The Medieval Origins of Thrór’s Map

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In my 2013 article on fantasy maps for The New York Review of Science Fiction, I noted that J. R. R. Tolkien’s two maps from The Hobbit were much more like real-world medieval maps than typical fantasy maps usually are. Medieval scholar Thijs Porck explores how Thrór’s map, in particular, is quite similar to the 11th-century Cotton World Map.

This Anglo-Saxon map of the world, made in Canterbury around 1025-1050, shows a number of similarities to Tolkien’s map of Thror. First and foremost, the two maps share the same orientation: East is on the top, North is on the left and the West is on the bottom (you can clearly see this by looking at Britain in the bottom left corner!)—a standard feature of medieval maps (before the introduction of the compass, the East (where the sun rises) was the easiest direction to locate). Moreover, the Cotton World Map, like Tolkien’s, features several drawings, such as two little men fighting in the south of Britain, little drawings of cities like Rome and Jerusalem, and mountains (including Mount Ararat in Armenia with a little Ark of Noah!). Finally, the Anglo-Saxon map accompanies some of these drawings with descriptions; e.g., the drawing of a lion in China, where it says “hic abundant leones” [here are many lions]—not unlike Tolkien’s drawing of a spider, near the text ‘There are spiders’.

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The Washington Post on Google Maps Errors

“Although Google Maps is fast becoming the ultimate authority on navigation,” writes Karen Turner for the Washington Post, “the program is proving vulnerable to mistakes and hackers with results that at times can be catastrophic.” Turner focuses on Google and problems with its error-correction and verification processes; it’s worth remembering, though, that all online maps suck in some way: no map service has a monopoly on accuracy or error. [via]

McKinlay: ‘Use or Lose Our Navigation Skills’

Writing in Nature, Roger McKinlay notes the complexity, infrastructure requirements (i.e., cost) and limitations of modern navigation technology and argues that people “should make better use of our innate capabilities. Machines know where they are, not the best way to get to a destination; it might be more reliable to employ a human driver than to program an autonomous car to avert crashes. If we do not cherish them, our natural navigation abilities will deteriorate as we rely ever more on smart devices.” [via]

San Serriffe

San SerriffeOn 1 April 1977, the Guardian published something that has become known as one of the finest April Fool’s gags in history: a seven-page supplement about the fictional, “semi-colonial” island of San Serriffe, complete with a map (at right) full of typographic puns and gags. The Guardian has a page on the gag and has reprinted a couple of the articles here and herethe Museum of Hoaxes has scans of the entire supplement.

In March, 30 readers supported The Map Room by contributing a total of $332: 10 contributed $62 via buying me a coffee and 20 contributed $270 to my web hosting fees. My thanks to you all for your support.

WordPress says The Map Room got 11,742 views and 5,978 visitors in March. Those numbers don’t include legacy archive pages (another 2,900 or so views), RSS subscribers (about 1,200), or people using a blocker (see my privacy policy). They’re about even with February’s numbers.

The most popular post in March: Map Colours and Colour Blindness. Coming a close second: Super Tuesday Results by County.

March’s bestselling book (as determined by orders via this site’s affiliate links) is, by a large margin, Gretchen Peterson’s City Maps: A Coloring Book for Adults (see post).

Just realized that today marks The Map Room’s thirteenth anniversary. (There was, of course, the 54-month interruption between June 2011 and this past January, so it doesn’t mean thirteen continuous years—unless you count the occasional map posts on my personal blog, on Twitter and on Facebook. But I maunder. In any event, another milestone.)

Brian Staveley on Fantasy Maps

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Isaac Stewart, map from The Last Mortal Bond. 2016.

