\"Nicolas de Nicolay\"

Christian-Muslim Relations A Bibliographical History Volume 6. Western Europe (1500-1600)

Edited by David Thomas and John Chesworth with John Azumah, Stanisław Grodź, Andrew Newman, Douglas Pratt

LEIDEN • BOSTON 2014

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CONTENTS

Foreword  .......................................................................................................

vii

Abbreviations  ...............................................................................................

xi

Martha Frederiks, Introduction: Christians, Muslims and empires in the 16th century  ....................................................................................

1

Nabil Matar, The Qur’an in English writings, 1543-1697  .........................

11

Thomas E. Burman, European Qur’an translations, 1500-1700  ............

25

Works on Christian-Muslim relations 1500-1600  ................................

39

Spain  ...............................................................................................................

41

Portugal  ..........................................................................................................

295

Italy and Malta  .............................................................................................

395

France and Northern Europe  ...................................................................

603

Index of Names  ............................................................................................

867

Index of Titles  ...............................................................................................

880

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Nicolas de Nicolay Date of Birth 1517 Place of Birth La Grave en Oisans Date of Death 1583 Place of Death Soissons

Biography Nicolas de Nicolay was born at la Grave en Oisans in the Dauphiné in 1517, the same year, coincidentally, that Sultan Selim I entered Cairo and formally annexed Egypt and Syria to the Ottoman Empire. Nicolay left his home region in 1542 for Lyons to begin a military career, and in that same year engaged in the siege of Perpignan conducted by the Dauphin Henry (the future French King Henry II). More tangible contact with Ottoman power came in the following year; Nicolay was active in the siege of Nice conducted by King François I in ‘scandalous alliance’ with the Ottoman fleet, led by Khair al-Din Barbarossa. The 26-year-old’s skills as a cartographer must have already been well honed, for Nicolay was quickly entrusted by the French crown to engage in mapping of provinces and, presumably, information-gathering, throughout northern Europe and the British Isles. The next fijive years found him indefatigably traversing and charting the German Rhineland and Prussia, Denmark, Sweden, the Netherlands, England, Ireland and Scotland. Although Nicolay describes his activities in these areas with circumspect diplomacy, the argumentum e silentio suggests that the lines of his cartographic missions blurred further and further into espionage, most notably in Scotland. First, he acted as guide to a military action in support of French political intrigues, and his participation in the French liberation of Mary Stuart, Queen of Scots, in 1548 was crucial; his map of Scotland was key to the mission’s success. Nicolay himself sums up his early career trajectory in the preface to Travels in Turkey with the following: ‘In 1542, at the age of 25, I left the belly of Dauphiné for the mouth of Lyon, and started my voyages with the war and siege of Perpignan . . . and afterward continued to pursue the desire for and impact of foreign travel for a period of fijifteen to sixteen years to kingdoms, regions, and provinces of Germany low and high . . . Scotland, Spain, Barbary, Turkey, Greece, and Italy . . . which for

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the most part I undertook as part of [French] infantry and naval military operations.’ He was appointed Geographe ordinaire du Roi (Royal Geographer) by 9 March 1555 at the latest, the date of the royal privilege granting him permission to publish an illustrated account of his travels in Islamic lands, as his name appears there with that offfijicial title. Nicolay’s Travels in Turkey was not published, however, until 1567, perhaps due to other royal cartographic assignments. In 1561, living by this time at the royal Château de Moulins, Nicolay was charged by Catherine de’ Medici – widow of King Henry II and Queen of France until the king’s death in 1559 – with the monumental task of mapping and describing the regions of France. The royal geographer only succeeded in producing exhaustive volumes covering the Duchy of Berry and the diocese of Bourges (1567), and the provinces of Bourbon (1569), Lyon and Beaujolais (1573). Nicolay’s status seems to have granted him access not only to the corridors of French political power, but also to the leading French fijigures in his professional fijield. He apparently sustained a long and close collegial relationship with the royal cosmographer André Thevet, who also accompanied the French diplomatic mission to Istanbul before departing on his better known voyage to the Western hemisphere. Upon Thevet’s return from la France antarctique, the explorer gifted the royal geographer with natural specimens from Brazil. These were installed by Nicolay among his collection des curiosités at the Château de Moulins, which remained his principal residence for the rest of his life. Nicolas de Nicolay, Sieur d’Arfeuille, died while on temporary military assignment as commissaire d’artillerie at Soissons in 1583.

