Vaz Dourado’s remarkable use of color attests to a relatively expensive manufacturing process. The smaller islands in the maps are extravagantly colored and often take on a geometric shape. This intense color also appears in the maps’ exaggerated river deltas and the flags and crests which indicate ownership and often attest to colonial dominion. Other colorful embellishments on the map include its elaborate cartouches, ornamented with geometric and floral details on each page, and its compasses, from which the maps’ rhumb lines emerge.

The map includes annotations regarding the European discovery of various landmasses and islands, especially around the Pacific and Indonesia. This emphasis on naval exploration may also justify the inclusion of an almost empty map of the Pacific, which helps record the circumnavigational voyages that the sequencing of the maps can recreate. Compared to his predecessors, Vaz Dourado’s maps of Indonesia feature significantly more detail and mimetic accuracy, both in terms of island shape and place names. Other outstanding features include Vaz Dourado’s depictions of Japan, island chains in the Indian Ocean, Japan, island-dotted river courses in South America and the Middle East, East Asian architecture, and Mexico City/Tenochtitlan.]]> ]]>
Compare with another atlas by Vaz Dourado: https://hdl.huntington.org/digital/collection/p15150coll7/id/46230]]>
Garcia, João Carlos. “Description of the Atlas.” In Universal Atlas of Fernão Vaz Dourado: 1571 [Commentary Volume]. Barcelona: M. Moleiro Editor, S.A. 2013.
(See also this press release relating to the facsimile: Garcia, João Carlos. “Journey Around the World with the Universal Atlas of Fernão Vaz Dourado” M. Moliero – Facsimile Books. October 28, 2018, https://www.moleiro.com/en/press/journey-around-the-world.py.)

Melo, Maria João, Paula Nabais, Maria Guimarães, et. al. "Organic Dyes in Illuminated Manuscripts: A Unique Cultural and Historic Record." Philosophical Transactions: Mathematical, Physical and Engineering Sciences 374, no. 2082 (2016): 1-20. http://www.jstor.org/stable/26116084. ]]> Special Collections (Horizontal Shelving) ; G1001 .D68 2011]]>
Mountain ranges in all the areas are marked by raised lumps: in Ireland and Wales, there appear to be more clusters of mountains than in Scotland and England, whose mountains appear in lines. Small islands around Ireland and to the left of Scotland are labeled either as individual islands or as island groups. Beneath England lies the Mare Britanicum, or British Sea. Though cut off, the map also depicts the northernmost coastal region of France. The detailed features made it the most accurate map of the area to date.

The map was a New Year’s gift and has become a rather famous representation of King Henry VIII’s realm. The map is on parchment and measures 65 by 45 centimeters. The map hung in Hampton Court, Henry VIII’s most famous residence, and displayed some of England’s biggest rivals, namely Scotland and France, along with the kingdom itself.

In his introduction to the facsimile, Peter Barber notes how this map represents not only the King’s preoccupations, but his ambitions as well, which included attempting to subjugate Scotland. He also allied with Charles V of Spain and declared war on France, following the Pope’s decree for Spain and France to invade England after Henry VIII split from the Catholic Church. Margaret Lachman '21]]> ]]> ]]> Maps and Views Blog. British Library.

Facsimile Finder - Medieval Manuscript Facsimiles. “King Henry’s Map of the British Isles.” Accessed May 3, 2021. https://www.facsimilefinder.com/facsimiles/king-henry-s-map-of-the-british-isles-facsimile.]]> The History of Cartography, vol. 3, edited by David Woodward, 1589-1669. Chicago: University of Chicago Press, 2007.

]]> Carleton Library Special Collections Map (Map, Rolled) (G5741 .S45 1536)]]>
Atlas or cosmographical meditations upon the fabric of the world and the figure of the fabrick'd; Atlas of cosmographical considerations on the creation of the world and the shape of its creation

