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            <name>Title</name>
            <description>A name given to the resource</description>
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                <text>Marquisate of Brandenburg, with the Duchies of Pomerania and Mecklenburg</text>
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                <text>Brandeburgum Marchionatus, cum Ducatibus Pomeraniae et Mekelenburgi&#13;
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                <text> Willem Janszoon Blaeu</text>
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                <text>sheet map removed from an atlas</text>
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                <text>engraving</text>
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                <text>Special Collections, Carleton College, Northfield, MN</text>
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                <text>Latin, German</text>
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                <text>regional map</text>
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            <name>Identifier</name>
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                <text>&lt;a href="https://bridge.primo.exlibrisgroup.com/permalink/01BRC_INST/1tn7c8c/alma991017888894102971" target="_blank" rel="noreferrer noopener"&gt;Carleton Library Special Collections (Flat Files) (G5700 1400-1800 Map 12)&lt;/a&gt;</text>
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            <name>Rights</name>
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                <text>Rights for maps held by individual publishers and institutions. Thumbnails displayed constitute fair use.</text>
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                <text>&lt;p&gt;&lt;span style="font-weight:400;"&gt;Biggs, Michael. “Putting the State on the Map: Cartography, Territory, and European State Formation.” &lt;/span&gt;&lt;i&gt;&lt;span style="font-weight:400;"&gt;Comparative Studies in Society and History&lt;/span&gt;&lt;/i&gt;&lt;span style="font-weight:400;"&gt; 41, no. 2 (1999): 374–405.&lt;/span&gt;&lt;/p&gt;
&lt;p&gt;&lt;span style="font-weight:400;"&gt;Damen, Mario, and Kim Overlaet. “Constructing and Representing Territory in Late Medieval and Early Modern Europe: A Conclusion.” In &lt;/span&gt;&lt;i&gt;&lt;span style="font-weight:400;"&gt;Constructing and Representing Territory in Late Medieval and Early Modern Europe&lt;/span&gt;&lt;/i&gt;&lt;span style="font-weight:400;"&gt;, edited by Mario Damen and Kim Overlaet, Amsterdam University Press, (2022): 349-58.&lt;/span&gt;&lt;/p&gt;
&lt;p&gt;&lt;span style="font-weight:400;"&gt;Keuning, Johannes. “Blaeu’s ‘Atlas.’” &lt;/span&gt;&lt;i&gt;&lt;span style="font-weight:400;"&gt;Imago Mundi&lt;/span&gt;&lt;/i&gt;&lt;span style="font-weight:400;"&gt; 14 (1959): 74–89.&lt;/span&gt;&lt;/p&gt;
&lt;span style="font-weight:400;"&gt;Harley, J. B., David Woodward, Mark S. Monmonier, and Mary Sponberg Pedley. &lt;/span&gt;&lt;i&gt;&lt;span style="font-weight:400;"&gt;The History of Cartography&lt;/span&gt;&lt;/i&gt;&lt;span style="font-weight:400;"&gt;. Edited by J. B. (John Brian) Harley, David Woodward, Mark S. Monmonier, and Mary Sponberg Pedley. Chicago: University of Chicago Press, (1987).&lt;/span&gt;</text>
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                <text>This map is a representation of Brandenburg, Mecklenburg, and Pomerania (modern day northeastern Germany and northwestern Poland) from an atlas by Willem Janszoon Blaeu. It first appeared in the 1634 edition. Key features include outlines of political territory, compass roses and ships in the Baltic Sea, elaborate scale and cartouche, and detailed landscape iconography. &#13;
&#13;
Contemporary political boundaries between the three regions are outlined in blue, pink, yellow or green to delineate each from the other. The regions represented do not show hard political lines, but rather a relative description of the locations of Brandenburg, Mecklenburg, and Pomerania. Each region is labeled in labels and by heraldry which gives a conceptual representation of each entity's claim beyond the unstable geographic borders. &#13;
&#13;
The top of the map depicts a small portion of the Baltic Sea. It has no label, but it does have icons that signal to the viewer that the space is sea. There are two compass roses, each with rhumb lines coming out from each compass direction, which is reminiscent of medieval portolan charts used by sailors in the Mediterranean. There are also three ships in the sea, which indicates that the Baltic is a sea that people regularly sail on, to the mapmaker’s knowledge. As opposed to modern maps that usually denote water with empty space, it is common for maps at this time period to visually indicate the presence of seas. &#13;
&#13;
The two bottom corners of the map contain intricate images to orient the viewer to the map. In the bottom left corner, the cartouche identifies the map as focusing on Brandenburg with text and the crest. Next to the text is a woman holding a key, which is likely symbolic. In the right bottom corner of the map there is a scale in common German miles surrounded by cherubs. Along the right border of the map is another scale that marks latitude, each degree subdivided into 60 minutes. &#13;
&#13;
There are lots of small icons on the map to label different features. Cities are represented by little castle or town icons that the colorist has painted red. There are many trees on this map, and they appear to be clustered into forests. There are a few mountains, and on the far left of the map there is a swamp, colored light green and labeled Paludes, Latin for swamp. &#13;
&#13;
