. Serie / Nr. 40 (Verlag Georg Joseph
Manz), Regensburg, 180 p. (Guanche cave p.161)
Jombert, Charles-Antoine (1770): Catalogue de l'oeuvre de Ch. Nic. Cochin fils.-
Imprimerie de Prault, Paris, 144 p. ["Cave sépulchrale des Guanches" on p. 60]
Loumyer, Jean-François-Nicolas (1843-1844): Moeurs, usages et costumes de tous les
peuples du monde. 4 t.- publié par Auguste Wahlen (Librairie Historique-Artistique),
Bruxelles, Afrique-Amérique 365 p. / Asie 591 p. / Europe 361 p. / Oceanie 368 p.,
b/w or colorized [see also Wahlen-Fierlants 1862]
Nutini, Stefano (1996): "Ferrario, Giulio" in Dizionario Biografico degli Italiani.
Vol.46. Feducci-Ferrerio.- Istituto della Enciclopedia Italiana, Roma, XV + 816 p.
(see also treccani.it)
Pitrè, Giuseppe (1894): Bibliografia delle tradizioni popolari d'Italia.- Carlo Clausen
(Ed.), Torino-Palermo, 603 p. (actually printed by Stabilimento Tipografico Virzì,
Palermo) ["Ferrario, Giulio" on p. 318-319]
Prévost d'Exiles, Antoine-François; et al. (1746): Histoire générale des voyages, ou
Nouvelle collection de toutes les relations de voyages par mer et par terre. T.2
[quarto].- chez Didot, Paris, 654 p. [plate XV].
[Prévost d'Exiles, Antoine-François; et al.] (1751): Storia generale de' viaggi, o nuova
raccolta di tutte le relazioni de' viaggi per mare, e per terra. T.6.- Appresso Pietro
Valvasense, Venezia, 324 p. [incl. Canary Islands; Guanche cave on p.188].
Redaction (1824): [Report on copyright problems in Italy].- Morgenblatt für gebildete
Leser 18.Jg. (J.G. Cotta'sche Buchhandlung), Stuttgart-Tübingen, p. 228
Società di Letterati Italiani (1862): Usi i costumi di tutti i popoli dell'universo. Africa
(= Volume Settimo).- Libreria de Francesco Sanvito (succ. de Borroni e Scotti),
Milano, 259 p.
Ulbrich, Hans-Joachim (2014): Die kanarischen Ureinwohner in der Cosmographia
(1544) des Sebastian Münster.- Almogaren 44-45 / 2013-2014 (Institutum Canarium),
Wien, 249-268
Ulbrich, Hans-Joachim (2019): Der Hype um Illustrationen von toten Guanchen im
Europa des 18.-19. Jahrhunderts.- Almogaren 50 / 2019 (Institutum Canarium),
Wien, 41-82 [with a digital annex on p. 82a-e when used as separatum]
Vecellio, Cesare (1590): De gli habiti antichi et moderni di diverse parti del mondo.
Libri due.- Presso Damian Zenaro, Venezia, 499 p. [Revised issues Venezia 1664 &
Paris 1859-1860]
Wahlen-Fierlants, Adolphe (1862): Le costume ancien et moderne. Moeurs et usages
de tous les peuples du monde*.- Librairie Wahlen-Fierlants (Typographie de E.
Guyot), Bruxelles, no pagination (ca. 760 p.) [*Title of the cover; main title longer]
See also Loumyer (1843-1844) for the four-tome version which was printed earlier.