To mark the publication of The Last Mortal Bond (Amazon, iBooks), the final volume in his Chronicles of the Unhewn Throne trilogy, Brian Staveley has penned this essay on the value of maps in fantasy fiction. Excerpts:

A map is more than a two-dimensional catalogue of locations. First, and most importantly, it is a promise. By mapping a world, or a continent, or even a city, a writer assures his/her readers that their imagination has ranged well beyond the boundaries of their particular story, that they have imagined, not just the room in which the scene takes place, but the street beyond that room, the political structure responsible for building those streets and maintaining them, the agricultural system on which that political structure rests, the natural resources that undergird that system, and all the rest. […]

last-mortal-bondFinally, maps provide a lens through which to view the events of the story. Every map, after all, contains the biases of the mapmaker, and while cartography might like to lay a claim to objectivity, there can be no objectivity in an artifact that excludes a thousand-fold the amount of information that it contains. Does a map contain political boundaries or landforms? What demographic information does it convey? Religion? Age? Ethnicity? What does it elide? What landforms are depicted? Which are excluded? Do those confident dotted lines obscure ongoing conflicts? No map can escape these deliberations, and even the most thoughtful cartography can’t offer the absolute truth, only a perspective on that truth. One reason I spend so much time studying a map before I read the book that follows is that I’m curious about that perspective. I get a glimpse before I even begin, into what the writer thinks is important about their own story.

The Design Details of Interactive Maps

Axis Maps’s Dave Heyman offers some advice on interactive map design—specifically, on the details, like colour usage and data interfaces. “Academic cartography provides good guidelines for thematic cartography, but interactivity and user-interface design are often ‘I know it when I see it’ type of things. What follows are 4 quick design concepts and techniques that can be applied in many situations to improve the look and feel of an interactive map.” [via]

New National Maps of Switzerland

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Switzerland is updating its official map series. The new maps are digitally based and use new fonts, symbols and colours—railways, for example, are now in red. They replace the 1:25,000 series that dates back to the 1950s; all 247 sheets should be replaced by 2019. You can compare the old and new map designs on this interactive map (screencap above). [via]

A Multilingual Map of India

Arun Ganesh talks about making a multilingual map of India: “Hardly anyone in India even knows that OSM can handle regional languages, simply because its not visible anywhere on the map. After some recent interest from the community in making regional language maps for openstreetmap.in, I decided to give this a shot to make a multilingual place map for India using OSM and Mapbox Studio that I have been playing with recently.”

Fantasy Football and Election Maps

Development Seed’s Anna Scalamonga discusses the work they did on the Washington Post’s live interactive election maps. “Our challenge was to build a real-time data app that engages users and make it easy to track the most important information. Inspired by interactions and visual presentation from fantasy football apps, we designed tools for live election tracking that make it clear when the data is changing and provide contextual information to make these changes understandable.”

Andy Woodruff: Beyond the Sea

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Inspired by maps that attempt to show what’s across the ocean when you look out from the shore (like this one and this one), Andy Woodruff applies a bit more rigour (and some geometry) to ask what’s across the ocean when you look out in a straight line perpendicular from the shore. (The other maps simply followed parallels of latitude.) Follow a straight line perpendicular from a point on the shore of Newfoundland and you get to Australia (via great circle), not France.

Encountering Map Dealers: Hudson, Arader

Atlas Obscura profiles map collector and dealer Murray Hudson. “Today, Murray Hudson owns what is said to be the largest private collection of for-sale antique maps, prints and globes in the world. His collection, held in Halls, Tennessee, contains, in addition to some 24,000 maps, over 6700 books, 2690 prints, and 760 globes.”

Last month the Wall Street Journal’s Ralph Gardner, Jr. reported on his visit to the Arader Galleries; it’s very much a first-time-experience kind of narrative that is noteworthy for the complete absence of Graham Arader (except in the comments), whose presence usually looms quite large in stories about map collecting. [via]

Mapping Titan with VIMS

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Because of its thick and opaque atmosphere, Saturn’s largest moon, Titan, has to be mapped piece by piece during close fly-bys by the Cassini spacecraft, using radar, infrared and visual data. The above image is one of two montages that “shows four synthetic views of Titan created using data acquired by the visual and infrared mapping spectrometer (VIMS) on board NASA’s Cassini spacecraft between 2004 and 2015. These views demonstrate some of the progress researchers have made in creating smooth-looking maps of Titan from the multitude of different VIMS observations made under a wide variety of lighting and viewing conditions.” More on VIMS here.

Previously: Titan in StereoTopography of Titan“Extraterrestrial Islands in a Methane Sea”Mapping the Solar System: Mercury and TitanHuygens Probe Images of Titan.