MAIN SOURCES OF INFORMATION Primary Les quatre premiers livres des navigations et pereginations orientales, de N. de Nicolay . . . Seigneur d’Arfeuille . . . Auec les fijigures au naturel tant d’hommes que de femmes selon la diuersité des nations, & c de leur port, maintien, & habitz, Lyon: G. Rouillé, 1567 Secondary See the detailed list below.

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Works on Christian-Muslim Relations Les quatre premiers livres des navigations et peregrinations Orientales, ‘The fijirst four books of Oriental journeys and wanderings’ Navigations et pereginations orientales; Les navigations peregrinations et voyages, faicts en la Turquie, ‘Travels in Turkey’ Date 1567 Original Language French Description Whatever his level of security clearance, Nicolas de Nicolay was clearly a trusted member of the upper echelons of the French foreign service by 4 July 1551, when King Henry II dispatched him on a diplomatic mission to Istanbul in the retinue of Gabriel de Luel, Sieur d’Aramon, French ambassador to the Ottoman court. The French had established an embassy in Istanbul as early as 1535 – the fijirst European nation to do so – under King François I. Gabriel d’Aramon’s prime directive was not only to sustain the French diplomatic presence at the Sublime Porte, but also to petition Sultan Süleyman I formally to extend and expand a concerted military alliance against the Holy Roman Emperor Charles V. Nicolay’s instructions were to chronicle the journey and record his observations about the Ottoman court and the peoples of its empire, in order to supply the French with an informed picture of the customs and practices of their potential (and potent) Islamic ally. This French diplomatic presence at Istanbul became increasingly urgent and negotiations more delicate, as a Franco-Ottoman naval alliance conducted joint military operations in the western Mediterranean from 1551 to 1555. Nicolay’s Navigations et peregrinations orientales – published in the second edition with the more localised title Les navigations . . . faicts en la Turquie – is divided into four books, chronicling the ambassadorial voyage to Istanbul, description of Ottoman court life and the customs and costumes of various ethnic groups that populated the Islamic capital, descriptions of religious fijigures and the ‘exotic’ practices of their beliefs. It concludes mainly with discussions of contemporary Arab and Persian culture, although Nicolay never travelled to an Arab region or Persia. Included are accurate descriptions – some of the earliest to appear in Europe – of Islamic religion and ritual, monuments, mosques and