]]>
Central to Mercator’s understanding of geography is an understanding of the divine. Mercator was born Catholic though was he was also sympathetic to Luther’s Protestantism. With this atlas, he aimed to better document and understand the visual element of the divine revelation. While there are 102 maps in the atlas that make up 90% of the book, they are drawn, illustrated, and described not necessarily to better understand the world, but to better understand the divine’s creation. However, Mercator is also famous for his 1569 projection that uses mathematics and geography to simplify land and sea navigation. The maps in this atlas, particularly the preliminary maps, use this projection. Mercator is a clear example of an individual using scientific thought and religion in tandem to drive world innovation.
Jacob Flignor '22
]]> ]]> A World of Innovation: Cartography in the Time of Gerhard Mercator Newcastle upon Tyne, UK: Cambridge Scholars Publishing, 2015.]]> Carleton Library Special Collections (Folio) (G1007 .M4 1979)]]>
Satan’s head and upper body is shown in frontal view within the dark circle at the center of the page, like an icon. Satan is depicted as a hairy monster with three faces and taloned wings on either side of its human-like abdomen. Each of Satan’s blood-smeared faces is in the middle of consuming naked human bodies, which drip with blood and are labeled with Italian names. The faces on either side are eating the human bodies leg-first, so that the humans’ arms and screaming heads drape out of its mouths. Satan’s middle face has completely engulfed the top-half of a human, and its arms hold the remaining legs steady as it stuffs the human’s waist into its mouth. Despite being mostly consumed, the human’s feet still brace against the demon’s chest in resistance. Satan’s two visible eyes face forward to the viewer, and its expressions seems to frown and scream.

Dante and Virgil are portrayed in two places, both outside but touching the circular diagram. In the upper left corner, Virgil is shown bringing Dante into a dark arched doorway, presumably leading down to Hell. In the lower left, Dante and Virgil are shown sliding on their bellies out the mouth of a tube, toward a small blue circle in the corner of the page. The portrayal of Dante and Virgil together in two different moments on the page is characteristic of the medieval illustration style of demonstrating moments occurring in more than one space and time within one image. The page is slightly transparent, so the large blue illustration on the other side of the page shows through slightly.

Ella Stack 22’
]]>
Brieger, Peter H., Millard Meiss, and Charles Southward Singleton. Illuminated Manuscripts of the Divine Comedy. Princeton, NJ: Princeton UP, 1969. Print.

Schulze Altcappenberg, Hein-Th., and Sandro Botticelli. Sandro Botticelli : the Drawings for Dante’s Divine Comedy . London: Royal Academy of Arts, 2000. Print.

Hamel, Christopher De. A History of Illuminated Manuscripts. London: Phaidon, 1994. Print.

Harley, J. B., David Woodward, Mark S. Monmonier, and Mary Sponberg Pedley. The History of Cartography Chicago: University of Chicago Press, 1987.]]> Special Collections (Folio) (PQ4301 .A1 1965)]]>
Within the black frame, the city-view map of Frankfurt an der Oder shows the bird’s-eye view of the Oder river, seen from one side. The image has black and white woodblock print as a base layer and on top of it are the coloring and shading added to the image by hands. This map is outstanding due to its two fold artistic interventions coming together from different artists -- the one who does the woodcut print and the one who does coloring. Other similar woodcut prints of Frankfurt an der Oder are often either without the coloring or are colored with one tone of color and lack the shading.

In the background of the image is a two-colored sky with blue above and white below. Darker blue color is painted on the space where the print of the carved lines is more concentrated in the sky. Some lighter blue clouds take up the sky’s upper space and different styles of shading help define their forms. Covering most of the sky’s space, a large twisting pinkish ribbon banner with fancy font, printed “Frankfurt an der Oder 1548” and “ANNO DNI” -- which is anno domini or in the year of the Lord, is floating. This is the only place on the map with German words. On the white space of the sky, there are black printed letters, possibly suggesting the names of the buildings and spaces below them.

Below the sky, which is decorated with the sinuous elegant ribbon banner, lie the fertile land and city of Frankfurt an der Oder. Behind the mostly bright brick-orange colored architecture, there are green mountains with plowed fields, dark green trees, and bushes. Some simple huts are scattered throughout the area. Although these mountains show a separate agricultural zone behind the city, the map has no atmospheric perspective due to the limitations of woodblock printing. In the city, a cluster of buildings contains various kinds of architecture. The left side of the city seems to be less populated for there are fewer buildings and more trees, while the rest of the city contains mostly buildings. Most of the buildings which seem to be religious spaces have their names accompanying them on the white sky.

In the middle ground of the map, the Oder river takes up most of the space. A wooden bridge with a red-roof fort, coming out of the city in the background, connects it to the land in the foreground. The light blue Oder river contains some darker blue markings to create more dimensions and some shading to create the wave lines and the river’s movements. In the river, like the white sky, there are words printed along with the images. Some boats are scattered in the river and some are assembled at the waterfront of the city. Some lumber is also being transported in the Oder.

In the foreground of the map, there are unpaved roads -- one with words on it as if to address its name or to point out which direction it leads to. On this side of the Oder, it seems that it is less developed when compared to the other side, since there are scattered pieces and piles of lumber all over. The roads seem to be full of dirt and rocks. Although this side of the river is obviously less populated with monasteries or even human habitations, the collective progress to create a civilized German city is continuing.

