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The Gallery of Maps [1] (Italian: Galleria delle carte geografiche) is a gallery located on the west side of the Belvedere Courtyard in the Vatican containing a series of painted topographical maps of Italy based on drawings by friar and geographer Ignazio Danti.
Tabula Peutingeriana (1265, medieval map of the Roman Empire, believed to be based on 4th century source material) Hereford Mappa Mundi (c. 1285; the largest medieval map known still to exist) Map of Maximus Planudes (c. 1300), earliest extant realization of Ptolemy's world map (2nd century) Gangnido (Korea, 1402) Bianco world map (1436)
1784 sketch of the triptych containing the Hereford Mappa Mundi, showing side panels. The map has been interpreted from a topographical and encyclopedic perspective, but more recent approaches have attempted to see the map as a work of art, that conveys meanings through symbolism and associations. [2]
The term "portolan chart" was coined in the 1890s because at the time it was assumed that these maps were related to portolani, medieval or early modern books of sailing directions. [2] Other names that have been proposed include rhumb line charts, compass charts or loxodromic charts [ 3 ] whereas modern French scholars prefer to call them ...
The "complex" or "great" world maps are the most famous mappae mundi. Although most employ a modified T-O scheme, they are considerably more detailed than their smaller T-O cousins. These maps show coastal details, mountains, rivers, cities, towns and provinces. Some include figures and stories from history, the Bible and classical mythology.
Ideal reconstruction of medieval world maps (from Meyers Konversationslexikon, 1895) A "T-O" map made with modern cartography The T and O map represents only half of the spherical Earth, [ 6 ] presumably a convenient projection of the known northern temperate region.
When Satan was cast out of Heaven, he "excavated the underworld cosmos in which the damned are held". [3] Satan's punishment is the opposite of what he was trying to achieve: power and a voice over God. Satan also is, in many ways, "the antithesis of Virgil; for he conveys at its sharpest the ultimate and universal pain of Hell: isolation."
[13] [11] The medieval tale holds that Christ spent the time between his crucifixion and resurrection down in Hell, setting the Devil's captives free with the irresistible power of his divine light. The motif, Steed suggests, involves multiple elements: 1) someone imprisoned in darkness 2) a powerful and evil jailor 3) a still more powerful ...