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education. Some of the book’s lurid contents, however, were clearly targeted for a European market piqued by prejudice and exoticism, such as the lascivious description of Levantine lesbians frolicking in Turkish baths, or self-mutilating dervishes who ‘eat an herb which makes them maniacal’. The fijirst book charts the progress of d’Aramon’s attempts politically to navigate the Franco-Ottoman alliance, as Nicolay narrates highlights of the journey to Istanbul along the North African coast, with Mediterranean trips to Sicily, Pantelleria and Malta. His account has also been cited as a diplomatically silent cover for his true occupation as a spy for the French crown, for Nicolay reveals little about the intrigues to which he must have been witness. Instead, he offfers, for example, invaluable descriptions of such cities as Algiers and Tripoli, describing the ancient Roman ruins of the latter, as well as the palatial residence of the Ottoman admiral Sinan Pasha (d. 1553; not Sinan the architect), evidence of the level of our author’s access to the principal players on the stage of this diplomatic theatre. The second book recounts sojourns on the Greek islands of Cythera, Chios, Mytilene and Paros, and in the port city of Gallipoli, followed by the arrival of the French entourage at Istanbul. Then ensues an overview of the founding and history of Constantinople and Byzantium, and what Nicolay considered the city’s principal monuments: Hagia Sophia and other major mosques, and the seraglio and baths reserved by the sultan for his female consorts. Interestingly, all of the illustrations in these two books depict women and their dress, ranging in rank from a near naked Algerian slave to the grand dame turcque elegantly adorned in the best of haute couture that Istanbul’s Grand Bazaar had to offfer in women’s fashion. The third book depicts and describes fijirst a full range of men in military service, from azamoglan – Christian slaves pressed into service from childhood, to Janissaries and their generals, solachi (archers) and axe-wielding Persian personal guards to the grand seigneur. Then follow images spanning social class, ethnic background and all aspects of Ottoman daily life, even if they occasionally cater to the same ‘exoticising’ market as some of the text. Depicted are the likes of Turkish chefs and Greek musicians, Jewish doctors and merchants, wrestlers, drunkards and drug-users, mad dervishes who cut themselves in an out-of-body state of hallucination, torlaqs who read palms, and other ‘fringe’ religious ascetics, including one whose body-piercing ensures his sexual abstinence. The third book ends with an illustrated discussion of pilgrims who have made the ḥajj to Mecca.

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The fourth book is devoted to life in Persia, including portrayals of typical Persian noblemen and women and commentary on their lascive et voluptueuse lifestyles, descriptions of Arabia Felix and Arabia Deserta, Armenian religious devotion and its practice, merchants of Judea, and miscellaneous excursuses on Greek and Thracian history, beliefs and quotidian customs. Significance The illustrations in Nicolay’s Travels in Turkey are based on the author’s original artwork, and are keyed directly to the accompanying text. Together they represent a treasure of contemporary information – both textual and visual – on life in the Islamic world, and they exposed 16th-century Europe to some of the fijirst compelling glimpses, even if at times illusory, of the peoples, customs and costumes of an alien Ottoman Empire. Whether the work is the fijirst illustrated book in Europe solely devoted to depicting peoples of the Islamic world is arguable. What is clear, however, is its lasting historical impact on the European popular imagination and its aesthetic conceptions of Islam. The book’s illustrations are still considered some of the most accurate of the time, and became the basis for illustrated ethnographies of the Islamic world for the next two centuries. All the early editions share basically the same format, and employ the genres of travel- and costume-books as a vehicle to engage the reader in an introductory education concerning the customs and costumes of the Islamic Middle East. Text and image combine to evoke reactions of empathy, titillation and revulsion along the way. A description of the ambassadorial sojourn in Tripoli en route to Istanbul occasions the illustration of a Moorish woman in local costume tenderly clutching her child, who is touching and gazing adoringly at her face, conjuring up a sense of the universality of the human condition. Despite an extensive discussion in the text of Tripoli’s archaeological ruins, the illustration contains no background to localise the scene. As with all the illustrations, only a few formulaic tufts of grass indicate the landscape of an outdoor location. Nicolay aims for verisimilitude, not in the precision of topographical or local architectural rendering, but in the details, both visual and textual, of the manner and context of the fijigures’ dress. He even admits to staging some of the illustrations – specifijically, those of the sultana and the aristocratic Turkish women of the sultan’s court. Having befriended one Zaferaga of Ragusa, a eunuch who was formerly the property of