The rivers on this map provide a central network and means of understanding the space. Many of the major rivers are labeled and many of the cities are located along these rivers. Much as a modern map may use roads or highways to provide a central frame of understanding, the rivers provide a centralized network which spans regions and connects cities.&#13;
&#13;
The map is part of a larger atlas made by Willem Janszoon Blaeu. Blaeu and his son were major players in the booming cartography industry in what is now the Netherlands in the 1600s. Blaeu's Atlas Novus was part of a larger "atlas race" among mapmakers in Amsterdam at the time as they tried to outdo each other in their cartographic ability. The map shown above is a copper print from Blaeu's Atlas Novus which first appeared in the 1634 edition of the atlas and continued to appear in Blaeu's atlases and those of his son into the late 1650s. Blaeu is known to have bought copper plates from the Mercator-Hondius atlas in the 1630s, and it is possible that this is one of them. A similar map, which appears in the David Rumsey collection, is credited to Mercator.&#13;
&#13;
(Ruby Becker '25) (Erin Watson ‘24)&#13;
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                <text>&lt;a href="https://www.davidrumsey.com/luna/servlet/detail/RUMSEY~8~1~345007~90107445:Brandeburgum-Marchionatus%2C-cum-Duca?sort=pub_list_no_initialsort%2Cpub_date%2Cpub_list_no%2Cseries_no&amp;amp;qvq=q:brandenburg;sort:pub_list_no_initialsort%2Cpub_date%2Cpub_list_no%2Cseries_no;lc:RUMSEY~8~1&amp;amp;mi=15&amp;amp;trs=97" target="_blank" rel="noreferrer noopener"&gt;Mercator Map At David Rumsey Collection&lt;/a&gt;</text>
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            <name>Date</name>
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                <text>1635</text>
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                <text>Willem Janszoon Blaeu, Brandeburgum Marchionatus, cum Ducatibus Pomeraniae et Mekelenburgi, in Atlas Novus, (Amsterdam: 1635).</text>
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            <name>Spatial Coverage</name>
            <description>Spatial characteristics of the resource.</description>
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                <text>Brandenburger Marck; Mekelburg; Pomeren</text>
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                <text>Mecklenburg-Western Pomerania; Brandenburg; West Pomerania; Szczecin; Berlin </text>
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        <name>17th century</name>
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        <name>atlas</name>
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        <name>Baltic</name>
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        <name>Brandenburg</name>
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        <name>cartouche</name>
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        <name>compass rose</name>
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        <name>Forest</name>
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        <name>forests</name>
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        <name>Germany</name>
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        <name>heraldry</name>
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        <name>latitude</name>
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        <name>Mercator</name>
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        <name>Pomerania</name>
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        <name>Prussia</name>
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        <name>rhumb lines</name>
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        <name>Scale Bar</name>
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        <name>ships</name>
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        <name>Thirty Years War</name>
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          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
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                <text>Description of the March of Brandenburg</text>
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            <name>Alternative Title</name>
            <description>An alternative name for the resource. The distinction between titles and alternative titles is application-specific.</description>
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                <text>Brandenburgensis Marchae Descriptio </text>
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                <text>This map displays the Brandenburg March, a borderland in northeastern Germany in 1598. The map is engraved and shows the town names, rivers and lakes, and forests of the area. The map is oriented with North at the top although there is not a compass. There are three labeled sections of the map: Marchia Antiqua to the left, Marchia Media in the middle, and Marchia Nova on the right. The three labeled sections are within a small black dashed line which represents the border of the march. Within these three sections there are labels for towns, rivers, and lakes. Berlin is situated in the center of Marchia Media and labeled with a small font. Outside of this march the kingdoms of Saxony and Poland are labeled to the south and east, respectively. &#13;
&#13;
The detailed cartouche in the bottom left corner translates to, “This marquisate was first erected by the emperor Henry I in 923, and he was the first marquis named Henry, for once he was under the Saxon leaders.” The text is surrounded by a dark yellow mechanical-looking border and four inward facing heads with red cardinal hats. Angels and figures exist in the ornate border of the cartouche, with a crest showing three red dots at the top of the image. A scale showing 12 German Miles is in the bottom right corner, outlined with similar imagery as the cartouche in the lower left. The map is surrounded by a detailed border, with labels in the four cardinal directions: “Septemtrio” in the North, “Occidens” in the West, “Oriens” in the East, and “Meridies” in the South. &#13;
