The Beschryvinghe appeared in 1602 in Amsterdam under the title Beschrybinge ende historische verhael vant Gout koninckrijck van Gunea, anders de Gout-custe de Mina genaemt, liggende in het veel van Africa… The aim here is to ascertain whether the copperplates have ethnohistorical value as source material, i.e., whether they can be employed as source material relating to the history of Ghana at the beginning of the seventeenthth century, or whether their importance is restricted merely to their contribution to the history of ideas. The background necessary for the examination, description, and interpretation of the copperplates involves study of the genesis of the Beschryvinghe. The following discussion of the author, publisher, and printer, and copperplate techniques also points to questions of the intention, function, and reception—both of the Beschryvinghe and of the pictures.
Drawing a distinction between picture and illustration seems to me to be of little use. Even if every picture is not an illustration, every illustration is certainly a picture. In what follows I therefore consider the illustrative picture as a medium which, even if of a different quality, is comparable to the medium of language. This means that pictures, like texts, have to be read carefully. The method is thus one of precise and detailed examination and analysis of the content of the images. However, the comparability of language and image also implies that the pictures must be subjected to a rigorous critique of their status as source material, just as is the case with texts. In this context I have followed the “different stages Of ethno-historical source critique” developed by Miklós Szalay.