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Barbarossa and was now stationed in the seraglio of Sultan Süleyman I, Nicolay dispatched the eunuch and two courtesans to the shopping district of Bezestan (present-day Beşiktaş) to buy Turkish haute-couture that they could wear for a series of posed illustrations, so that the reader could view them unveiled just as the Sultan might in the seraglio, or as their high-ranking husbands might in the privacy of their home. The eunuch Zaferaga is also our primary source for Nicolay’s description of the Turkish baths. The image of a veiled and shrouded woman, accompanied by her unveiled (and apparently disgruntled) slave, making her way to the baths provides the opportunity for Nicolay to recount the eunuch’s lewd report of the lascivious activities in which she will reportedly indulge at her destination: ‘they bathe and touch and fondle . . . and make like Tribads, just like the Lesbian Sappho’. Ingres, the godfather of French ‘Orientalist’ painting, iconographically footnotes his debt to Nicolay in his 1862 painting Le bain turc by inserting the identical veiled female fijigure – albeit now nude save for her veil – into the background of his painting, surrounded by a panoply of other nude, lounging women in the seraglio, and thus envisions the erotic scene that Nicolay imagined would have greeted her upon her arrival. Nicolay also gives his own eyewitness testimony to wanton behaviour among Turkish Muslims. His attendance at an ambassadorial audience and dinner with the sultan provides one of the fijirst European accounts of the Turkish gastronomic delicacy, sorbet. Derived from the Arabic shariba (to drink, sip), Turkish sorbet was enjoyed in the summer by bringing snow down from the mountains, which was kept in underground cisterns until it was ready to be served, flavoured with fruit juices. As Nicolay notes, since the drinking of alcohol is forbidden by Islamic law, in vogue among the Turks was another manner of ‘s’inivrer’ (getting drunk; translated in the Italian editions as cuocersi – ‘getting cooked’), whereby they sprinkled on their sorbet ‘a white powder they call opium’. Nicolay offfers the reader an illustration of opium-’drunkards’ walking through the streets ‘giggling and howling like dogs’ as evidence of this activity. According to Nicolay, drug-use among Muslims was not limited to recreational use, but also had applications among religious mystics. His depiction of an enraged dervish, clothed only in an animal-hide, mutilating himself with a knife, is accompanied by the explanation that such religious ascetics ‘walk through the countryside eating an herb called matslach, which . . . drives them mad’. By Nicolay’s account, such fanatical religious deviants also engaged in sodomy and bestiality, except for

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the qalandars, who appear in public with their genitals exposed and pierced with a silver ring to ensure their sexual abstinence. Despite Nicolay’s prejudiced orientation, clearly marketed for a readership titillated and repulsed by exotic tales of Islamic alterity, his book still afffords one of the fijirst European glimpses into a critical period in the history of Islamic theology and worship. Such fringe-groups as the dervishes, qalandars, and jami (Nicolay’s Geomailer), explicitly renounced institutionalised worship. Consequently, they had historically been considered heretical by mainstream Islamic theologians. It was only under the Ottomans of the 15th and 16th centuries that their mystical philosophy and ascetic practice began to be assimilated into more socially palatable Sufiji institutions. Nicolay’s observations and discussions of the historical origins of these sects are among the fijirst to appear in Europe, and it is only recently that the subject has begun to receive scholarly attention in the West. Regarding sources, Nicolay’s illustrated description of life in the Ottoman world certainly had precedents. His text, particularly in his sections on Ottoman court life and ‘deviant’ religious sects, relied heavily on the work of Giovanni Antonio Menavino. Son of a Genoese merchant, the 12 year-old Menavino had accompanied his father on a voyage to Venice in 1504, when their ship was captured by pirates, who presented Menavino as a gift to the Ottoman sultan. The enslaved Menavino spent the next ten years as an içoğlan – a personal attendant or page – to the Sultans Bayezid II (r. 1481-1512) and Selim I (r. 1512-20). Thirty-one years after his escape, he published his observations – accompanied by a few illustrations – about the Ottoman court and daily life in Istanbul as Trattato de costumi et vita de’ Turchi . . . (Florence: Torrentino, 1548). Menavino’s fijirst-hand account of Turkish customs was itself preceded by that of a Greek emigré turned Venetian merchant, Theodoros Spandounés (Spandugino), written in about 1509-10, which contains the earliest known European description of dervishes in Istanbul. It was later published as I commentari di Theodoro Spandugino dell’ origine de’ principi turchi, & de’ costumi di quella natione (Florence: Torrentino, 1551). Nicolay’s book is also noteworthy for the dispassionate motivation professed in its preface: ‘to promote mutual understanding among all peoples’, an academic approach toward Islam certainly radical for its time. Our author had his precedents for this enlightened worldview, as well. In 1535, when King François I established Jean de la Forest as his ambassador to the Sublime Porte, de la Forest’s retinue included the linguist Guillaume Postel (1510-81). Postel’s study of Arabic and the collection of