&#13;
The map was created by Abraham Ortelius who was a prominent mapmaker at the time and was based out of Antwerp (Koeman 2007). Ortelius was known for creating the first modern day atlas, which may have featured many regional maps like this one. Because Germany at this time was made up of different territories and regions, many German mapmakers at this time made maps about warfare and political history (Meurer 2007). This particular map doesn’t seem to focus on making such claims and focuses instead on the landscape features within the march. &#13;
&#13;
Emma Watson ‘23 and Chloe Truebenbach ‘23</text>
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                <text>Abraham Ortelius</text>
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            <name>Source</name>
            <description>A related resource from which the described resource is derived</description>
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              <elementText elementTextId="976">
                <text>Ortelius, Abraham. “Brandebvrgensis marchae descriptio.” Place of publication not identified: publisher not identified, 1598. </text>
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            <name>Format</name>
            <description>The file format, physical medium, or dimensions of the resource</description>
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              <elementText elementTextId="977">
                <text>sheet map removed from an atlas or book</text>
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            <name>Date</name>
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                <text>1598</text>
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                <text>engraving</text>
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                <text>Special Collections, Carleton College, Northfield, MN </text>
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                <text>Latin</text>
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                <text>regional map</text>
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                <text>&lt;a href="https://bridge.primo.exlibrisgroup.com/discovery/fulldisplay?docid=alma991017888798902971&amp;amp;context=L&amp;amp;vid=01BRC_INST:CCO&amp;amp;lang=en&amp;amp;adaptor=Local%20Search%20Engine" target="_blank" rel="noreferrer noopener"&gt;Carleton Library Special Collections (Flat Files) (G5700 1400-1800 Map 10)&lt;/a&gt;</text>
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            <name>Spatial Coverage</name>
            <description>Spatial characteristics of the resource.</description>
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                <text>Brandenburg</text>
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            <name>References</name>
            <description>A related resource that is referenced, cited, or otherwise pointed to by the described resource.</description>
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              <elementText elementTextId="986">
                <text>Koeman, Cornelis, Günter Schilder, Marco van Egmond, and Peter van der Krogt. "44• Commercial Cartography and Map Production in the Low Countries, 1500–ca. 1672." (2007). &#13;
&#13;
Meurer, Peter H. "Cartography in the German lands, 1450-1650." The History of Cartography 3, no. Part 2 (2007).</text>
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            <name>Rights</name>
            <description>Information about rights held in and over the resource</description>
            <elementTextContainer>
              <elementText elementTextId="987">
                <text>Rights for maps held by individual publishers and institutions. Thumbnails displayed constitute fair use.</text>
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            <name>Title</name>
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                <text>Portolan Chart, 1508</text>
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                <text>Borgiano VIII &#13;
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                <text>This portolan chart of the Mediterranean, drawn in 1508 by Andrea Benincacsa, is illustrated on a complete piece of parchment. Benincasa, the son of prolific map maker Grazioso Benincasa, was both a chart maker and public servant at the turn of the 15th Century in Ancona, Italy. In the city, he was in charge of harbor fortifications for a number of years, though he continued to make charts as a part-time occupation.&#13;
&#13;
Portolan charts were a form of nautical maps utilized in the medieval Mediterranean Sea. This emphasis on navigation is evidenced by the highly detailed depiction of the coastline, including both harbors and hazards to ships. Though it is likely that portolan charts were used on board vessels, this map is among a contingent of high-quality works that were meant for display by merchants, captains, and other individuals interested in or tied to the maritime world in the Mediterranean.&#13;
&#13;
Upon first glance, the Rhumb lines that form a dense array across the parchment signal the navigational utility of the chart. The patterning represents wind lines which extend from illustrated wind roses at various points. These lines are drawn with alternating colors, with black ink representing the four cardinal winds and red ink representing the quarter winds. These wind lines aided in the execution and planning of maritime journeys as sailors plotted routes along known winds to reach the final destination efficiently.&#13;
