found land of Virginia (1590)

https://www.loc.gov/item/48032384/

The Case of Thomas Hobbes. European Review, Vol. 30, No. 5, 627-638.

2021.Aramuvadan, Srinivas. „Hobbes and America”, in The Postcolonial Enlightenment. Eighteenth-century Colonialism and Postcolonial Theoryhg. v. Daniel Carey und Lynn Festa 
Molony, Pat. „Hobbes, Savagery, and International Anarchy”, American Political Science Review105, H.1 (2011), 189-204.

Hinshelwood, Brad. “The Carolinian Context of John Locke’s Theory of Slavery.” Political Theory 41, no. 4 (2013): 562–90. http://www.jstor.org/stable/23484595.

Springborg, Patricia. “HOBBES, DONNE AND THE VIRGINIA COMPANY: ‘TERRA NULLIUS’ AND ‘THE BULIMIA OF DOMINIUM.’” History of Political Thought 36, no. 1 (2015): 113–64. http://www.jstor.org/stable/26226965.

Evrigenis, Ioannis D. Images of Anarchy: The Rhetoric and Science in Hobbes’s State of Nature. Cambridge: Cambridge University Press, 2014.

Skinner, Quentin. “Hobbes and the Humanist Frontispiece.” Chapter. In From Humanism to Hobbes: Studies in Rhetoric and Politics, 222–315. Cambridge: Cambridge University Press, 2018.

Bredekamp, Horst. “Thomas Hobbes’s Visual Strategies.” Chapter. In The Cambridge Companion to Hobbes’s Leviathan, edited by Patricia Springborg, 29–60. Cambridge Companions to Philosophy. Cambridge: Cambridge University Press, 2007.

Jackson, Nicholas D. “Hobbes’s Flight to France, De Cive and the Beginning of the Quarrel with Bramhall, Summer 1645.” Chapter. In Hobbes, Bramhall and the Politics of Liberty and Necessity: A Quarrel of the Civil Wars and Interregnum, 68–99. Cambridge Studies in Early Modern British History. Cambridge: Cambridge University Press, 2007.

The engraver Theodor de Bry who had established a publishing house in Frankfurt am Main in the late 1580s publishes the travel report of Thomas Harriot with illustrative engravings based on the watercolors of John White.

For more information see: Gaudio, Michael: Engraving the Savage: The New World and Techniques of Civilization, University of Minnesota Press, 2008.

They come from the voyages that supposedly described Awawak-speaking Taíno and Carib peoples. Later other authors would further the image of the Brazilian savage/cannibal writing about Tupi-Guaraní speaking peoples.

Contrast writing and imagery?

"Travel writing from the voyages of Columbus and Vespucci is typically characterized as sensational, full of cannibals, promiscuous sexual behaviour and the absence of morals. In fact, peaceful visions of the inhabitants of the circum-Caribbean basin receive more column-inches in these works; references to violent activities are buried in the larger narrative. This is also the case in the early Portuguese travel writing about Brazil, notably the account of the first known landfall, penned by Pedro Vaz de Caminha" p. 73

For more see: Surekha Davies' chapter on Spit-roast, barbecues and the invention of the Brazilian cannibal.

many precious stones in their faces and chests. Nor does anyone possess anything, but all things are in common. And the men have as wives those who please them, be they mothers, sisters, or friends, among whom they make no distinction. They also fight with each other and eat each other,

even the slain, and hang the same flesh in smoke. They live to be a hundred and fifty years old and have no government."

Translation taken from the linked chapter of Surekha Davies, p. 80

--> costume does not match

--> physiognomy does not match

Additionally, it is interesting that all of these examples draw from different traditions of representing America.

--> this iconography is interesting because it somewhat contrast with the "wild" image of the Tupi.

--> the wood from Brazil was of great economic importance to Europe. Brazilwood was for example central to the production of tapestries and cloth in Normandy and Flanders (red pigment extracted from the wood)

Hobbes, Leviathan Kap. XXX, 181)

https://dn790000.ca.archive.org/0/items/neweweltvndameri00gott/neweweltvndameri00gott.pdf

Pat Moloney also mentions that both Quentin Skinner and Richard Tuck give attention to these engravings as a source.

--> however, this frontispiece is clearly based on a much broader cosmos of imagery which a well-versed engraver would have been very familiar with.

De Bry in particular reworded several motifs borrowing from Zacharias Heyns rather that staying faithful to the text that he was illustrating.

