The National Library of the Netherlands has an online version of Ortelius’s 16th-century atlas, the Theatrum Orbis Terrarum. In Dutch only. (From what I understand it’s not the only digitization of this work available online: see the atlas’s Wikipedia page for links to additional sites.) [Maps Mania]
A 16th-century globe bought for £150 at a Welsh antiques fair has sold at auction for £116,000. It had been expected to fetch £20-30,000. The globe, which dates to the 1550s or 1560s and believed to be by, or derived from work by, François Demongenet, includes sea monsters but not Australia (not yet discovered by Europeans) and is made of paper gores, which makes it both rare and fragile. More from the auction house here. Auction listing. BBC News coverage. (Image: Hansons Auctioneers.)
“Maps depicting Renaissance Tuscany are back on display at the Uffizi Galleries in Florence after being hidden from public view for more than 20 years,” the Guardian reports. “The wall paintings were commissioned in the late 1500s by Ferdinando I de’ Medici after the republic of Florence’s conquering of its rival Siena led to the creation the Grand Duchy of Tuscany and depict the newly unified territory.” It cost €600,000 to restore the three maps drafted by Stefano Bonsignori and painted by Ludovico Buti; the maps are on display in the Uffizi’s maps terrace, also newly renovated and limited to 20 visitors at a time. [MAPS-L]
The Piri Reis map is back on display at the Topkapı Palace in Istanbul. Like the Tabula Peutingeriana, it’s only taken out for display at intervals to protect it from the elements. Discovered when the palace was being converted into a museum in the 1920s, the map is the western third of a portolan chart drawn on gazelle skin parchment in 1513 by Ottoman admiral Ahmet Muhiddin Piri (“Reis”—admiral—was his title). It was an expansive compilation of ancient and contemporary sources much like the Waldseemüller map, and is fascinating in its own right; in recent years, though, it became one of the “proofs” of a nutty theory involving ancient civilizations and polar shifting. [Tony Campbell]
When an exhibition held in Burgos, Spain celebrating Magellan’s voyage wanted to use the Burgos Cathedral’s copy of Pietro Martire d’Angiera’s 16th-century Legatio Babylonica, which contains the first-ever map of the Caribbean, they discovered that the map had been replaced by a fake. El País reports (in Spanish) that prosecutors have closed the case for lack of information—they don’t even know when it was stolen, much less who stole it.
Out tomorrow from Johns Hopkins University Press, Alida C. Metcalf’s Mapping an Atlantic World, circa 1500 explores how sixteenth-century European maps conceptualized a new, Atlantic-centred world. From the publisher: “Metcalf explains why Renaissance cosmographers first incorporated sailing charts into their maps and began to reject classical models for mapping the world. Combined with the new placement of the Atlantic, the visual imagery on Atlantic maps—which featured decorative compass roses, animals, landscapes, and native peoples—communicated the accessibility of distant places with valuable commodities. Even though individual maps became outdated quickly, Metcalf reveals, new mapmakers copied their imagery, which then repeated on map after map. Individual maps might fall out of date, be lost, discarded, or forgotten, but their geographic and visual design promoted a new way of seeing the world, with an interconnected Atlantic World at its center.” [WMS]
Mapping Memory, the exhibition of 16th-century indigenous maps at the University of Texas at Austin’s Blanton Museum of Art that I told you about last month, wraps up this weekend. If you need more information to help you decide whether to visit, here are writeups from Atlas Obscura and Hyperallergic.
The Blanton Museum has also released a short video about the exhibition.
For a closer look at the Teozacualco Map (above), see this site.
Update: NPR story.
In case the Talking Maps exhibition (previously) was insufficient cause for you to visit the Bodleian Library in Oxford this year, here’s another. The Sheldon Tapestry Map of Oxfordshire, one of four tapestry maps of English counties commissioned in the late 16th century by Ralph Sheldon, is on display at the Bodleian’s Weston Library. The tapestry is partially complete—intact it would have measured 3.5 × 5.5 metres—and on display for the first time in a century, having gone through a “painstaking” restoration. BBC News, Londonist.