&#13;
Though this map centers the Mediterranean Sea, it also includes Northern Africa, the British Isles in the Eastern Atlantic, the Black Sea, the Levant, and Northern Europe. Given that this map is meant for maritime use, coastal cities and ports are the main focus of the chart. Finely written place-names run perpendicularly along the detailed coast lines in both red and black ink. Red ink is utilized to denote cities and ports of importance. Through the writing of these place-names, the reader can see the expansive knowledge of the greater Mediterranean held by chart makers and navigators as well as the region's interconnectedness through sea travel. In addition to place-names, flags and city vignettes are used to denote places of importance and political possession. The city-scapes range in size, thus giving emphasis to locations such as Genoa, Babylon, and Venice, while cities such as Rome and Jerusalem are smaller in stature. It is important to note that Benincasa has included a vignette of Acona on the map. While this depiction is uncommon for portolan charts, it is an intentional move by the cartographer to confer importance upon his home city in relation to the larger Mediterranean.&#13;
&#13;
While this map centers on maritime travel, it includes significant inland detail. The most pronounced includes a number of mountain ranges. These depictions appear in every geographic region of the map, the most prominent being the Atlas Mountains which span horizontally across Northern Africa and form a three-pronged shape on the eastern end of the range. Upon closer examination of these mountain ranges, Benincasa has depicted them as sets of tan hills dotted with small trees. In places, there are small buildings protruding from the hillsides. Interestingly, on Mt. Sinai, which sits slightly south of Jerusalem, Benincasa has drawn St. Catherine's Monastery on its summit. Additionally, there are a few human and animal figures on the chart. In Northern Africa, there are two large and regally dressed rulers, with the easterly one being the Sultan of Babylon. In the northeastern corner of the map, there is another finely dressed ruler under a canopy. Next to the Red Sea, which is aptly shaded red, there is a large elephant with a structure on its back. In sum, these details not only depict a map concerned with coastal locations and travel across the larger Mediterranean, but also with the inland topography and its inhabitants, thus giving the reader a considerably more contextual understanding of the region. (Jesse Cogan, 2027)</text>
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                <text> Benincasa, Andrea. Portolan Chart; Borgiano VIII. Vatican City: Biblioteca Apostolica Vaticana, 1508. </text>
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                <text>&lt;p&gt;&lt;span style="font-weight:400;"&gt;Campbell, Tony. “Portolan Charts from the Late Thirteenth Century to 1500.” In &lt;/span&gt;&lt;i&gt;&lt;span style="font-weight:400;"&gt;The History of &lt;/span&gt;&lt;/i&gt;&lt;i&gt;&lt;span style="font-weight:400;"&gt;Cartography, &lt;/span&gt;&lt;/i&gt;&lt;span style="font-weight:400;"&gt;vol. 1, part 3, &lt;/span&gt;&lt;i&gt;&lt;span style="font-weight:400;"&gt;Cartography in Prehistoric, Ancient, and Medieval Europe and the Mediterranean, &lt;/span&gt;&lt;/i&gt;&lt;span style="font-weight:400;"&gt;ed. J.B. Harley and David Woodward. Chicago: University of Chicago Press, 1987.&lt;/span&gt;&lt;/p&gt;
&lt;p&gt;&lt;span style="font-weight:400;"&gt;Astengo, Corradino. “The Renaissance Chart Tradition in the Mediterranean.” in &lt;/span&gt;&lt;i&gt;&lt;span style="font-weight:400;"&gt;The History of &lt;/span&gt;&lt;/i&gt;&lt;i&gt;&lt;span style="font-weight:400;"&gt;Cartography, &lt;/span&gt;&lt;/i&gt;&lt;span style="font-weight:400;"&gt;vol. 3, part 1,  &lt;/span&gt;&lt;i&gt;&lt;span style="font-weight:400;"&gt;Cartography in the European Renaissance, &lt;/span&gt;&lt;/i&gt;&lt;span style="font-weight:400;"&gt;ed. David Woodward. Chicago: University of Chicago Press, 2007.&lt;/span&gt;&lt;/p&gt;</text>
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                <text>The &lt;em&gt;Atlante Nautico&lt;/em&gt; is a collection of ten maps made in 1436 by “Andreas Biancho de Veneciis” as attested on the first page. Besides containing 15th century copyright data, the first page also contains a large chart meant to assist sailors blown off course by the wind (including instructions!) The next 7 are all maps in the tradition of the portolan charts, featuring the Eastern, Central, and Western Mediterranean basins, the Black Sea, the British isles and the northern coast of Europe, Scandinavia, and a complete map of Europe. &lt;br /&gt;&lt;br /&gt;The last two maps are a circular mappamundi and a world map in the Ptolemaic style. This combination of maps tells us that the &lt;em&gt;Atlante Nautico&lt;/em&gt; was not meant as a navigational tool, but rather as a survey of existing map forms. Knowing that this atlas came from Venice, the combination of Ptolemaic map and portolan charts tells us that it was made by an author attempting to understand Ptolemy’s &lt;em&gt;Geography&lt;/em&gt; through the lens of practical nautical charting. &lt;br /&gt;&lt;br /&gt;The visual style is largely utilitarian as portolan charts tend to be. Neither land nor sea is colored, and the only differentiatior is the coastlines drawn with city names written inside them. One sixteen-pointed circle of rhumb lines overlies each map, save the first, reference page, and the two world maps at the end. Smaller islands are often colored and inland rivers tend to be stylized and colorful as well. There are occasional flags or crowns or other figures in emptier spots on the map. (Allen Smith '19)</text>