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manuscripts he amassed during his diplomatic sojourns in Istanbul and the Levant eventually earned him the appointment to the fijirst chair of Arabic in Renaissance Europe at the Collège Royal; he also published the fijirst Arabic grammar to appear in print. Postel also produced two works that pioneered not only the fijield of Islamic studies in early modern Europe, but also that of comparative religion. His scholarly demonstration of religious relativism and implied plea for universal human empathy was the model for Nicolay’s own rather formulaic and probably specious diplomatic declaration. Postel’s De orbis terrae concordia (‘On the harmony of the world’, Basel: Oporinus, 1541) sought to demonstrate that the theological vision inherent in Judaism, Christianity and Islam could be traced back to Hermes Trismegistos (Hermes the thrice-greatest), a mythological sage historically associated with both Hermes the Greek messenger-god, hence god of intellectual transmission, and the Egyptian Thoth, patron god of scribes and writing. As a more explicitly specifijic source, Nicolay relied heavily on Postel’s De originibus, seu de . . . historia . . . Turcarum . . . (Basel: Oporinus, 1553), or rather, the revised French version De la république des turcs (Poitiers: de Marnef, 1560). He also, apparently, made some use of a work by another of his predecessors stationed earlier in Istanbul, Pierre Belon, Les observations de plusieurs singularitez et choses memorables, trouvées en Grece, Asie, Iudée, Egypte, Arabie, & autres pays estranges . . . (Paris: Corrozet, 1553). Despite obtaining the royal privilege in 1555 to publish ‘plusieurs livres’ concerning the Islamic world, Nicolay’s book did not appear until 1567. It seems, initially, that the author did not envision such a long delay in seeing the book into print. For, on 23 November 1555 he contracted with the ‘engraver and illuminator’ Lyon Davent to produce copper-plates based on the original drawings made by the royal geographer during his travels to and tenure in Istanbul. It is also apparent that Nicolay was still actively engaged in the work’s production when it was eventually published 12 years later, for he apologises to the reader for the long delay, and the book’s 60 engravings are carefully keyed to the text. Despite the delay in seeing the book’s publication, Nicolay did live to see it achieve widespread success before his death in 1583. The fijirst edition of 1567 instigated an immediate re-issue the next year, soon followed by a second edition published in Antwerp in 1576 by Willem Silvius, who also simultaneously issued versions in Dutch, German and Italian that same year, with woodcut illustrations by Anton van Leest et al. based on

