《美国寓言》，摘自《现代新发明》（《新编汇辑》），第1版，共19版 - 美国大都会艺术博物馆展品查阅

品名（中）	《美国寓言》，摘自《现代新发明》（《新编汇辑》），第1版，共19版
品名（英）	Allegory of America, from New Inventions of Modern Times (Nova Reperta), plate 1 of 19
入馆年号	1934年，34.30(2)
策展部门	绘画和印刷品（Drawings and Prints）
创作者	Theodoor Galle【1571 至 1633】【荷兰人】
创作年份	公元 1595 - 公元 1605
创作地区
分类	印刷品（Prints）
尺寸	页: 10 5/8 x 7 7/8 英寸 (27 x 20 厘米)
介绍（中）	这是名为《新汇辑》的系列中的第一个板块，该系列从欧洲的角度考察了文艺复兴时期的新发明和新发现。在这幅版画中，佛罗伦萨探险家阿梅里戈·韦斯普奇与美洲相遇。斯特拉达纳斯将欧洲大陆描绘成一个寓言式的人物：一位年轻女子在吊床上向韦斯普奇做手势。她只戴着羽毛头饰和裙子，她的俱乐部被遗弃在右边的树上，一只食蚁兽在那里大快朵颐。在她身后起伏的风景中，还有其他与美洲狮有关的动物——马和熊。还描绘了一个吃人的场景将非洲、美洲、亚洲和欧洲四大洲作为具有所谓属性的女性寓言人物的表现有着悠久的历史，16世纪末，切萨雷·里帕在其颇具影响力的徽章书《标志学》中对其进行了标准化。由于这些寓言几乎完全是欧洲白人男性艺术家的作品，它们代表了一种有偏见的观点，并促进了基督教以欧洲为中心的自我意识，这是种族和性别刻板印象形成习惯的缩影。　　　在这里，维斯普奇手持一根顶端有十字架的杖和南十字旗。他还持有一个黄铜水手星盘，帮助他在海洋中航行，寻找新的土地进行探索，并代表西班牙和葡萄牙寻找可供开发的人。1497年至1504年间，维斯普奇在克里斯托弗·哥伦布早期旅行的刺激下，多次前往南美洲和中美洲探险。在这幅版画的预备图（1974.205）中，维斯普奇将寓言人物命名为美国，这是他自己名字的女性化版本。
介绍（英）	This is the first plate from the series entitled Nova Reperta, which surveys new inventions and discoveries made during the Renaissance from a European perspective. In this engraving, the Florentine explorer Amerigo Vespucci is shown encountering the Americas. Stradanus presents the continent(s) as an allegorical figure: a young woman gesturing towards Vespucci from her hammock. She wears only a feathered headdress and skirt, her club abandoned against the tree at the right, where an anteater is shown feasting. Set behind her in the rolling landscape are other animals associated with the Americas—a horse and a bear. Also depicted is a scene of cannibalism. The representation of the Four Continents—Africa, America, Asia and Europe—as female allegorical figures with their so-called attributes has a long history and was standardized in the late sixteenth century by Cesare Ripa in his influential emblem book Iconologia. Since such allegories were almost exclusively the work of white male European artists, they represent a biased point of view and promote a Christian Eurocentric sense of self that epitomizes formative habits of racial and gender stereotyping.　　　 Here, Vespucci carries a staff with a crucifix at its pinnacle and a banner of the Southern Cross. He also holds a brass mariner's astrolabe which helped him navigate the seas to find new lands to explore and people to exploit on behalf of Spain and Portugal. Vespucci undertook several expeditions to South and Central America between 1497 and 1504, spurred by Christopher Columbus’s earlier journey. In the preparatory drawing for this print (1974.205), Vespucci is shown naming the allegorical figure America, a feminized version of his own name.