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                <text>Venice, Biblioteca Marciana, Ms. It. Z, 76 (=4783): Andrea Bianco, Atlante.</text>
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                <text>&lt;a href="https://bridge.primo.exlibrisgroup.com/permalink/01BRC_INST/1tn7c8c/alma991016800581902971"&gt;Carleton Library, Special Collections (Books, Quarto) G6910 1436 .B53 1993&lt;/a&gt;</text>
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                <text>Dalché, Patrick Gautier. “The Reception of Ptolemy’s Geography (End of the Fourteenth to Beginning of the Sixteenth Century).” In &lt;em&gt;The History of Cartography&lt;/em&gt; vol. 3, part 1, &lt;em&gt;Cartography in the European Renaissance, &lt;/em&gt;ed. by David Woodward, 285-364. Chicago: University of Chicago Press, 2007.</text>
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                <text>http://geoweb.venezia.sbn.it/cms/en/articles/9-carte-geografiche-nei-manoscritti-marciani.html</text>
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                <text>Rights for maps held by individual publishers and institutions. Thumbnails displayed constitute fair use.</text>
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                <text>The map displays Europe, Africa, and Asia and is oriented with south at the top of the page. It marks Christian cities with red dots, and all other cities with black dots. Christian cities are marked in Europe, eastern Asia, and on the island of Taprobana, associated with the burial place of the apostle Thomas; there is one unlabeled red dot on the west African coast.  &lt;br /&gt;&lt;br /&gt;There is a large illustration of a fortified city on the eastern edge of the map. It is probably represents Paradise, as it is larger and considerably more detailed than any other city on the map, although it is not labelled. It sits across from the four rivers thought to originate in Paradise. &lt;br /&gt;&lt;br /&gt;Around the outside of the map, a series of rings represent other bodies in the solar system that were thought to orbit Earth, including the Sun. &lt;br /&gt;&lt;br /&gt;The text that accompanies the map refers to Ptolemy (2nd century CE) and the portolan charts as sources, though scholars struggle to find elements drawn from these sources.</text>
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                <text>Vatican City, Vatican Library.  Palatinus latinus 1362 B (1448).</text>
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                <text>Edson, Evelyn. &lt;em&gt;The World Map, 1300-1492: The Persistence of Tradition and Transformation&lt;/em&gt;. Baltimore: Johns Hopkins University Press, 2007.&lt;br /&gt;&lt;br /&gt;Meurer, Peter H. “Cartography in the German Lands, 1450-1650.” In &lt;em&gt;The History of Cartography&lt;/em&gt;, vol. 3, edited by David Woodward, 1172-1245.  Chicago: University of Chicago Press, 2007.</text>
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                <text>The Plan of Rome by Antonio Tempesta, created by Antonio Tempesta in 1593, is an enormous map of the city that stretches across 12 separate plates. The map is drawn from an imaginary viewpoint located high above the ground on the west side of the city. This perspective has the effect of expanding the nearby landmarks such as the Vatican, while compressing the further away buildings and roads like the Colliseum. Several roads and buildings are labelled, as is the river. The drawing focuses on the city within the walls, leaving the land outside the walls blank except for the the Tiber. The map was widely reproduce by Giovanni Giacomo De Rossi, and its style of perspective was copied by later cartographers such as Giovanni Maggi.</text>
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                <text>Roma al tempo di Clemente VIII: La pianta di Roma di Antonio Tempesta del 1593 riprodotta da una copia vaticana del 1606. Vatican City, 1932.</text>
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                <text>&lt;a href="https://bridge.primo.exlibrisgroup.com/permalink/01BRC_INST/1tn7c8c/alma991005917659702971"&gt;Special Collections (Flat Files) (G6714.R7 .A57 1645)&lt;/a&gt;</text>
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                <text>Woodward, David. The History of Cartography. Vol. 3. Chicago: University of Chicago Press, 2007.</text>
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                <text>Roma al tempo di Clemente VIII</text>
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                <text>The Portolan Atlas of 1546 of Battista Agnese </text>
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                <text>Portolan-Atlas des Battista Agnese von 1546 aus der Russischen Nationalbibliothek Sankt Petersburg&#13;
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The Portolan Atlas of 1546 of Battista Agnese from the Russian National Library St Petersburg</text>
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                <text>&lt;p&gt;&lt;span style="font-weight:400;"&gt;Battista Agnese was one of the most prolific Venetian cartographers of the second half of the sixteenth century. Although he is often written off as just a copyist, he had a unique artistic style and an ability to adapt his work to accommodate new geographic discoveries. Battista Agnese’s atlases were extremely ornate and expensive. They were often commissioned by wealthy Venetian patrons and were frequently recorded in the possession of various European royals.This atlas, dated 1546, is typical of Agnese in its style and contents. Following a flyleaf with the (unknown) patron’s coat of arms, there are cosmological models and a chart of the zodiac. Three miniatures of classical scenes are included, painted by an unknown Venetian artist—notably, one is of Atlas holding up a globe, instead of the heavens.&lt;/span&gt;&lt;/p&gt;
