 Yn ddau'r eich hoffi, mae'r ddweud yna yw Lys Charge, unrhyw ychydig yn y ddweud yma ar yr ysgolol yn ddweud ym Lys. Mae'r yrhyw yn ddweud yma ar y dyfodol a chyfodol, yn y ddweud yma ar y ddweud yma ar y ddweud yma ar y ddweud yma. on display here on the front, so, if you haven't already, I strongly encourage you to wander over at some point and have a look. It's here in the middle, but it's the long way up to the box. The manuscript I'm talking about is named to be General Pedro Geneda, de la Bersu, which we will translate as a general wagoner of the South Sea. This manuscript has a fascinating and very compelling backstory which I'm going to be talking a bit about today. I'm also going to mention briefly how it's tied into my own research as a PhD student. I work on the historical geography of Patagonia, which is how I came to be interested in this really fascinating piece. There are a lot of stretches from Mexico all the way down to the Straits of Agelon in its cartography, so it's been really influential and important for my own research. I'll start by just going a bit into the background of this piece, what we do know about it and what we don't, before contextualising it as a piece of cartography in its general Spanish canon. I'll also end by offering some reflections on the art of the lives it's had, particularly in the sphere of English cartography. I thought that was a clip of you. So, the Delo Pedro was acquired by the society at some point in the 19th century. We don't know where it came from. It may have come from Spain, but we don't have any kind of solid evidence to link it to anywhere in particular, apart from its place of production. This is a manuscript that was, it contains 147 charts that would have been drawn by hand and likely produced by a workshop. It's noteworthy that the place of production, one of the things that we do know about this mysterious piece, is Panama. Panama was not a significant site of artistic production in the colonial period in Latin America, or necessarily a cartographic production in this particular kind of style, although it's positioned at the juncture of northern South America and there's a place that was incredibly transitory that lots of good people and ships would have been passing through. Most likely facilitated the access to the large number of pieces of cartography that would have needed to have been consulted to produce such a piece that covers such a large area of space. No cartographer or artist is named on the front of this piece of this manuscript. We only have the date and the location. The dedication is to the Virgin Mary, which is pious as it is, unfortunately, in the contemporary eros, and tell us very much about who was commissioning it. So, these 147 charts depict the Pacific coastline of the Americas from Baja California in Mexico, all the way down to Cape Horn in present-day Chile, and to cover the distance of over 20,000 kilometres, which is quite extraordinary. I'll show you a couple of images from this piece. We start in Baja California. We move down to Acapulco in Mexico. Obviously, a really important and significant port in Spanish Americas at this time, particularly in key to the Manila Gallean trade, because this is where they wouldn't have been leaving from. We move on to Guatemala, which has some really incredible representations of erupting volcanoes. Panama City, which, obviously, is another important page in this book, because it would have been where the Atlas was produced. Lima, obviously another really important Spanish port, shown here as the Ciudad de los Reyes, a city of the kings, and its port arm of Cadyal. Chile and Chile, which was another important Spanish stronghold in terms of the defence of the Straits of the Jalan. Finally, we finish up in the Straits and in Tierra del Fuego. We can see that this is both a beautiful and a significant item, in terms of its scope and also its decor. Some of the details that I've highlighted on this page here show you exactly how elaborate this piece really is. We have examples of silver leaf application. You probably can't quite make it out from this image on the right-hand side. The houses are actually metallic, they're rendered in silver leaf. There are applications of gold leaf as well in the manuscript. As Peter Barber has already pointed out in his research on this piece, the intricacy of the ship that we have shown here, and the level of detail and accuracy shows that whoever would have been drawing these aspects in the derotado had quite an accurate and thorough knowledge of these kinds of vessels, and it wasn't necessarily the kind of knowledge you'd expect an artist or a cartographer necessarily to have had. There are a number of really fascinating techniques that we can pinpoint in the derotado, and this has not least shown in the impressive watercolour rendering of the relief, which hopefully you might have noticed in the images I've just shown you. But the calligraphy as well is also really impressive and beautiful. You can see an example of that on this lovely face on the left-hand side here. It's clear that this piece was very skillfully executed and had a large amount of money invested in its production. So what is a derotado? What exactly are we talking about here? The Spanish translation of the word derotado alone is a root or a course, and in English, in the cartographic sphere, it would have been rendered as either a rudder, which is the term that emerged from French cartography for books that would have contained coastal profiles used for navigation, or as a wagoner, which is named after the Dutch cartographer for the same name, who pioneered a new kind of cartographic format based on pilot books incorporated maritime charts, as well as sailing directions. Spanish derotados are quite ubiquitous, and many of them would have been made for travel to the Americas and Spain, for travel within the Americas, along postlines, or from the Americas to the Philippines in particular. We can find numerous examples of these, which kind of facilitate our understanding of the piece to be happier in the society as a unique and special example of this format