Sea Monsters On Medieval And Renaissance Maps

The sea monsters on medieval and Renaissance maps, whether swimming vigorously, gamboling amid the waves, attacking ships, or simply displaying themselves for our appreciation, are one of the most visually engaging elements on these maps, and yet they have never been carefully studied. The subject is important not only in the history of cartography, art, and zoological illustration, but also in the history of the geography of the "marvelous" and of western conceptions of the ocean. Moreover, the sea monsters depicted on maps can supply important insights into the sources, influences, and methods of the cartographers who drew or painted them. In this highly-illustrated book the author analyzes the most important examples of sea monsters on medieval and Renaissance maps produced in Europe, beginning with the earliest mappaemundi on which they appear in the 10th century and continuing to the end of the 16th century.

The mythic creature expert and author of Phoenix takes readers through a bestiary of sea monsters featured on the famous 16th century map Carta Marina. In the sixteenth century, sea serpents, giant man-eating lobsters, and other monsters were thought to swim the waters of Norther Europe, threatening seafarers who ventured too far from shore. Thankfully, Scandinavian mariners had Olaus Magnus, who in 1539 charted these fantastic marine animals in his influential map of the Nordic countries, the Carta Marina. In Sea Monsters, mythologist Joseph Nigg brings readers face-to-face with these creatures and other magnificent components of Magnus’s map. Nearly two meters wide in total, the map’s nine wood-block panels comprise the largest and first realistic portrayal of the region. But in addition to its important geographic significance, Magnus’s map goes beyond cartography to scenes both domestic and mystic. Close to shore, Magnus shows humans interacting with common sea life—boats struggling to stay afloat, merchants trading, children swimming, and fisherman pulling lines. But from the offshore deeps rise some of the most terrifying sea creatures imaginable—like sea swine, whales as large as islands, and the Kraken. In this book, Nigg draws on Magnus’s own text to further describe and illuminate these inventive scenes and to flesh out the stories of the monsters. Sea Monsters is a stunning tour of a world that still holds many secrets for us land dwellers, who will forever be fascinated by reports of giant squid and the real-life creatures of the deep that have proven to be as bizarre and otherworldly as we have imagined for centuries. It is a gorgeous guide for enthusiasts of maps, monsters, and the mythic. “[A] beautiful new exploration of the Carta Marina.”—Wired

In Apocalyptic Cartography: Thematic Maps and the End of the World in a Fifteenth-Century Manuscript, Chet Van Duzer and Ilya Dines analyse Huntington Library HM 83, an unstudied manuscript produced in Lübeck, Germany. The manuscript contains a rich collection of world maps produced by an anonymous but strikingly original cartographer. These include one of the earliest programs of thematic maps, and a remarkable series of maps that illustrate the transformations that the world was supposed to undergo during the Apocalypse. The authors supply detailed discussion of the maps and transcriptions and translations of the Latin texts that explain the maps. Copies of the maps in a fifteenth-century manuscript in Wolfenbüttel prove that this unusual work did circulate. A brief article about this book on the website of National Geographic can be found here.

Presents arguments for and against the existence of five notable cryptids and challenges the pseudoscience that furthers their legendary statuses, while providing an exploration of the nature and subculture of cryptozoology.

This book focuses on the conceptions of artists who made marine hybrids inventions of Renaissance Venice and Padua. The chapters deal with sea-hybrid imagery in book decoration; tomb monuments; church decoration; centers of political activity and private homes.--Publisher.

With 41 fabulous full-color plates, six gatefolds, six watercolor landscapes, scores of black-and-white and color sketches of 31 faierie species, this book is destined to be a favorite of even the most demanding faierie enthusiast. Illustrations.

A celebration of the visual contributions of the bestiary--one of the most popular types of illuminated books during the Middle Ages--and an exploration of its lasting legacy. Brimming with lively animals both real and fantastic, the bestiary was one of the great illuminated manuscript traditions of the Middle Ages. Encompassing imaginary creatures such as the unicorn, siren, and griffin; exotic beasts including the tiger, elephant, and ape; as well as animals native to Europe like the beaver, dog, and hedgehog, the bestiary is a vibrant testimony to the medieval understanding of animals and their role in the world. So iconic were the stories and images of the bestiary that its beasts essentially escaped from the pages, appearing in a wide variety of manuscripts and other objects, including tapestries, ivories, metalwork, and sculpture. With over 270 color illustrations and contributions by twenty-five leading scholars, this gorgeous volume explores the bestiary and its widespread influence on medieval art and culture as well as on modern and contemporary artists like Pablo Picasso and Damien Hirst. Published to accompany an exhibition on view at the J. Paul Getty Museum at the Getty Center May 14 to August 18, 2019.

Veins of iron run deep in the history of America. Iron making began almost as soon as European settlement, with the establishment of the first ironworks in colonial Massachusetts. Yet it was Great Britain that became the Atlantic world’s dominant low-cost, high-volume producer of iron, a position it retained throughout the nineteenth century. It was not until after the Civil War that American iron producers began to match the scale and efficiency of the British iron industry. In Mastering Iron, Anne Kelly Knowles argues that the prolonged development of the US iron industry was largely due to geographical problems the British did not face. Pairing exhaustive manuscript research with analysis of a detailed geospatial database that she built of the industry, Knowles reconstructs the American iron industry in unprecedented depth, from locating hundreds of iron companies in their social and environmental contexts to explaining workplace culture and social relations between workers and managers. She demonstrates how ironworks in Alabama, Maryland, Pennsylvania, and Virginia struggled to replicate British technologies but, in the attempt, brought about changes in the American industry that set the stage for the subsequent age of steel. Richly illustrated with dozens of original maps and period art work, all in full color, Mastering Iron sheds new light on American ambitions and highlights the challenges a young nation faced as it grappled with its geographic conditions.

This Bestiary was created during the 13th century. The 136 illustrations afford insight into medieval interpretations of natural history, travellers' tales and mysticism. They are accompanied by a translation of the original Latin text.

Few creatures have captured the imaginations of so many for so long as have monsters of the deep. Their history has been surprisingly consistent, the author notes. Most began as myths and then acquired a sense of reality when the existence of creatures resembling those chronicled in legend was documented. Ellis (Men and Whales) gives a superb account of marine monsters and their attendant myths, sightings, scientific discovery and biology. He describes only the best known and the best documented. He traces the mermaid to the manatee and dugong, Leviathan to the sperm whale, kraken to the giant squid and polyp to the octopus (sharks, however, remain sharks). He examines these monsters in art, literature and film, taking Jules Verne and Victor Hugo to task for their ignorance of biology, hysterical fantasy and unmitigated malice. Herman Melville, Arthur C. Clarke and Peter Benchley get better ratings. Of all the sighted monsters, only the giant squid (Architeuthis) retains its mythological and cryptozoological status, for its very existence is shrouded in mystery. Sharks have had a bad reputation throughout history, but until Jaws (1974) they did not figure prominently in literature. At the end of this engaging book, Ellis confesses to skepticism: "monsters, if they exist, have more to fear from us than we do from them.