&lt;p&gt;&lt;span style="font-weight:400;"&gt;There are 13 maps in total, most of which are drawn in the classic portolan style with wind lines, wind roses, ships, and various decorations populating the land such as figures, banners, and geographical features. On these portolan charts, coastal locations are written perpendicular to the coasts in primarily Latin, Italian, and Spanish. There are maps of the Pacific, Atlantic, and Indian oceans, three maps devoted to the Mediterranean, and several other regional maps, including one of Italy. The final map of the atlas is an oval world map (image attached), which depicts five continents. A line stretches across the map, marking Magellan’s voyage. In typical Agnese style, the twelve winds—drawn as cherub heads on blue clouds—frame the map. In the creation of this atlas, Agnese was inspired by Spanish and Portuguese maps, as well as other Venetian sea charts and the works of Ptolemy. Geographic features distinguish this atlas from others from Agnese. Compared to some of his earlier work, this world map features the Californian peninsula and no longer separates England and Scotland by a channel. This is a testament to emerging geographic knowledge of the sixteenth century and Agnese’s reception of these discoveries.&lt;/span&gt;&lt;/p&gt;
&lt;p&gt;&lt;span style="font-weight:400;"&gt;Despite its technical detail, this atlas was not intended for navigational use, but rather to be a documentation of knowledge and tradition.&lt;/span&gt;&lt;/p&gt;
&lt;p&gt;&lt;span style="font-weight:400;"&gt;(Piper Henderson 2027)&lt;/span&gt;&lt;/p&gt;</text>
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                <text>Battista Agnese of Genoa</text>
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                <text>Agnese, Battista, Arthur Dürst, T. P Voronova, Rossiĭskaia natsionalʹnaia biblioteka., Rossiĭskaia natsionalʹnaia biblioteka., and T. P. (Tamara Pavlovna) Voronova. “Vollständige Faksimile-Studienausgabe in Einzelblättern des Portolan-Atlas von Battista Agnese (1546) aus dem Besitz der Russischen Nationalbibliothek in St. Petersburg.” Disentis, Switzerland: Desertina, 1993.</text>
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                <text>&lt;a href="https://bridge.primo.exlibrisgroup.com/permalink/01BRC_INST/1tn7c8c/alma991001356109702971"&gt;Special Collections (Horizontal Shelving) ; G1001.A4 1546 .D8 1993&lt;/a&gt;</text>
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                <text>&lt;p&gt;&lt;span style="font-weight:400;"&gt;Astengo, Corradino. “The Renaissance Chart Tradition in the Mediterranean.” In &lt;/span&gt;&lt;i&gt;&lt;span style="font-weight:400;"&gt;The History of Cartography&lt;/span&gt;&lt;/i&gt;&lt;span style="font-weight:400;"&gt;, vol. 3, part 1, &lt;/span&gt;&lt;i&gt;&lt;span style="font-weight:400;"&gt;Cartography in the European Renaissance,&lt;/span&gt;&lt;/i&gt;&lt;span style="font-weight:400;"&gt; ed. David Woodward.  Chicago: University of Chicago Press, 2007.&lt;/span&gt;&lt;/p&gt;
&lt;p&gt;&lt;span style="font-weight:400;"&gt;Voronova, Tamara P. &lt;/span&gt;&lt;i&gt;&lt;span style="font-weight:400;"&gt;The Portolan Atlas of 1546 of Battista Agnese from the Russian National Library St Petersburg: Commentary on the Facsimile Edition. &lt;/span&gt;&lt;/i&gt;&lt;span style="font-weight:400;"&gt;Disentis, Switzerland: Desertina Verlag, 1993.&lt;/span&gt;&lt;/p&gt;
&lt;p&gt;&lt;span style="font-weight:400;"&gt;Wagner, Henry R. “The Manuscript Atlases of Battista Agnese.” The Papers of the Bibliographical Society of America 25 (1931): 1–110. http://www.jstor.org/stable/24298267.&lt;/span&gt;&lt;/p&gt;</text>
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                <text>Rights for maps held by individual publishers and institutions. Thumbnails displayed constitute fair use.</text>
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Girona Beatus – Beato de Liébana, códice del Monasterio de San Salvador de Tábara, Zamora</text>
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                <text>&lt;p&gt;&lt;span style="font-weight:400;"&gt;This map is a mappamundi that illustrates Beatus of Liebana’s Girona Codex, one of the most highly decorated manuscripts of his Commentary on the Apocalypse written in the eighth century. This codex was likely made at the monastery of San Salvador de Tábara in 975 CE and was donated to the Cathedral of Girona in 1078. It contains many widely varied introductory paintings, eighty one illustrations of the apocalypse and ten illustrations of the prophecy of Daniel from the Old Testament. &lt;/span&gt;&lt;/p&gt;
&lt;p&gt;&lt;span style="font-weight:400;"&gt;This mappamundi is relatively characteristic of other Beatus mappamundi from the time. It displays Arabic influence in Spain through its use of opaque colors and other decorative elements reminiscent of the Arab world. The map is oriented with east at the top and has Adam and Eve enclosed in a square paradise at the top with the snake curling around the edge of the box. The world is encircled by a large ocean with depictions of fish drawn in a noticeably Islamic style. This Islamic influence points to a conflict in the tenth century on the Iberian peninsula between Muslim space and Christian space. Beatus sought to fight back against the spread of Islam by solidifying the Christian space within his maps. &lt;br /&gt;&lt;br /&gt;This Beatus mappamundi has the general shape of a TO map which was fairly common at the time, where Asia, Europe, and Africa are divided by different waterways, with Asia at the top, Europe on the bottom left, and Africa on the bottom right. However, this map (and other Beatus maps) differs because of the inclusion of a fourth continent on the right edge of the map, on the other side of the Red Sea. In this section of the map, Beatus informs the viewer that this continent is unknown because of the sun's heat but is inhabited by a race called the Antipodeans. Following the evangelical subject of the work the map appears in, the inclusion of this continent highlights the apostles' mission to bring Christianity to every corner of the earth. The mission of the apostles suggested in this map played a key part in reestablishing a comprehensive Christian realm. &lt;/span&gt;&lt;/p&gt;
