New World, Old Maps
November 26, 2013 - Jenni Lloyd
28 November to 22 December 2013
22 March to 2 November 2014
New World, Old Maps is a rotating display of the acclaimed historic map collection formed by Dallas
Pratt, co-founder of the American Museum in Britain, Bath, and celebrates the new publication
Mapping the New World – Renaissance Maps from the American Museum in Britain. Illustrating the
changing shape of the Americas as Renaissance cartographers (working from ancient and medieval
sources) learned more of the New World, this is the third in a series of extensively illustrated
catalogues produced by Scala Arts and Heritage Publishers to showcase the core collections of the
American Museum in Britain.
The ‘New World’ was constantly changing shape on maps made from the 15th to 17th centuries as
European cartographers learned more from the navigators, who had ventured forth across the Atlantic
in search of treasure – notably pearls, gold, and spices.
Portugal launched the first open sea explorations in the early 15th century, breaking with the coastal
sailing tradition of keeping land in sight as an aid to navigation. By venturing into the realms of sea
monsters – grotesquely illustrated on contemporary maps as matters of fact rather than fantasy –
Portugal had laid claim to the Madeira islands and the Azores by 1427, and then went on to explore the
west coast of Africa.
Portugal’s great rival, Castile, had been slower to take up the challenge of oceanic exploration. After
its marriage alliance with Aragon in 1469 and the subsequent reconquest of the Moorish kingdom of
Granada (completed in 1492), Castile looked seawards. By claiming Granada for Christ, the Spanish
monarchs severed trade ties with African markets dealing in luxury goods. (Such bounty had
previously been paid as tribute by the Moors.) To avoid the humiliation of bartering with Portugal
over trade through Africa, it thus became necessary to finance adventurers willing to seek out new
trade routes with the East by travelling west. Christopher Columbus famously set sail in August 1492,
the same year that Granada finally fell to his patrons, Isabella of Castile and Ferdinand of Aragon. In
little more than two months, Columbus had discovered a world ‘new’ to Europe and claimed it on
behalf of Castile.
Subsequent European dominance of the Americas was achieved by detailed maps. Whereas medieval
maps illustrated theology rather than geography, the Renaissance revived the classical discipline of
scientifically mapping land mass. Such precision was entirely practical: only by exact measurement
could the rich New World territories be claimed, plundered and ruled by their Old World conquerors.
However, some pre-eminent maps of this period were made primarily as elaborate expressions of
patriotic sentiment and were never intended to be used as sea charts. Made for buyers who preferred
to venture across the oceans only in their imaginations, these printed masterpieces by artists such as
Dürer and Holbein were made specifically to adorn the walls of merchants and princes. They were
treasured for their exquisite artistry and celebrated as expressions of intellectual endeavour, whereby
the vastness of the known world was presented in two-dimensional form on paper.
In 1988 Dr Dallas Pratt gave the Museum over two hundred Renaissance maps of the New World – a
collection acclaimed by scholars as one of the finest holdings of printed world maps in existence. Dr
Pratt recollected when he first caught what he called the ‘map bug’: “I bought my first sixteenthcentury
map in 1932. It was the summer before I entered Yale, and I was in Paris with a friend.
Strolling past bookstalls which line the left bank of the Seine, my eye was caught by three quaint and
colourful maps. One was of the world, with fat-cheeked wind-puffers, one of the western hemisphere
with a cannibal’s ‘lunch’ dangling from a Brazilian woodpile, and the third depicted an upside-down
Europe with south at the top. Who could resist?”
Included in this generous donation were such rarities as the famous Borgia World Map (c.1430 1797).
While in Portugal in 1774, Cardinal Stefano Borgia chanced upon a map engraved on a metal sheet
(now in the Vatican Library) and had prints made of the image. This is one of only ten surviving
copies. As the original map on metal is a true map, not an engraved plate made for printing (where the
map is drawn in reverse), an intermediate cast had to be made in order to produce the printed copies.
At first glance, the map (with south at the top) has some characteristics of medieval mappae mundi.
Medieval map-makers tended to make their own lands larger in comparison with those of others so in
this work Italy is disproportionately large. The further from Europe, the more bizarre are the subjects
depicted: the giants Gog and Magog inhabit the East; the Tartars (under their emperor Canis, possibly
Genghis Khan) ‘dwell in towns of many tents of skin’; Siberia is called ‘the land of illustrious
women’; further south, the Scythians ‘through want, sell their children in the market’ and worship a
head placed on a pole.
Of particular interest is the America sive novus orbis… (America or the New World…) by Theodor de
Bry (1528-1598), who was born in the Spanish Netherlands to a family of jewellers and engravers. A
religious dissenter, he fled in 1570 to Strasburg, then a major centre of the Protestant publishing and
book trade. From here he moved to Frankfurt and became established as a publisher. Aware of the
public’s interest in descriptions of the New World territories, he travelled widely to search out
accounts of explorations and in 1590 launched his major series of illustrated books under the titles Les
Grands Voyages (or journeys to the West) and Petits Voyages (for those to the East and North). This
map is based on the 1594 world map by Peter Plancius, but what draws the eye are the lively figures
depicted in the corner spandrels. This gallery of explorers – Christopher Columbus (1451-1506),
Amerigo Vespucci (1454-1512), Ferdinand Magellan (c. 1480-1521), and the conquistador Francisco
Pizarro (c. 1471 or 1476-1541) – demonstrates de Bry’s business acumen: finely executed illustrations
could greatly add to the commercial success of a map.
A world map by cartographer Hajji Ahmed (Venice, map 1559-60; print 1795) is a notable rarity in
this display. During the 16th century, cartographers of a mathematical inclination applied their
ingenuity to the task of representing a spherical earth on a flat surface. As the world known to
Europeans increased in size, so did the variety of the shapes they chose to enclose it. Among the most
attractive of these designs were heart-shaped (cordiform) maps. The imposing Arabic inscription at
the top of this map opens with the words ‘Whoever wishes to know the true shape of the world, their
minds shall be filled with light and their breast with beauty’. It has been suggested that the map’s
author was a Tunisian, enslaved by Venetians, who bought his freedom by engraving it on six blocks
of pear wood. It may have been prepared for the Ottoman market, since most of the text is in Turkish.
When relations between the Venetian Republic and the Ottomans worsened, the blocks (being of
potential benefit to the Turks) were sequestered in the Doge’s secret archives. They were rediscovered
in 1795, and 24 copies were then printed; only about nine or ten of these are thought to have survived.
For further information and images, please contact:
The American Museum in Britain
01225 823019, firstname.lastname@example.org
September 27, 2016
Panel Discussion: The 2016 US Presidential Election
As the dust settles after the first presidential election debate, we’re looking forward to our own panel discussion in the […]
September 15, 2016
Volunteering: A World of Opportunity
Our volunteers are at the very heart of the American Museum. We asked Stephanie Boxall to explain why volunteering here […]
July 4, 2016
The Museum was recently given this important early Anasazi bowl. The Anasazi were native to the ‘four corners’ area of […]
African-American American arts Bath Spa University behind-the-scenes Christmas Churchill Civil War collections colour costume craft fair curatorial displays events exhibition Fair families Family Fun film flowers Folk Art garden Gardens grounds groups Kaffe Fassett learning literature loan museum Museum Volunteer Native American photography quilts review takeoverday takeoverday2014 Talks Textiles The Last Runaway Tracy Chevalier volunteering workshops yarn bombing