Perhaps one of the most fascinating elements of this city-view map is the people who are dwarfed by the landscape. Some of them are rowing their boats, some are walking, riding horses, carrying things, cutting wood, and fishing. These people are performing their daily activities without being aware that they are watched by the painter or the map maker. This German landscape is portrayed with its distinct natural and cultural elements, as Sebastian Münster wanted to display German towns with their local specificity.

The source and date are derived from the information provided by the donor.
(Saly Sirothphiphat’ 21)
]]>
2. OCLC: 22248296
Historic Cities (Hebrew University of Jerusalem)]]>
Meurer, Peter H. “Cartography in the German Lands, 1450-1650.” In The History of Cartography Vol. 3, edited by David Woodward, 1209-1213. Chicago: University of Chicago Press, 2007.

Van Putten, Jasper. Networked Nation : Mapping German Cities in Sebastian Münster’s “Cosmographia." Leiden ;: Brill, 2018, pp.18-20.

Woodward, David. “Techniques of Map Engraving, Printing, and Coloring in the European Renaissance.” In The History of Cartography Vol. 3, edited by David Woodward, 1209-1213. Chicago: University of Chicago Press, 2007.
]]> Special Collections (Flat Files) ; G5700 1400-1800 Map 09]]> ]]> Descriptionis Ptolemaicae augmentum by Cornelis van Wytfliet is the only regional atlas published during the first hundred years of atlas production outside of the Low Countries. The atlas was published as a supplement to Ptolemy’s work and its content was largely borrowed from its contemporary world maps, such as that of Mercator. This is the first atlas of the Americas, which comprised nineteen maps; there is a list of the areas mapped on one of the last pages. The particular edition at Carleton was imprinted in Douai in the year 1603 by Franciscus Fabri, who purchased all the unsold sheets of previous editions, together with the plates for the title-page and maps.

The first map in the book is a detailed world map with the north at the top, which has every 15 degrees of longitude and latitude as a grid, settling on the scheme based on the four cardinal directions. Van Wytfliet was influenced by Mercator’s tripartite division of the world into the Old World (Europe, Asia, Africa), the New World, and terra australis [southern land]. The map reflects this scheme: it consists of adjacent two circles, depicting the Old World and the New World. Both circles show the terra australis at the southern end.

The remainder of the book takes the format of the map of a region in the Americas followed by description of the region. Each regional map is rectangular and the longitudinal and latitudinal coordinates are indicated on its frame. It places emphasis on the coastline of the region in a manner that resembles portolan charts, where not much information is provided inland, and names of the settlements and rivers are written by the coast. In addition, the distinction between land and body of water is made clear by the placement of shadow on the coastline and the sea is given a grey color by filling it with dot-like marks. (Hiromichi Ueda ‘21)]]>
https://gallica.bnf.fr/ark:/12148/btv1b55010487z/f1.planchecontact [the full 1597 edition]
]]> Gallup, Donald. “The First Separately Published Atlas Entirely Devoted to the Americas: Wytfliet's Descriptionis Ptolemaicae Augmentum,” The Papers of the Bibliographical Society of America 76, no. 1 (1982): 63-73. Accessed May 12, 2021. http://www.jstor.org/stable/24302542.]]> Koeman, Cornelis, Günter Schilder, Marco Van Egmond, and Peter Van Der Krogt. “Commercial Cartography and Map Production in the Low Countries, 1500-ca.1672.” In The History of Cartography, vol. 3, part 2, Cartography in the European Renaissance, ed. David Woodward, 1296-1383. Chicago: University of Chicago Press, 2007.]]> Zuber, Mike A. “The Armchair Discovery of the Unknown Southern Continent: Gerardus Mercator, Philosophical Pretensions and a Competitive Trade,” Early Science and Medicine 16, no. 6 (2011): 505-41. Accessed May 12, 2021. http://www.jstor.org/stable/41350346.]]> Carleton Library Special Collections (Books, Quarto) E141 .W984]]> Civitates Orbis Terrarum, a multi-volume 16th-century atlas of European and world cities. The engravings, stacked across the page, portray the cities as an approaching traveler would see them. The realistic perspective of the two city views distinguishes them from the bird's-eye perspective of a city map; indeed, the engravings resemble paintings.

In the engraving of Halle, two women, assumedly locals, stand before a road that winds through a sweeping green field before reaching the skyline of Halle. The map labels the major landmarks of Halle, its soaring cathedral being most prominent. The lower map of Hildesheim, while devoid of locals, includes a large lake with four ducks. A road passes the lake and bends towards the Hildesheim skyline, whose major features, mostly church steeples, are labeled.