&lt;span style="font-weight:400;"&gt;The map depicts many waterways in different shades of blue, the larger ones containing multiple islands, especially in the vertical dividing water in the center of the map. The map contains many yellow, tan, green, and gray mountains mostly concentrated in Asia. It also includes multiple countries and regions, but only in name and without any artistic representation.&lt;br /&gt;&lt;br /&gt;&lt;/span&gt;(Perry Hefferren-Harkless 2027)</text>
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                <text>The Girona Beatus Mappamundi, ca. 975, Museo de la Catedral, MS. 10, Girona, Spain</text>
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                <text>&lt;i&gt;&lt;span style="font-weight:400;"&gt;Códice de Girona&lt;/span&gt;&lt;/i&gt;&lt;span style="font-weight:400;"&gt;. Barcelona: M. Moleiro Editor, 2003.&lt;/span&gt;</text>
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                <text>&lt;p&gt;&lt;span style="font-weight:400;"&gt;David Woodward. "Medieval &lt;/span&gt;&lt;i&gt;&lt;span style="font-weight:400;"&gt;Mappaemundi" &lt;/span&gt;&lt;/i&gt;&lt;span style="font-weight:400;"&gt;in Harley, J. B. (John Brian) and David Woodward (Eds.), &lt;/span&gt;&lt;i&gt;&lt;span style="font-weight:400;"&gt;The History of Cartography, &lt;/span&gt;&lt;/i&gt;&lt;span style="font-weight:400;"&gt;pp. 286-368. Chicago: University of Chicago Press, 1987.&lt;/span&gt;&lt;/p&gt;
&lt;p&gt;&lt;span style="font-weight:400;"&gt;Emily Goetsch, “World Maps and Waterways: Place and Space in the Beatus Mappaemundi” in Meg Boulton, Jane Hawkes, Heidi Stoner (Eds.), &lt;/span&gt;&lt;i&gt;&lt;span style="font-weight:400;"&gt;Place and Space in the Medieval World, &lt;/span&gt;&lt;/i&gt;&lt;span style="font-weight:400;"&gt;pp. 198-209&lt;/span&gt;&lt;i&gt;&lt;span style="font-weight:400;"&gt;. &lt;/span&gt;&lt;/i&gt;&lt;span style="font-weight:400;"&gt;New York: Routledge, 2018.&lt;/span&gt;&lt;/p&gt;
&lt;span style="font-weight:400;"&gt;Facsimile Finder - Medieval Manuscript Facsimiles. “Beatus of Liébana - Girona Codex.” Accessed October 18, 2024. &lt;/span&gt;&lt;a href="https://www.facsimilefinder.com/facsimiles/beatus-liebana-girona-codex-facsimile"&gt;&lt;span style="font-weight:400;"&gt;https://www.facsimilefinder.com/facsimiles/beatus-liebana-girona-codex-facsimile&lt;/span&gt;&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;&lt;span style="font-weight:400;"&gt;John Williams. &lt;/span&gt;&lt;i&gt;&lt;span style="font-weight:400;"&gt;The Illustrated Beatus : A Corpus of the Illustrations of the Commentary on the Apocalypse&lt;/span&gt;&lt;/i&gt;&lt;span style="font-weight:400;"&gt;. London: Harvey Miller Publishers, 1994.&lt;/span&gt;&lt;br /&gt;&lt;br /&gt;&lt;span style="font-weight:400;"&gt;Victoria Morse, “The Role of Maps in Later Medieval Society: Twelfth to Fourteenth Century” in Harley, J. B. (John Brian) and David Woodward (Eds.), &lt;/span&gt;&lt;i&gt;&lt;span style="font-weight:400;"&gt;The History of Cartography, &lt;/span&gt;&lt;/i&gt;&lt;span style="font-weight:400;"&gt;vol. 3 part 2, &lt;/span&gt;&lt;i&gt;&lt;span style="font-weight:400;"&gt;Cartography in the European Renaissance &lt;/span&gt;&lt;/i&gt;&lt;span style="font-weight:400;"&gt;pp. 25-52. Chicago: University of Chicago Press, 1987. &lt;/span&gt;</text>
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              <elementText elementTextId="1134">
                <text>Rights for maps held by individual publishers and institutions. Thumbnails displayed constitute fair use.</text>
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                <text>Enlargement of Ptolemy's Description&#13;
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                <text>The &lt;em&gt;Descriptionis Ptolemaicae augmentum&lt;/em&gt; 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. &lt;br /&gt;&lt;br /&gt;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. &lt;br /&gt;&lt;br /&gt;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)</text>
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                <text>Cornelis van Wytfliet</text>
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                <text>Wytfliet, Corneille. Descriptionis Ptolemaicæ avgmentvm : siue Occidentis notitia breui commentario illustrata, et hac secunda editione magna sui parte aucta  Dvaci: Apud Franciscum Fabri, bibliopolam, 1603.</text>
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                <text>1603</text>
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                <text>Special Collections, Carleton College, Northfield, MN</text>
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                <text>https://collections.library.yale.edu/catalog/16580277 shows digitized copy of two pages from the 1597 edition.&#13;
&#13;
https://gallica.bnf.fr/ark:/12148/btv1b55010487z/f1.planchecontact [the full 1597 edition]&#13;