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Davent’s original engravings. The Venetian printer-engraver Francesco Ziletti cut new copperplates for his edition of 1580. Although most of the plates are based on van Leest’s woodcuts from 1576, this Venice edition also introduced seven additional illustrations previously unpublished (see list of principal editions below). It is also the edition that ensured the book’s enduring impact: Ziletti’s transformation of the full-fijigure illustrations into Italian Mannerist cultural portraits became embedded throughout the published genres of costume-books and ‘global’ ethnographies of the European Baroque authors, who adapted his stylistic approach to their rendering of the pose, poise and stance of the peoples of the world as ethnic archetypes. The royal privilege earned by Nicolay in 1555 to publish ‘plusieurs livres’ on Islamic dominions under Ottoman sway hints that the author envisioned a more ambitious undertaking than the extant legacy of his Travels in Turkey. So, too, does the title of the fijirst few editions: ‘Les premiers quatre livres’ seem to promise more to come. Further evidence for a greater unrealised agenda comes from Nicolay’s own testimony on the extent of his personal archive. In an unpublished manuscript at the Bibliothèque Nationale dated 1582, the ‘premier cosmographe du roi ’ alludes to ‘eight to nine hundred drawings still in my possession of cityviews, castles, islands and seaports, done in situ by my own hand’. These drawings, along with his presumably extensive research library and collection of curiosities, which included ‘bird-skins of various colours’, souvenirs presented to Nicolay by André Thevet on his return from Brazil, were all destroyed in the fijire that engulfed the Château de Moulins on 2 June 1755. Despite this tragic loss to the historical record, Nicolas de Nicolay has still left his distinct influence on those who have sought to write the history of Christian-Muslim relations. His enduring artistic echo in various genres of human portrayal range from early modern illustrated books to the exotic and erotic in 19th-century French ‘Orientalist’ painting. His textual and visual presentation of empathy for the human condition as a motif of diplomacy blossomed into the universalist studies of comparative religion in the French and Dutch Enlightenment of the 18th century. Champions of abolitionist movements in the 19th century took inspiration from his declared disgust for Ottoman re-conditioning of seized and enslaved Christian children into soldiers and administrators of the Dār al-Islām. More recently, Nicolas de Nicolay’s Travels in Turkey has served as a primary source of paramount importance for scholars investigating

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historical notions of alterity, and those seeking to re-write and re-draw the cultural map of Mediterranean history. Manuscripts MS Paris, BNF – 20008 (formerly Saint-Germain, Gesvres 99), 57 pp. (8 July 1582: Extraict des observations de NICOLAY D’ARFEVILLE, Daulphinois, premier cosmographe du Roy, faictes durant ses navigations, touchant la diversité des navires, galleres, et autres vaisseaux de mer, tant grand ou subtil, ou petit soit-il, soit pour la guerre, ou pour la marchandise, avec lesquelz on navigue par les mers Oceane, Baltique et Mediterranée, plus la manière de fournir, armer et envitailler chacun desdicts navire, gallere, ou autre vaisseau, . . . et pour la fijin les Ordonnances et signes ordonnez à une armée royalle pour seurement naviguer . . .; a short primary source on Nicolay’s own research and archive) Editions & Translations C. Gomez-Géraud and S. Yérasinos (eds), Dans l’empire de Soliman le Magnifijique, Paris, 1989 (based on the Antwerp 1576 ed.; indispensable modern critical edition) The navigations, peregrinations and voyages, made into Turkie by Nicholas Nicholay Daulphinois, Lord of Arfeuile, chamberlaine and geographer ordinarie to the King of Fraunce conteining sundry singularities which the author hath there seene and obserued: deuided into foure bookes, with threescore fijigures, naturally set forth as well of men as women, according to the diuersitie of nations, their port, intreatie, apparrell, lawes, religion and maner of liuing, as wel in time of warre as peace. with diuers faire and memorable histories, happened in our time. Translated out of the French by T. Washington the younger, London: Thomas Dawson for John Stell, 1585 (English trans.; facsimile Amsterdam, 1968) La navigation du roy d’Escosse Iaques Cinquiesme du nom, autour de son royaume, & isles Hebrides & Orchades, soubz la conduicte d’Alexandre Lyndsay excellent pilote Escossois. Recueillie & redigee en forme de descripiton hydrographique, & representée en carte marine, & Routier ou Pilotage, pour la cognoissance particuliere de ce qui est necessaire & considerable à ladicte nauigation, Paris: Gilles Beys, 1583

