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This scene is from a drawing by Jan van der Straet c , has become an emblem of the Discovery: the reclining woman, nude in a luxuriant New World landscape, greeting the European man who stands on the shoreline before her, armored and bearing a staff with crucifix in his right hand and astrolabe in the other.
Discreetly hidden under his tunic is a sword [ In Van der Straet«s depiction, the European«s hands, as noted, are full. The Indian woman«s hands, in contrast, are notably empty, and her right hand is held out toward him in a gesture ambiguously suspended between greeting and invitation.
It is indeed difficult to discern with absolute certainty if she is rising in order to embrace him or is in the process of reclining and inviting him to join her in the hammock. In any case, far more than a simple erotic encounter is suggested in this scene, the prelude to an exchange whose character is hardly ambiguous. He reciprocates, erect and in full armor, with his knowledge and his faith. The economy allegorized in Van der Straet's erotic encounter is, of course, much more than simply sexual.
Embedded in this gendered exchange arecultural values that privilege the European male's posture in contrast to the Indian female's, which is altogether too receptive, open, and empty, despite her undeniably desirable beauty, which is enhanced by the pastoral gardenlike setting.
The explicit mark of her denigration resides in the background. Easily missed at first glance, but strategically situated between the two figures, just above her beckoning arm, is a cannibalistic scene. The idyllic, almost sublime, inflection Van der Straet has given to the encounter taking place in the foreground is undercut by the want implied in her gesture empty hand beckoning , and the curve of her arm seems to cradle the cannibalistic scene situated just above and beyond it.