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                <text>&lt;a href="https://bridge.primo.exlibrisgroup.com/permalink/01BRC_INST/1tn7c8c/alma991002882499702971" target="_blank" rel="noreferrer noopener"&gt;Carleton Library Special Collections (Books, Quarto) E141 .W984&lt;/a&gt;</text>
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            <description>A related resource that is referenced, cited, or otherwise pointed to by the described resource.</description>
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                <text>&lt;span style="font-weight:400;"&gt;Gallup, Donald. “The First Separately Published Atlas Entirely Devoted to the Americas: Wytfliet's Descriptionis Ptolemaicae Augmentum,”&lt;/span&gt; &lt;i&gt;&lt;span style="font-weight:400;"&gt;The Papers of the Bibliographical Society of America&lt;/span&gt;&lt;/i&gt;&lt;span style="font-weight:400;"&gt; 76, no. 1 (1982): 63-73. Accessed May 12, 2021.&lt;/span&gt; &lt;span style="font-weight:400;"&gt;http://www.jstor.org/stable/24302542.&lt;/span&gt;</text>
              </elementText>
              <elementText elementTextId="640">
                <text>&lt;span style="font-weight:400;"&gt;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 &lt;/span&gt;&lt;i&gt;&lt;span style="font-weight:400;"&gt;The History of Cartography&lt;/span&gt;&lt;/i&gt;&lt;span style="font-weight:400;"&gt;, vol. 3, part 2, &lt;/span&gt;&lt;i&gt;&lt;span style="font-weight:400;"&gt;Cartography in the European Renaissance, &lt;/span&gt;&lt;/i&gt;&lt;span style="font-weight:400;"&gt;ed. David Woodward, 1296-1383. Chicago: University of Chicago Press, 2007.&lt;/span&gt;</text>
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              <elementText elementTextId="641">
                <text>&lt;span style="font-weight:400;"&gt;Zuber, Mike A. “The Armchair Discovery of the Unknown Southern Continent: Gerardus Mercator, Philosophical Pretensions and a Competitive Trade,” &lt;/span&gt;&lt;i&gt;&lt;span style="font-weight:400;"&gt;Early Science and Medicine&lt;/span&gt;&lt;/i&gt;&lt;span style="font-weight:400;"&gt; 16, no. 6 (2011): 505-41. Accessed May 12, 2021. http://www.jstor.org/stable/41350346.&lt;/span&gt;</text>
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          <element elementId="47">
            <name>Rights</name>
            <description>Information about rights held in and over the resource</description>
            <elementTextContainer>
              <elementText elementTextId="642">
                <text>Rights for maps held by individual publishers and institutions. Thumbnails displayed constitute fair use.</text>
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              <elementText elementTextId="804">
                <text>Descriptionis Ptolemaicae Augmentum</text>
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                <text>Catalan Atlas</text>
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            <description>An account of the resource</description>
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              <elementText elementTextId="34">
                <text>This striking specimen, commissioned for Charles V of France (r. 1364-1380) and probably made by Majorcan Cresques Abraham, is a unique hybrid of exacting cartography and artistic prowess. The Atlas was the first map to include a compass (rather than wind) rose, and responded ably to Charles V’s request for the most accurate map in the world. The facsimile reproduces six vellum leaves, the first two rich with text and illustrations showing a cosmological encyclopedia and the latter four with a map stretching from the Atlantic to the far reaches of China. The Atlas renders the Mediterranean basin and most of Europe in detail reminiscent of other contemporary portolan charts, and draws on accounts of the recent travels of Marco Polo and Ibn Battuta to populate North Africa and the Far East with the cities of Mali and the Khanate. Resplendent with gold, silver, and pigments, the Catalan Atlas invites the viewer to lose themselves in its rivers and rhumb lines.  (Nicholas Carlsen '17 and Adron Mason '16)</text>
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                <text>Cresques Abraham (?)</text>
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                <text>Catalan Atlas, Paris, Bibliothèque nationale de France, Département des manuscrits, Espagnol 30.</text>
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                <text>Cresques Abraham. &lt;em&gt;Mapamundi, the Catalan atlas of the year 1375&lt;/em&gt;, ed. Georges Grosjean. Zurich: Urs Graf Verlag GmbH, 1977.</text>
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                <text>14th Century</text>
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                <text>Special Collections, Carleton College, Northfield, MN.</text>
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          <element elementId="47">
            <name>Rights</name>
            <description>Information about rights held in and over the resource</description>
            <elementTextContainer>
              <elementText elementTextId="40">
                <text>Rights for maps held by individual publishers and institutions. Thumbnails displayed constitute fair use.  </text>
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                <text>http://gallica.bnf.fr/ark:/12148/btv1b55002481n.r=catalan+atlas.langEN</text>
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                <text>Portolan Chart Atlas</text>
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                <text>&lt;a href="https://bridge.primo.exlibrisgroup.com/permalink/01BRC_INST/1tn7c8c/alma991015181209702971" target="_blank" rel="noreferrer noopener"&gt;Carleton Library, Special Collections (Horizontal Shelving) G1001 .C73 1977&lt;/a&gt;</text>
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