Cartography and the Renaissance: Continuity and Change David Woodward
SETTING THE STAGE 1 • Cartography and the Renaissance: Continuity and Change David Woodward Around 1610, Giuseppe Rosaccio—a Florentine physi- zodiac sporting around the edge. The Ptolemaic map at cian and scholar known for his popular cosmographies, the bottom center might have been somewhat familiar two editions of Ptolemy’s Geography, a ten-sheet world from manuscripts circulating around the time, and its map, geographical textbooks, and a description of a voy- classical geographical content would have been well age to the Holy Land from Venice—published an image known to the cosmographer. Likewise, the geographical that, in its counterpoint of ideas if not in geographical and chorographical terms annotating their own ideal sophistication, represents a cartographic summa of the maplet in the lower left corner—continent, river, moun- Renaissance (fig. 1.1).1 Rosaccio’s maps have not been tain, lake, gulf, sea, peninsula, cape, island, shoal, rocks, lauded in the canon as have those of Gerardus Mercator plain, city—would have not been new. The shield of the or Abraham Ortelius, but he is of interest here because he powerful Florentine Medici family, then under the lead- represents a common figure in the late sixteenth and early ership of Cosimo the Elder, would have been familiar, seventeenth centuries—a professional who moonlighted and cosimo, spelled out on the balls on the shield, would as a cosmographical author and who wrote for a general have made sense, even if all the names of the continents audience. This image will serve as a touchstone to several they represented would not.
[Show full text]