Night Maps is an exhibition “exploring the visual and intellectual history and the real-world consequences of mapping the night sky” at the Warburg Institute in London.
Many of these objects are on public display for the first time. Highlights include a 13th-century William de Conches manuscript illustrating the relationship between earth and sky; the first printed edition of Ptolemy’s Almagest; a monumental Chinese blue celestial map from 1822; one of seven known examples of the allegorical ‘Christian Knight’ Map which inspired John Milton’s Paradise Lost; a rare 18th-century Nepalese bhūgola or ‘earth globe’; and an engraved stone cosmological object from the ancient Valdivian culture of Ecuador dating to 2000 BC.
The exhibition will also include rare globes and documents on loan from Royal Museums Greenwich, and photographs and other materials from the UCL/NASA Regional Planetary Image Facility, as well as material drawn from the Warburg Institute’s collections.
The exhibition opened on 21 October 2026 and runs until 17 April 2027. Free admission. [Maps Mania]
U.S. Defense Secretary Pete Hegseth wanted a 30-inch floor globe used by Dwight Eisenhower during World War II moved to his office. Rather than wait for specialist movers, his staffers tried to move it themselves, and broke it. The Washington Post has an exclusive, but it’s behind a paywall; see coverage from the Guardian and NBC News, among others. The DoD is brushing it off, saying that mistakes happen and calling it a replica globe (it apparently isn’t; and though many duplicates were made, they were made and sent out by Eisenhower, so they’re not exactly worthless). The globe is being repaired. Here’s a 2022 piece on how to move that globe properly, from a moving company that actually did it.
Chef d’œuvre cartographique du XVIIIe siècle, la carte de France de Cassini est la première carte de France levée géométriquement à l’échelle d’un pays entier.
Document historique emblématique, composé de 181 feuilles, c’est aussi un objet d’art monumental de onze mètres de largeur sur douze mètres de hauteur. S’appuyant notamment sur un versement majeur de l’IGN aux Archives nationales, l’exposition retrace l’histoire de la carte sous un jour inédit.
En 2021 et 2025, l’Institut national de l’information géographique et forestière (IGN) a versé aux Archives nationales le fonds des archives relatives à la carte de France de l’Académie, plus connue sous le nom de carte de France de Cassini.
Ce fonds remarquable se compose des calculs, des écrits, des minutes mais aussi des cuivres et des tirages originaux relatant la fabrication et la vie de cette carte entre 1750 et les années 1950. Un fonds dont le caractère exceptionnel permet de dévoiler aujourd’hui des aspects méconnus d’une œuvre à la portée universelle; une œuvre conçue par quatre générations d’astronomes et cartographes : les Cassini.
In French, bien sûr. Opened on 14 October, runs through 1 February 2027. Free admission. [Cartographie(s) numérique(s)]
Dan Vanderkam: “Over the past few months I’ve been working on mapsnap, a program to automatically georeference old insurance maps. This post explains why these maps are interesting, how mapsnap works, and why this is worth doing.” [Tara Calishain]
In the summer of 1775, shortly after George Washington took charge of the newly formed Continental Army in Boston, a small advertisement appeared in the London newspapers, announcing the publication of The American Atlas: Or, A Geographical Description of the Whole Continent of America. The volume—which bore the name of the late Thomas Jefferys, who had held the title of Geographer to the King—promised a view of the continent’s “several Regions, Countries, States, and Islands, and chiefly the BRITISH COLONIES.”
The atlas was designed to capitalize on public interest in the “rebellion,” as King George III would call it in an August 1775 proclamation. Through the war, the well-to-do English reader with two pounds, twelve shilling and six pence to spare could follow news from this faraway land across a series of maps. (In editions published in subsequent years, the maps even included descriptions of Britain’s tactical victories, such as at the Battle of Valcour Island in Lake Champlain.)
