Bernardino de Escalante

made by Bernardino de Escalante in his manuscript dated 1586. He is one of the few important personages of the period whose original drawings have been preserved.Bernardino de Escalante was born in Laredo, Cantabria, and came from a lineage of Cantabrian hidalgos. His father, García de Escalante, was a sea captain and shipowner. Based in Laredo, then one of the most important ports of Spain's northern coast, García de Escalante engaged in sea trade and participated in a number of important military campaigns. Following his uncle Pedro, young Bernardino de Escalante entered the retinue of the future King Philip II in 1554. Soon after returning to Spain, Escalante felt that the period of European wars was over, and he also deserved a peaceful life, perhaps as a scholar or ecclesiastic. He went to study, although which university he attended is unknown. It is known that in the 1570s he enjoyed a benefice at a Laredo church, and served as the commissar of the Spanish Inquisition for the Kingdom of Galicia, often making business trips to Lisbon and Sevilla. At some point he was apparently transferred to Sevilla, then Spain's main port for the America trade; in 1581, he was an inquisitor in that city, and was also the majordomo of the Archbishop of Seville, Rodrigo de Castro Osorio. ==Discurso de la navegacion==

Of particular historical interest is Escalante's first published book, Discurso de la navegacion que los Portugueses hacen a los Reinos y Provincias de Oriente, y de la noticia que se tiene de las grandezas del Reino de la China (Discourse of the navigation made by the Portuguese to the kingdoms and provinces of the Orient, and of the existing knowledge of the greatness of the Kingdom of China). Published in Sevilla in 1577, it became, according to Donald F. Lach, the second European book primarily dedicated to China, after Gaspar da Cruz' Tratado das cousas da China (1569). Content of the Discurso and its sources Escalante's Discurso was a fairly small book, 100 folios (i.e., 200 pages in the modern system of page-counting) in octavo with wide margins. It can be conceptually divided into two parts. The first 5 chapters (folios 1-28) cover the history of Portuguese explorations along the route from the Iberian Peninsula to the South-East Asia. The remaining chapters (chap. 6–16, on folios 28–99) attempt a systematic description of China - its geography, economy, culture etc., to the (rather limited) extent known at the time to the Europeans (primarily Portuguese). The last folio (100) contains a brief description of the author's sources. Escalante is not known to have traveled to China. As he explains on the last page of his Discurso, his work is primarily that of synthesis. His literary sources were primarily Portuguese, viz. the above-mentioned 1569 book by the Dominican Gaspar de Cruz (who had preached in Guangzhou for a month), and the coverage of China in the 3rd Década of the Décadas da Ásia by João de Barros (the 3rd Década was published in 1563; Barros never went to Asia either, but in his Lisbon office had access to Chinese books and a literate Chinese slave who was able to read and interpret them for him.). Escalante had also been interviewing Portuguese merchants who had traveled to the China coast, and even some "people of China" who had come to Spain ("los mesmos naturales Chinas que an venido à España"). Escalante's Discurso was one of the main sources for a much bigger book: Juan González de Mendoza's Historia de las cosas más notables, ritos y costumbres del gran reyno de la China (1585), which became Europe's standard reference on China for several decades. Escalante's sample of characters is not the earliest known example of hanzi/kanji printed in a European book: the earliest published examples known to researchers appeared in a collection of Jesuit letters from Asia printed in Portugal in 1570; however, those were drawn from a Japanese, rather than Chinese, context. Escalante's sample became quite influential, primarily via the two publications that reproduced his discussion of the Chinese writing systems (including his characters): • Abraham Ortelius's atlas Theatrum Orbis Terrarum (1584 edition), where these examples appeared in the brief text accompanying Luis Jorgé de Barbuda's map of China, • Mendoza's Historia ... de la China (1585), whose chapter on Chinese writing is based on Escalante. As the characters given by Escalante (and faithfully reproduced by Barbuda and Mendoza) are quite deformed, there has been a fair amount of discussion among commentators and translators of their works as to what their original form was. • The first character, said to mean "heaven" and have the sound value Guant, is, according to the 1853 Hakluyt Society commentators, George Staunton and R.H. Major, hard to interpret. They make a guess that it might be 𨺩 (a variant of 乾, qián). Modern Chinese translators of Mendoza's books suggest that 穹 (Mandarin qióng; Cantonese hung1, kung4; "vast, lofty") may have been meant. • The second character (said to mean "king", with the sound value Bontai) is a deformed 皇. or [https://web.archive.org/web/20021122213702/http://203.64.42.21/iug/ungian/Soannteng/chil/chha.asp hông-tè in Taiwanese); so one can imagine Escalante's informant using Bontai to transcribe the Cantonese reading of the word. • The third (said to mean "city") is likely a poorly written 城 (chéng in Mandarin Pinyin). ==Commemoration==

A secondary school in Laredo, "IES (Instituto de Educación Secundaria) Bernardino de Escalante", is named after Bernardino de Escalante. ==See also==