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Le navigationi et viaggi, fatti nella Turchia, di Nicolo de’ Nicolai del Delfijinato, signor d’Arfeuilla . . . con diuerse singolarità viste, & osservate in quelle parti dall’autore, Venice: Francesco Ziletti, 1580 (This second edition of the Flory Italian translation contains 67 engravings by the publisher Ziletti after the woodcuts in the Willem Silvius edition of 1576. The seven added subjects are the engraving of two foreign dignitaries with a young attendant on fol. K4v and the six engravings from fol. M2v to the end of the volume: ‘Capitano d’Arabie’, ‘Donna Turca standi in casa’, ‘Sposa di Constantinopoli’, ‘Patriarca di Constantinopoli’, ‘Calidesquer a piedi’, and the fijinal plate of four women in ethnic dress.) De schipvaert ende reysen gedaen int landt van Turckyen . . ., Antwerp: Willem Silvius, 1577 (Dutch trans.) Vier Bucher Von de Raisz vnd Schifffart in die Turckey Mit ein unnd sextzich (!) Man unnd Weibliche Figuren, nach dem leben abgesetzt, nach verenderung und gestalt der Lender, vnd gebrauch der selber, mit beschreibung jres art und leben, so wol inn Frid als Kriegzeiten . . ., Antwerp: Willem Silvius, 1577 (German trans.) Le viaggi fatti nella turchia . . ., Antwerp: Willem Silvius, 1576 (Italian trans. by François Flory) Les navigations peregrinations et voyages, faicts en la Turquie . . ., Antwerp: Guillaume Silvius, 1576 (with 60 woodcut illustrations by Anton van Leest, et al., after Davent’s engravings in the 1567/68 edition) Der Erst Theyl. Von der Schifffart vnd Rayß In die Türkey unnd gegen Oriennt. Mit schönen Figuren Wie beede Man[n] vnnd Weib irer Landtsart nach bekleydet seyen, Nuremberg: Gerlatz, 1572 (German trans. by Konrad Saldörfffer of the fijirst part only) Les Quatre Premiers Livres des Navigations et Pereginations Orientales, de N. de Nicolay . . . Seigneur d’Arfeuille . . . Auec les fijigures au naturel tant d’hommes que de femmes selon la diuersité des nations, & c de leur port, maintien, & habitz, Lyon: G. Rouillé, 1567, 15682 (with 60 engravings by Lyon Davent after Nicolay’s original in situ drawings) Descriptions générale du pays et duché de Berry et diocese de Bourges avec les cartes géographiques dudit pays (1567), ed. A. Aupetit, Châteauroux, 1883 Générale description de l’antique et célèbre cite de Lyon, du pays de Lyonnais et du Beaujolais, selon l’assiette, limites et confijins d’iceux (1573), Lyon, 1881

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Descriptions générale du pays et duché de Bourbonnais . . . (1569), ed. I. de Hérisson, Moulins, 1875 Nicolas de Nicolay, L’art de nauiguer de Maistre Pierre de Medine, Espaignol: contenant toutes les reigles, secrets, & enseignemens necessaire, à la bonne nauigation, Lyon: Rouillé, 1554 studies D. Brafman, ‘Facing East. The Western view of Islam in Nicolas de Nicolay’s Travels in Turkey’, Getty Research Journal 1 (2009) 153-61 M. Keller, ‘Nicolas de Nicolay’s Navigations and the domestic politics of travel writing’, L’Esprit Créateur 48 (2008) 18–31 A. Hamilton, Arab culture and Ottoman magnifijicence in Antwerp’s Golden Age, London, 2001 W.B. Denny, ‘Quotations in and out of context. Ottoman Turkish art and European Orientalist painting’, Muqarnas 10, special issue: Essays in honor of Oleg Grabar (1993) 219-30 De Lamar Jensen, ‘The Ottoman Turks in sixteenth century French diplomacy’, Sixteenth Century Journal 16 (1985) 451-70 C. Grodecki, ‘Le graveur Lyon Davent, illustrateur de Nicolas de Nicolay’, Bibliothèque d’Humanisme et Renaissance 36 (1974) 347-51 H.L. Baudrier, Bibliographie lyonnaise. Recherches sur les imprimeurs, libraires, relieurs et fondeurs de lettres de Lyon au XVIe siècle, Lyon, 1912, pp. 318-19 (repr. Paris 1964-65) David Brafman

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