By John G. Chapman
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Extra resources for American Drawing-Book Manual for the Amateur
4, 146–7. L. Nevinson, ‘Illustrations of Costume in the Alba Amicorum’, Archaeologia, 106, 1979, 167–76. 13 V. Traub, ‘Mapping the Global Body’, in P. Erickson and C. Hulse, eds, Early Modern Visual Culture: Representation, Race, and Empire in Renaissance England, Philadelphia, 2000, 51; also see Jones and Stallybrass, supra n. 8, 6. 14 For a thorough account of all of the depictions of Inuits resulting from Frobisher’s voyages, see W. C. B. F. , Indians in Europe: An Interdisciplinary Collection of Essays, Aachen, 1987, 61–140.
4). Although he hails from an exotic locale, when considered alongside a figure like the French courtier (Fig. 5) he appears in his physical make-up essentially like a European: both men, happily, have two legs, two eyes, and heads on top of their shoulders. What distinguishes one from the other, what establishes their respective places in the world, is not their inverted or exaggerated physical characteristics, but their costume. 3 These items, carried in the hand or worn on the body, set him apart from the courtier, whose body is almost lost beneath an outlandish slashed doublet and ballooning breeches.
468 recto: ‘There are in the hands of seamen both written & printed 2 sortes of regiments. The one sorte I count