Bodleian Map Room Blog: “In early September one of the library treasures, the Oxfordshire Sheldon tapestry, will be taken off display. One of a set of four there’s been a Sheldon tapestry on display in Blackwell Hall for the last ten years, a riot of colour and history which has drawn visitors to them and will be missed when no longer there.” One of four tapestry maps of English counties commissioned in the late 16th century by Ralph Sheldon, the Oxfordshire tapestry went on display at the Bodleian in 2019, replacing a display of the Worcestershire tapestry. I assume it’s coming down for conservation reasons (they don’t say); no word either on what will take its place.
Cartes imaginaires: Inventer des mondes, an exhibition at the Bibliothèque nationale de France running from 24 March to 19 July 2026, explores maps of the imaginary, the legendary and the literary from medieval to modern times. A symposium this past April on maps and popular culture was held in conjunction with this exhibition, but I somehow missed reporting on the exhibition itself. Fortunately, Surekha Davies has attended it, and has this report: “I went around this show a couple of times with different friends. From Tolkien’s map of Middle Earth to a map of Guiana derived from Sir Walter Ralegh’s travel narrative about the region, it felt at times like the library had put this show on specially for me!”
(Though she disagrees with placing sea monsters in the same category as fantasy maps: she argues that they’re a representation of the hidden, inaccessible or strange, not the fanciful. On which she points to her 2020 essay in Aeon, which is worth reading.)
John Rocque, A plan of the cities of London and Westminster, and borough of Southwark, with the contiguous buildings, 1746. Map on 24 sheets, 203 × 385 cm. Library of Congress Geography and Map Division.
A book reprinting John Rocque’s 1746 map of London, a massive 24-sheet, 1:2,437-scale map originally printed in 24 sheets, has just been published. Or rather, republished: it’s an updated reprint of a 1947 paperback by journalist W. Crawford Snowdon that was published to mark the map’s 200th anniversary. The new edition, out from Atlantic Publishing, is updated with better-quality map reproductions and additional illustrations. The “street-by-street” subtitle kind of pitches it as an 18th-century A to Z map. BBC News, Daily Mail, Londonist.
Leonardo da Vinci’s authorship of this 1514 octant map of the world has been disputed over the years.
Miguel García Álvarez looks at the maps of Leonardo da Vinci. “Leonardo never wrote a treatise on geography, as Ptolemy did, but his understanding of the territory and the importance of finding effective ways to represent it was far ahead of his contemporaries. I could simply leave you with his collection of maps, and I guarantee you would be fascinated by their beauty. Instead, I am going to limit myself to just three and use them to illustrate how he achieved three crucial advances in the early 16th century that are fundamental to understanding the history of geography.”
Maps: Digital | Analogue is a one-day symposium from the Sunderland Collection, held in conjunction with the Bodleian Libraries, taking place on 26 February 2026. “Discover the secrets that digitisation can reveal about historical maps and atlases, explore the world of online gaming maps, learn about globes and conservation, and find out all about the colours and pigments used in early cartography.” Free registration, streamed and in-person at Oxford’s Weston Library.
A map dealer’s catalogue is not the first place you’d expect to be a locus of resistance. Even so, in the first 2026 catalogue from map dealer Neatline Maps, Kristoffer Damgaard curates a selection of Greenland-focused material, along with a ten-page history of the mapping and exploration of Greenland. “Understanding how Greenland was explored and mapped over time provides an important context for understanding why the present confrontation is so deeply unnecessary and wrong.” Thanks to Fred for the tip.
Surekha Davies writes about on how monsters on maps led to her first book and then, in her second, to a consideration of why monsters exist as a category.
By taking images of monstrous peoples on maps seriously I broke both molds. For traditionalists, engravings of headless men in Guiana or giants in Patagonia were what they called “myth,” “fantasy,” or “mere decoration”: cartographers supposedly added monsters to make their maps more appealing to buyers, or because they feared empty space. The “maps as politics” brigade offered a third explanation: monsters on European maps from the age of exploration were propaganda crafted to justify colonialism. For both factions, there was supposedly nothing more to say. I begged to differ.