Cive, printed in contrast to the signed parchment manuscript64

anonymously in 1642 (Pl. 8). Engraved by Parisian Jean Matheus,65

it contains three fields that depict the three sections of the book.

The upper field of ‘Religio’ presents the eschatological Christ in

the center, who is orchestrating final judgment, with the redemption

displayed at the left and damnation at the right. The statue

of ‘Imperivm’, at the left edge of the lower picture band, whose

crown embodies legitimacy, the scale of justice, and the sword of

state authority, reigns over a peaceful country life displayed in the

center that corresponds to a city situated on a hill in the background.

Behind the churlish Indian of the lupine natural state of

‘Libertas’,66 two natives are being chased by three archers and a

warrior armed with a club, while at the right edge of the picture,

two cannibals are dressing the dismembered remains of a young

girl. In the background, the palisade-enclosed huts can be seen,

behind which a leaping beast of prey symbolizes the animalistic

counterpart.

--> Springer's text was so popular that it was translated into Latin, Flemish, and much later into English

1. to inform Europeans of the Tudor claims to Virginia

2. India Occidentalis I was meant to convince English readers of the attractiveness of the New World for setting

achieve their political function not through acts of iconoclasm or image-producing human sacrifice but rather by deterring destruction. Through the ‘terror’ of their pictorial power, they support those authorities that are in a position to punish destruction.

It is no accident that there has been no philosopher or

theorist of state before or since who so emphatically pursued visual strategies as core political theory.

specifically, lurid accounts of the Jamestown massacre, were probably the source of his negative judgment of ‘savages of America’ characterizing the

state of nature.

cord whereof dependeth on natural lust) have no government at all, and live at this day in that brutish manner as I said before. Howsoever, it may be perceived what manner of life there would be where there were no common power to fear, by the manner of life which men that have formerly lived under a peaceful government use to degenerate into, in a civil war.

now civilized and flourishing, whose inhabitants then were few, savage, short

lived, poor and mean, and lacked all the comforts and amenities of life which peace and society afford . . . [t]he present century presents an example of this

in the Americans

"Gasparo Balbi, a Venetian jeweller recording the adventures of his overland journey to Asia, noted that the islanders of Carnalcubar, in the Indian Ocean, “were fond of human flesh”. The De Brys subsequently altered Balbi’s observation by stating, in German, that “they ate nothing but human flesh”, only to leave the original testimony more or less

unchanged for their Latin version." p. 134

features of de Bry’s landscape, but at the same time transforms it into something

much more sinister. Again we see four hunters, three similarly armed with bows

and arrows. But in this case they are shooting at two fellow human beings who

are running for their lives, while a fourth stands ready to strike them down with

a club

achieve their political function not through acts of iconoclasm or image-producing human sacrifice but rather by deterring destruction. Through the ‘terror’ of their pictorial power, they support those authorities that are in a position to punish destruction.

It is no accident that there has been no philosopher or

theorist of state before or since who so emphatically pursued visual strategies as core political theory.

Cive, printed in contrast to the signed parchment manuscript64

anonymously in 1642 (Pl. 8). Engraved by Parisian Jean Matheus,65

it contains three fields that depict the three sections of the book.

The upper field of ‘Religio’ presents the eschatological Christ in

the center, who is orchestrating final judgment, with the redemption

displayed at the left and damnation at the right. The statue

of ‘Imperivm’, at the left edge of the lower picture band, whose

crown embodies legitimacy, the scale of justice, and the sword of

state authority, reigns over a peaceful country life displayed in the

center that corresponds to a city situated on a hill in the background.

Behind the churlish Indian of the lupine natural state of

‘Libertas’,66 two natives are being chased by three archers and a

warrior armed with a club, while at the right edge of the picture,

two cannibals are dressing the dismembered remains of a young

girl. In the background, the palisade-enclosed huts can be seen,

behind which a leaping beast of prey symbolizes the animalistic

counterpart.

--> costume does not match

--> physiognomy does not match

Additionally, it is interesting that all of these examples draw from different traditions of representing America.

The recurring use of feathers in these publications made images of various cultures and ethnic groups encountered in the New World completely interchangeable to the early modern reader in Europe.

The figure of Libertas is clothed in this way to convey a flattened and stereotypical image of uncivilized peoples.

an armed Algonquian Indian l anked by scenes of savage cruelty, including

a manhunt and cannibalism.

background, cannibals roast human flesh from a hanging limb, which is

reminiscent of Garcilasso de Vega’s travel accounts of the Americas