The engravings were meant to accompany text in the atlas, which this piece does not contain. The missing text describes notable features of the cities and their regions, emphasizing the ethnographic goal of the atlas project. (Will Gleason '21)]]>
A tool for visualizing which cities are in which volume https://clemson.maps.arcgis.com/apps/Shortlist/index.html?appid=ba6fb42c256746f1ae96136087b1e752

Braun, Georg and Frans Hogenberg. Beschreibung und Contrafactur der vornembster Stät der Welt, ed. Max Schefold. Plochingen: Müller und Schindler, 1965-1970. A complete facsimile of the Civitates. Carleton Library Special Collections (Folio) G140.B715. https://bridge.primo.exlibrisgroup.com/permalink/01BRC_INST/1tn7c8c/alma991014858959702971]]> Ballon, Hilary and David Friedman. “Portraying the City in Early Modern Europe: Measurement, Representation, and Planning.” In The History of Cartography vol. 3, edited by David Woodward, 680-704. Chicago: University of Chicago Press, 1987.

Harvey, P.D.A. “Local and Regional Cartography in Medieval Europe.” In The History of Cartography vol. 1, edited by J.B Harley and David Woodward, 464-501. Chicago: University of Chicago Press, 1987.

Sanderus. “Hall - Hildesheim by Braun & Hogenberg 1596-1640.” https://sanderusmaps.com/our-catalogue/antique-maps/europe/germany-cities/antique-map-of-hall-hildesheim-by-braun-hogenberg-22100

]]> Special Collections (Flat Files) ; G5700 1400-1800 Map 06]]>
De Sphaera is a 24 by 17 cm manuscript, richly decorated with twelve different colors and gold leaf. The first couple of pages display astrological charts containing constellations and diagrams demonstrating how to utilize astrolabes. Each page has an undecorated margin on the parchment. Gold leaf outlines each painted image, centered on each page.

The pages are elaborately embellished with pictures of the zodiacs and human representations of the Sun, Moon, and the first six planets in the solar system, excluding earth. Each of these representations appears on the left page, with the right page displaying an image of daily life corresponding to the astrological significance of the planet. The representations of life include detailed depictions of all aspects of society, including images of peasants, beggars, merchants, criminals, disabled people, and the elites.

Under each painting, Predis includes a commentary that describes the painting's connection to the work of Johannes de Sacrobosco, the author of an influential astronomy textbook. De Sphaera serves as a commentary for the 13th-century De Sphaera Mundi astronomy text written by Sacrobosco.

The most striking image from the book is the image of Saturn. Saturn is centered on the page in a starry night sky and is surrounded by multiple colorful rings. Saturn is portrayed wearing only a loincloth with a star centered on his genitals and has long brown hair and a long beard. He carries a long wooden staff and a sickle. A shaggy goat and a partially nude woman dumping water from a vessel into a river appear in circles to either side of Saturn’s legs. Two faces are in the act of blowing in both top corners, and their breath is directed towards the rings. A cloudy sky serves as a background surrounding Saturn. The town below is crowded with armed figures. These figures are depicted, carrying out various actions, such as playing games, killing a person, and patrolling the town.]]> ]]> ]]> Web Gallery of Art Description of the Manuscript:

Patrimonio Ediciones description of the manuscript:]]> Historyof Cartography, vol. 3, edited by David Woodward, 55-98. Chicago: University of Chicago Press, 2007.

Jacobsen, Michael A. "A Sforza Miniature by Cristoforo Da Preda." The Burlington Magazine 116, no. 851 (1974): 91-96.

Prosperi, Adriano, and Jeremy Carden. Crime and Forgiveness: Christianizing Execution in Medieval Europe. Cambridge, Massachusetts; London, England: Harvard University Press, 2020.]]> ]]> Special Collections (Horizontal Shelving) ; ND3161.M55 2010]]>
Key pieces to note in the city itself are the numerous mosques throughout the city, with detailed depictions of the different types of domes on these mosques. Urban lakes supplied with water from the Great Canal of Cairo are shown. No interiors of buildings nor courtyards within building complexes are portrayed, suggesting that someone like Pagano did not go into many buildings and thus could not accurately depict what they would look like.

Beginning just outside the city limits to the northeast, the Nile flows out of the large mountains depicted along the east edge of the view. Emphasis is placed on the Nile and the various ways people interacted with the Nile. Vignettes abound throughout the map, and along the Nile, we see people bathing, washing clothes, collecting water, and even defecating into the river. Ships are also shown throughout the river, suggesting the key role the Nile played in transportation and trade.

