An update on the Gough Map Project from Bill Shannon. “The Gough Map Project has reached that ‘interesting’ stage where we are moving from either sitting on the fence and making no decisions, or making lots, but then rejecting them all. It is now time to reach some firm conclusions, and start writing.”
Among other things, the Gough Map appears to be a copy of, and updated from, an earlier (“ghost”) map:
And so, we now have still more questions as we turn over the possible scenarios. If the copying was done in the early years of Henry IV, when was the Predecessor made? And where? And why? And why was our copy made—and where? And, what about that shipwreck? And, especially, what about those red lines previously interpreted as “roads”: it seems quite clear that these were not on the Predecessor, which means it never was a road map. Indeed, as we have progressed, we have realised those red lines are, at best, routes. […] But one thing we feel sure of: Mr Gough’s map was never a high-quality, show-piece display object; it was a back-room, practical, work-a-day thing.
Much study has been devoted to the Gough Map, a late medieval map of Great Britain, exact date and authorship unknown, that was donated to the Bodleian Library in 1809 by the map’s now-namesake, Richard Gough. (An interactive version is available online.) A new project led by Catherine Delano-Smith and Nick Millea explores the map on several levels: as physical object, combining hyperspectral imagery, pigment analysis and 3D scanning; the process of how the map was drawn (and redrawn); and a close analysis of the places and names found on the map. Some of the project’s early findings were published in Imago in 2016.
Maps are artifacts of the era in which they were created: they reflect not only what people knew about the world, but how they saw it. That’s the thrust of Amelia Soth’s article for JSTOR Daily about The Book of Curiosities of the Sciences, and Marvels for the Eyes, a Fatimid-era cosmography compiled in Egypt in the 11th century; the Bodleian Library’s example is a late 12th/early 13th-century copy.
There is a philosophy underlying the geography. It pins abstract concepts to points in space, placing civilization and order at the center and wilderness and chaos at the edges. The medieval Arab world inherited the Greek conception of geography—in particular, that of Ptolemy, who separated the world into seven climates. The concentric arcs marked on the map represent these climates. The world is mapped as a circle with a center and a periphery; the regions grow hotter to the south and colder to the north, buffeted by different kinds of winds on the eastern and western sides, while the land at the heart of the map enjoys a harmonious balance of elemental forces. The people living at the center benefit from the temperate weather and grow up beautiful and healthy.