Imagined Pilgrimage in the Itinerary Maps of Matthew Paris

Connolly, Daniel

doi:10.2307/3051336

Cited by 65 publications

(6 citation statements)

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“…Sebastian Münster's Cosmographia (1544) opens on a point of circulation and boundary: the relationship between elements. He explains how "the earth at the beginning of its creation was wholly 70 See Connolly 1999 andConnolly 2009. 71 For the early modern development of mapping and the great difference between the sixteenth-century vision of the world and what had come before, see Smith 2008. 72 See Randles 1999, 133-150.…”

Section: Boundaries and Circulationsmentioning

confidence: 99%

Boundaries, Extents and Circulations: An Introduction to Spatiality and the Early Modern Concept of Space

Regier

Vermeir

2016

Studies in History and Philosophy of Science

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Section: Boundaries and Circulationsmentioning

confidence: 99%

Boundaries, Extents and Circulations: An Introduction to Spatiality and the Early Modern Concept of Space

Regier

Vermeir

2016

Studies in History and Philosophy of Science

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“…"The layout of the itinerary elicited the viewer's and reader's sense of bodily position before the manuscript in a co-construction of its spaces as a vehicle for movement." 25 Scouring villages and cities with their hands and gazes, users of the itinerary map undertook an interior meditative journey to the Heavenly Jerusalem, their final destination, "with their hearts and not their feet." 26 Places were analogous to the beads of a rosary, held together by the narrative thread of the armchair pilgrim's journey.…”

Section: Journeying Mapping and Prayingmentioning

confidence: 99%

Mapping Metageographies: The Cartographic Invention of Italy and the Mediterranean

Dora¹

2010

California Italian Studies

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Per la verità non sappiamo neppure fin dove il Mediterraneo si estenda: quanto ampi siano i tratti della costa che occupa, fin dove si spinga nelle rientranze del territorio e dove in effetti cessi. Gli antichi greci lo videro da Phasis sul Caucaso fino alle colonne d"Ercole dello stretto di Gibilterra, andando da oriente verso occidente, sottintendendo i suoi naturali confini verso nord e trascurando qualche volta quelli a sud. La saggezza antica insegnava che il Mediterraneo arriva fin dove cresce l'ulivo. 2 immutable, eternal entities. Martin Lewis and Karen Wigen have shown how continents are nothing but cultural creations. 7 The Mediterranean as a "watery continent" is also a cultural invention. "Its boundaries are not defined by space or by time. . . . They are not like those of nation-states: they rather look like a circle traced with chalk which is continuously inscribed and erased; a circle continuously enlarged and shrunk by waves, winds, enterprises, and inspirations." 8 Like Italy, the basin was politically united for the first time only during Roman imperial rule. Before then, the Mediterranean was understood either as an open sea, or an ensemble of seas. In the Old Testament, for example, it was called the "Western Sea," as it lay on the western coast of the Holy Land, 9 the "sea of the Philistines," 10 after the inhabitants of a large portion of its shores near the Israelites, the "Great Sea," 11 or simply "The Sea." 12 Herodotus referred to it with names of smaller seas and gulfs, rather than as a whole. Strabo and other ancient Greeks called it "η εντός και καθ΄ ηµάς λεγόµενη θάλασσα" [the sea over by us], but only in a strictly limited sense. Similarly, the Romans originally envisaged the Mediterranean as a series of smaller seas, whose names most often were taken from neighboring coasts or islands -Mare Tyrrenum, Mare Balearicum, etc. The name Mare Mediterraneum seems not to have been used at all until relatively late. The geographer Solinus appears to have employed it in the second half of the third century A.D. "When the Romans wanted to talk about the whole sea, they referred to it as Mare Magnum, Mare Internum, or Mare Nostrum . . . With control of all the lands around the sea in Roman hands, the Mediterranean became an internal lake, 'our sea.' This complete political dominance and use, of the whole Mediterranean by one single power had never occurred before, nor has it happened again -in quite the same way." 13 Hence, the unity of the Mediterranean as a metageographical object radiated from the heart of the Italian Peninsula -itself a metageographical entity.Coastlines are abstractions, just as boundaries are. 14 As metageographical objects, Italy and the Mediterranean make sense, or rather come into being, only through the superimposition of one another and, thus, only "from above." We can only visualize and imagine them on maps -or rather, as maps. Although it is not until quite recently that we have been able to fully "visualize" these two entities "from above," Italy and the Medite...

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“…From classical antiquity until the end of the Renaissance, geography was intended as an encyclopaedic system for information storage and memorization. At the same time, the secret of the art of mnemotechnics was the journey structured through stations, or loci (Mangani 2006, 25; see also Connolly 1999). Thanks to their compositional rhetoric, maps had the advantage of capturing the attention of the observer and imprinting a series of loci (iconevents) in his memory.…”

Section: The Atlas As Memory Theatrementioning

confidence: 99%

Performative Atlases: Memory, Materiality, and (Co-)Authorship

Dora

2009

Cartographica

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Maps have traditionally been conceptualized as visual representations and studied for what they represent. In the past few years, however, scholars from different disciplines have started to approach them from new perspectives. Broadly speaking, art historians have shown increased interest in their materialities, and geographers and map historians in their social and performative aspects. This article reviews and synthesizes these approaches using the example of the atlas in its earliest and latest incarnations (Abraham Ortelius' Theatrum Orbis Terrarum and Google Earth). Atlases are conceptualized as mnemonic tools activated through different types of personal encounters that are at once visual and tactile. Focusing on performative encounters between atlases and their users, the article calls for a re-conceptualization of maps as fluid objects that are always in the making. It also invites a reading of the history of cartography as a history of interactions and co-authorships between map-makers and map users.

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Imagined Pilgrimage in the Itinerary Maps of Matthew Paris

Cited by 65 publications

References 0 publications

Boundaries, Extents and Circulations: An Introduction to Spatiality and the Early Modern Concept of Space

Boundaries, Extents and Circulations: An Introduction to Spatiality and the Early Modern Concept of Space

Mapping Metageographies: The Cartographic Invention of Italy and the Mediterranean

Performative Atlases: Memory, Materiality, and (Co-)Authorship

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