The most interesting of all pictures bearing a supposed relation to the scattered collection at Lake Como is in the gallery at Florence, which is sometimes said to have been painted by Cristofano dell’Altissimo, and before the year 1568. A copy of it was made for Thomas Jefferson in 1784, which was at Monticello in 1814; and, having been sent to Boston to be disposed of, became the property of Israel Thorndike, and was by him given to the Massachusetts Historical Society, in whose gallery it now is; and from a photograph of it the cut (p. 74) has been engraved.[289] It is perhaps the most commonly accepted likeness in these later years.[290] [Illustration: COLUMBUS (_after Capriolo_). This is a reproduction of the cut in Charton’s _Voyageurs_, iii. 85. It is also copied in Carderera, and in the _Magasin pittoresque_, troisième année, p. 316.] After the woodcut of 1575, the next oldest engraved likeness of Columbus is the one usually called the De Bry portrait. It shows a head with a three-cornered cap, and possesses a Dutch physiognomy,—its short, broad face not corresponding with the descriptions which we find in Oviedo and the others. De Bry says that the original painting was stolen from a saloon in the Council for the Indies in Spain, and, being taken to the Netherlands, fell into his hands. He claims that it was painted from life by order of Ferdinand, the King. De Bry first used the plate in Part V. of his _Grands Voyages_, both in the Latin and German editions, published in 1595, where it is marked as engraved by Jean de Bry. It shows what seem to be two warts on the cheek, which do not appear in later prints.[291] Feuillet de Conches describes a painting in the Versailles gallery like the De Bry, which has been engraved by Mercuri;[292] but it does not appear that it is claimed as the original from which De Bry worked.[293] [Illustration: COLUMBUS (_the Jefferson copy of the Florence picture_).] Jomard, in the _Bulletin de la Société de Géographie_ (3d series), iii. 370, printed his “Monument à Christophe Colomb: son portrait,”[294] in explanation and advocacy of a Titianesque canvas which he had found at Vicenza, inscribed “Christophorus Columbus.” [Illustration: THE DE BRY PORTRAIT OF COLUMBUS.] He claimed that the features corresponded to the written descriptions of Columbus by his contemporaries and accounted for the Flemish ruff, pointed beard, gold chain, and other anachronous accessories, by supposing that these had been added by a later hand. These adornments, however, prevented Jomard’s views gaining any countenance, though he seems to have been confident in his opinion. Irving at the time records his scepticism when Jomard sent him a lithograph of it. Carderera and Feuillet de Conches both reject it. [Illustration: JOMARD’S PICTURE OF COLUMBUS. This is a reproduction of the cut in Charton’s _Voyageurs_, iii. 87.]