of cartography, and I'm now going to draw some comparisons with some other Spanish derotados and the piece that we have here in front of us today to show just how special it really is. So, this image you can see here is an example from a derotado that's found at the Oriole Academia de la Historia in Madrid, and I put this up because I want to demonstrate that derotados were often functional documents. They were very much intended for practical use by navigators, and consequently a lot of them have additional notes, annotations or sections added to them, which can make dating them quite difficult at times. Spanish ones as well in the rudder style often feature a lot of text because they would have been set in sailing directions. So, these pieces provide a really fascinating insight into navigational practices in this period in the 17th century in colonial Latin America. But as you can see here in this example, the style is much more naive than the images that I've shown you in the piece that we have here on the table. This is another image from the same derotado, and as you can see here that typical of a barata format, the coastal views are provided with notes alongside them for the navigator. Above all, this is a practical item. It's not really intended for decoration, and the way that the notes have been squeezed at different angles will show you how it would have been a working document in this period. So, I've put up here another example which is housed at the Museo Navarra in Madrid. This is actually a very interesting and unusual option and further unusual object is it's actually an 18th century copy of a 17th century derotero, potentially the one that I've just shown you from the Real Academia, which speaks of the kind of complex and interesting circulations of these kinds of pieces. It's filled with notes as well, and it also includes various pieces of documentation rendered in different hands. It's a real working navigational document. The derotero format then is certainly an easily locatable and important one, as we can see in these various kinds of examples. As you can now hopefully see, the piece that we have here in society is heads and shoulders above many of the other functional derotero documents that we can identify in the Spanish cartographic canon, mainly in terms of style and composition, but we can see that the derotero house here is very well constructed, linear, and quite clearly and immediately planned out. There's a lot of thought that's gone into this piece, and it's very much a commission rather than a practical working document. So, now that we know a little bit more about the context of production and the formats of these sorts of cartographic items, I highlighted earlier many of the things that we don't know about this really fascinating item, so I'm going to turn now to what we do actually know and what I have been able to find out in my own research on this piece, which actually is tangential to my PhD, but it's such a fascinating item, I just can't leave it alone, but it does keep me up at night. So, it's almost like we have a game of cartographic cludo on our hands. We've got the location, we've got the date, but we have no culprit. So, I've been searching the derotero for clues, and I pinpointed a couple of things that I started off with that I thought were significant. So, I started off by looking into this image of the crown that we have on the frontus piece. Unfortunately, that didn't get me anywhere, but if we do have any experts on Spanish heraldry in the room, please find me afterwards. So, I then decided to look into a couple of other items after the crown. The crown saga wasn't for a while, so I decided to look in the potential connection to the Order of Malta, which has been highlighted by Pete Barber in his research on this piece. As you have mentioned in the text, although there's no cartographer on several pages, we do have names of individuals based on this region mentioned, and I'll talk a bit about that in a minute. And also the copies of this piece, because although as wonderful as it is, it's not actually the only existing copy of this item that is another one. So, the Maltese process that we have popping up in the derotero, there are two of them in the manuscript, and they appear at fairly random locations I did investigate and I couldn't find these are not significant places. The first one's in Guatemala, the second one's in Panama. I couldn't make any connection with the location in which these two symbols appear. So, with no patron or cartographer to investigate, I decided to look into the names that do pop up in the atlas. There are a couple shown in what is now El Salvador, giving the location of local shipbuilders, which obviously would have been very useful were you a navigator. And I also looked into this one that you can see up here, which is the location of a horse farm owned by one Luis Delgado del Rojas. And this is very preliminary research at this stage, but I have found evidence of El Luis Delgado del Rojas through the Spanish archive database. Unfortunately, I haven't seen the actual manuscript that it refers to, but there was a Luis Delgado del Rojas who was associated with the Order of Malta, who was a cavalry leader, which explained the horse connection, who was primarily based in Catahena in India, which is now in Colombia, which is located very close to Panama City and would have very much been in constant and important, especially military and naval contact in the 17th century. So, there's a potential reinforcement there on the connection to the Order of Malta, potentially with the production of this piece. Another connection that we do potentially have with the Order of Malta is the President Governors of Tierra Firme, which is the province that would have included Panama in the 17th century. Two of them that you can see listed here, Juan Pérez de Guzmán y Gonzaga and Agustín de Brafamonte, who will both empower around the time of the access to production in 1669, were also members of the Order of Malta. So, this, again, potentially indicates the connection of the production of this piece with the Order, particularly