Amidst the mountains to the east of the city are the Pyramids of Giza. The sculpture of the Sphinx is also shown a bit further south. This Sphinx appears to be female, which was the common opinion among Europeans, while it was always considered to be male by Muslims.

The extensive Venetian trade network could explain the numerous city views produced in the 15th and 16th centuries. A view like this one would have been used by merchants, geographers, humanist scholars, and aristocrats to learn something about the landscape of Cairo, the people who lived there, or the things to be traded for.

The accompanying text was written by the French humanist and cosmographer, Guillaume Postel.]]> Pagano, Matheo, and Guillaume Postel. The True Description of Cairo: a Sixteenth-Century Venetian View, edited by Nicholas Warner. Oxford: Arcadian Library in association with Oxford University Press, 2006.]]> "La vera descritione de la grand cita del Caiero" (ca. 1549) from the Staatliche Museen zu Berlin, Kuperstichkabinett ]]> The History of Cartography, vol. 3, edited by David Woodward, 1480-1503. Chicago: University of Chicago Press, 2007.

Warner, Nicholas. "The True Description of Cairo" April 10, 2012. The Metropolitan Museum of Art (lecture).

Woodward, David. "The Italian Map Trade, 1480-1650." In The History of Cartography, vol. 3, edited by David Woodward, 773-803. Chicago: University of Chicago Press, 2007.]]> Special Collections (Map, Rolled) DT144.P34 2006

Special Collections (Books, Quarto) DT144 .P34 2006
]]>
The manuscript begins with a circular chart used for calculating the day of Easter next to a table of solar declinations, followed by a circular map of the world showing seven “climate zones” and surrounded by intricate drawings of faces blowing winds, followed by an astrological calendar.

The maps come next, including (in order): a map of the world, Western Europe, the western Mediteranean, South America and West Africa, East Africa, Eastern Asia, and South America. The world map is centered around West Africa, oriented to the north, and includes detailed depictions of the coastlines of Europe, Africa, Asia, and the Eastern edge of the Americas. The Western side of North America and Australia are not drawn. The Nile river is shown, as is common in pre-modern maps, originating in the Mountains of Moon.

The map was commissioned by Queen Mary Tudor of England in 1558, as a gift for her Spanish husband Philip II, from Diogo Homem, a mapmaker exiled from Portugal. The regional maps reflect Britain’s growing interest in the seas and increasingly powerful navy that characterized Mary’s reign.

The maps are structured around detailed, brightly colored coastlines packed with carefully written labels for ports and rivers in a style derived from Portuguese sea charts. Rhumb lines criss-cross seas populated by beautifully illustrated sea monsters and ships, sometimes shown in battle. The atlas also reflects rising colonial competition in the period; exotic illustrations of animals and indigenous people populate the world outside of Europe, and bannars with coats of arms adorn country’s homelands and regions they laid claim to elsewhere.

The combined English-Spanish arms over Britain, symbolizing Mary’s and Philip's marriage, seems to have been partially scratched out, supposedly by Queen Elizabeth, Mary’s successor, after her navy defeated the Spanish in 1588. Overall, the atlas shows how artistic depictions of world geography were prized as symbols of political power and affairs at the highest levels of society in the 16th century. (Oren Lieber-Kotz, ‘21)]]> ]]> The Queen Mary Atlas, edited by Peter Barber. London, England: The Folio Society, 2005.]]> Alegria, Maria Fernanda et al."Portuguese Cartography in the Renaissance." In History of Cartography, vol. 3, edited by David Woodward, 975-1068. Chicago: University of Chicago Press, 2007.

Cockburn, Calum. “An Atlas Fit for a Tudor Queen.” British Library. Medieval Manuscripts Blog (blog). May 5, 2020. https://blogs.bl.uk/digitisedmanuscripts/2020/05/an-atlas-fit-for-a-tudor-queen.html.

Homem, Diogo. 1558. “A Portolano, Consisting of Nine Large Charts on Vellum, Drawn on a Plane Scale, by Diego Homem, in 1558.” 1558.

Loades, David. Review of “The Queen Mary Atlas. Facsimile with Commentary by Peter Barber. Commentary: 310mm. Pp Vii + 87, II Col Ills. London: Folio Society, 2005. Limited Edition of 1,000 Numbered Copies. £750 (Hbk).” The Antiquaries Journal 86 (2006): 445–46. https://doi.org/10.1017/S0003581500000603.

Pflederer, Richard, Ronald E. Grim, and Sarah Bendall. Review of “The Queen Mary Atlas.” Imago Mundi 58:2(2006): 233–34.

]]> Carleton Library Special Collections (Horizontal Shelving) G1059 .H62 2005]]>