{"title":"Fuleco the Armadillo","authors":"John Beusterien","doi":"10.2307/j.ctv15d7zth.7","DOIUrl":null,"url":null,"abstract":"Chapter 2 provides a biogeography of Fuleco the armadillo, beginning with his birth in South America. Gonzalo Argote de Molina placed Fuleco’s carapace in his collection in Seville and Nicolás Monardes visited Argote’s collection, thereafter publishing a woodcut image of Fuleco (1571 and 1574). Fuleco functioned as a specimen in a modern museum in the sense that Argote, following the model of other Renaissance curiosity cabinets, sought to create a theater of the world. Fuleco was an important collectible because his body was considered an American wonder in which nature fashioned a bard on the skin of an unusual horselike animal. By contrast, Fuleco as specimen symbolically enhanced the value of live horses and armor as collectibles in both Argote and King Philip II’s collection.","PeriodicalId":227791,"journal":{"name":"Transoceanic Animals as Spectacle in Early Modern Spain","volume":"28 1","pages":"0"},"PeriodicalIF":0.0000,"publicationDate":"2020-09-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"Transoceanic Animals as Spectacle in Early Modern Spain","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.2307/j.ctv15d7zth.7","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
引用次数: 0
Abstract
Chapter 2 provides a biogeography of Fuleco the armadillo, beginning with his birth in South America. Gonzalo Argote de Molina placed Fuleco’s carapace in his collection in Seville and Nicolás Monardes visited Argote’s collection, thereafter publishing a woodcut image of Fuleco (1571 and 1574). Fuleco functioned as a specimen in a modern museum in the sense that Argote, following the model of other Renaissance curiosity cabinets, sought to create a theater of the world. Fuleco was an important collectible because his body was considered an American wonder in which nature fashioned a bard on the skin of an unusual horselike animal. By contrast, Fuleco as specimen symbolically enhanced the value of live horses and armor as collectibles in both Argote and King Philip II’s collection.
第二章介绍了犰狳富莱科的生物地理学,从它在南美洲的出生开始。Gonzalo Argote de Molina将Fuleco的甲壳放在他在塞维利亚的收藏中,Nicolás Monardes参观了Argote的收藏,随后出版了一幅Fuleco的木版画(1571年和1574年)。从某种意义上说,Fuleco作为现代博物馆的标本,Argote遵循其他文艺复兴时期的好奇柜的模式,试图创造一个世界的剧院。Fuleco是一件重要的收藏品,因为他的身体被认为是美国的奇迹,大自然在一种不寻常的马状动物的皮肤上塑造了一个硬物。相比之下,作为标本的Fuleco象征性地提高了活马和盔甲作为收藏品在Argote和国王菲利普二世的收藏中的价值。