as it would have been quite heavily financed. So, moving on to the copies. We have one exact copy of this piece that's housed at the Huntington Library in the USA. I think part of what makes us such a fascinating manuscript is this very turbulent afterlife that it's kind of had. And this copy that's at the Huntington was always thought to have been the one that was stolen by English pirate Henry Morgan in 1671 during the siege of Panama. And the Huntington copy is dated the same year as the one we have here. It was also made in 1669, but interestingly it appears to have been made in a different hand, which points to a kind of workshop format production most likely. So, since the rediscovery, I guess, of this manuscript that we have here, we don't know exactly for certain where this one originated from, but whichever was the stolen copy, we can definitively say that one of the copies of this piece was definitely still in the Americas after 1671. I've located another fairly naïve Verrotero in the Montaill Naval in Madrid that includes material that's copied from the Verrotero that we have here among other items. Most notably, all of the text that's in the original Verrotero has been copied. This section at the bottom here is directly copied from the Acapulco page that I showed you earlier on. And as you can see once again, this is very much a functional working document that would have been used in navigation in the Americas. And the author of this text actually notes that this copy was being made in Lima in 1675 with materials provided by range of mariners, some of them stolen. So, I don't know, I don't think that this would have been one of the stolen pieces, but I'd love to know what he was actually working with. So, we have also a further copy that's been brought to light that was made in 1697. So, considerably later than the 1669 production day of the original Verrotero. And this one's actually held in the private collection, but most notably it's also it was also produced in Panama. So, this points to the potential existence of a watch that was still producing into the 1690s. It's incredibly close and style. It's actually a larger format. It's a larger piece than the one that we have here. But notably all of the text as far as I've been able to discern because this is a very incomplete piece. I think we only have about 20 charts compared to 147 here. It does seem to be an exact copy, but again it's rendered in a third hand which points to the very interesting and wonderful circulations and reproductions of this item. So, I mentioned the Henry Morgan theft earlier and this the arrival of this manuscript in England obviously led to a number of copies. Although another theft of a different Spanish Verrotero in 1681 by English pirate Bartholomew Sharp on the coast of South America also led to copies being made of what we believe to be a similar document notably by English cartographer William Hack. So, we don't know exactly which Verrotero Sharp's cruise stole, but it definitely looks to have been a variant of the piece that we have here in the society. So, we can see that the Verrotero certainly had a really fascinating quite mesmerising afterlife and its contents however they were acquired quite dramatically altered English knowledge of Spanish possessions on the coast of the Americas. As you can see from the Acapulco page here of the English copy that was made by Hack from whichever document was stolen by Bartholomew Sharp. And this influence on English cartography as we can see in this next example actually in George and this is a map made by claiming English cartographer Herman Marl in 1711 of the South Sea companies trading limits in the Americas. And some of you might, some of you with very keen vision might have picked up on this the style that we have represented in these smaller scale charts here on the top of the map. It appeared to have been copied either from most likely from the Hackwagoners and this speaks to just how important this information was when it arrived in England, the fact that it is still being copied decades later particularly in the regions in the south of what is now Chile where cartographic information was incredibly scant during this period. You can see here the comparison of the Chiloé page from the Dematerra and also the Chiloé map from Hack's larger map of the South Sea companies trading limits you can note that the forms of the land masses are incredibly similar. So clearly there was a a dearth of cartographic information about this region that was still being filled at this period and the English in particular were incredibly keen for knowledge of this region because Spain essentially had a significant monopoly on access to the Pacific at this point so stealing an item like this was incredibly dramatic and had a very important influence on diplomacy and cartography in the Americas. So just a couple of final thoughts to round off. The society appears to have the best copy of this Dera Dera that I have been able to see. It does appear to be superior to the Huntington version and I have been able to see a very poor microform of their copy but you can certainly see in the kinds of shading that we have in the Huntington copy that this one appears to be rendered in superior in a more refined hand. It's a really important and a unique resource for understanding cartographic practices and Hispanic knowledge of the Pacific in the 17th century and it's also been a really interesting resource for me for learning about Patagonia it actually told me that I was looking to see if there was any new information about Patagonia in the Dera Dera as it appears in a kind of gap in Spanish navigation to that region in cartography and unfortunately there's nothing new in there but it's useful as a touchstone for a reference to that late 17th century knowledge of that region and it evidences the really significant and enduring influence of Hispanic cartography and English matrimony in particular and I'm really grateful to the society for letting me come and look at this piece and it's really wonderful so do please have a look at some point today. Thank you very much.