The Oxfordshire tapestry map replaces a display of the Worcestershire tapestry map that had been running for the past four years: both were donated to the Bodleian by Richard Gough in 1809. The Bodleian acquired a sizeable section of the Gloucestershire map in 2007 (it went on display the following year); other parts are in private hands. The fourth tapestry map, of Worcestershire, is the only one that is completely intact and not missing any pieces: it’s owned by the Warwickshire Museum, where it’s on display at the Market Hall Museum.
Mapping Memory: Space and History in 16th-century Mexico, a new exhibition at the Blanton Museum of Art at the University of Texas at Austin, presents “a selection of maps, known as Mapas de las Relaciones Geográficas, created by Indigenous artists around 1580. These unique documents show some of the visual strategies used by native communities for the endurance and perseverance of their cultures throughout the so-called colonial period and well beyond.” Opened 29 June; runs until 25 August.
Seven maps from late 16th-century Mexico are the focus of a 2018 study by University of Seville researcher Manuel Morato-Moreno (Cartographica article, press release). Part of a series of maps sent back to Spain by local administrators, the maps are hand-drawn, but imitate the style of printed maps: the hatching deliberately evokes woodcuts, while the animals are reminiscent of cartouches, sea monsters and other illustrative elements. But the maps also incorporate Indigenous design elements.
Although all the maps were done in the European style, they also show some characteristics that suggest the influence of indigenous cartography, like footprints on the routes and eddies in the rivers, in which fish can also be seen on the surface of the water. Having these indigenous conventions in coexistence with European cartographic characteristics suggests an effort to adapt the two cartographic styles to each other. “The authors of these maps might have unconsciously mixed European and native conventions,” the researcher adds.
In addition, the experts have identified the influence of another renaissance practice which originated in the portolan charts: drawings of figurative scenes of indigenous people and animals of the region, like deer, rabbits, vultures and armadillos. “Possibly the disproportionate representation of these animals is a way of emphasising the animal species that were characteristic of the region, or, as in the case of the armadillo, highlighting those exotic species that were unknown in Spain.”
More at, and via, Atlas Obscura.
Writing for BBC Travel, Madhvi Ramani looks at where Martin Waldseemüller’s 1507 map of the world, famous for being the first map to name “America,” came to be: the church of Saint-Dié-des-Vosges. The collaboration there by Waldseemüller and Martin Ringmann is covered in detail by Toby Lester’s Fourth Part of the World, which Ramani refers to (and I review here), but this take is, well, shorter. [ICA]
Publishing pieces on the Waldseemüller map, often called “America’s birth certificate,” seems to be a thing that happens in early July: Voice of America did it in 2016. Can’t imagine why that might be.
The University of Lausanne has come across a pair of globes—one celestial, one terrestrial—made by Mercator in the 16th century. Mercator apparently had a reputation as a globemaker, and a number of his globes are still in existence today. But “not particularly rare” is not the same as “not particularly interesting,” and the globes, which first turned up on campus in 2004, are now the subject of an exhibition at the Espace Arlaud in Lausanne, which runs until 15 July, and an extensive and detailed website that talks about the globes and how they were discovered and authenticated. Digital versions of each globe have also been produced: here’s the terrestrial globe; here’s the celestial globe.
All of this, by the way, is in French. If reading French is not your thing, the Harvard Map Collection also has a pair of Mercator globes, which you can view via their (rather dated) website.
More on Urbano Monte’s 1587 world map, which, you may remember, the Rumsey Collection digitally assembled into a single map from 60 manuscript pages. Now Visionscarto has taken it a step further, with a web tool that reprojects a map into other projections, taking the map’s original polar azimuthal equidistant projection and transmogrifying it into 20 other projections. Yes, sure, the Mercator is one of them, but so are the Goode Homolosine, the Hammer—even the Dymaxion. The tool is available on both the Visioncarto and Rumsey Collection websites. [David Rumsey]
More on Urbano Monte’s 1587 world map, a copy of which the Rumsey Collection acquired last year (see previous entry). Chet Van Duzer presented his findings on the map and the mapmaker at Stanford last month, LiveScience reports. His conclusion? Monte was “both a mastermind and a copycat”—and not a very good artist, either. But the map is still very interesting. [WMS]