In a Garden of Forking Maps

This article compares the cartographical representations of the Caspian region produced around 1560 in Goa and Venice, with references to other centers of mapmaking such as Lisbon, Seville, and Antwerp. It explores the scientific, cultural, technical, and commercial logics that led to profoundly dissimilar cartographies of the Caspian and its surroundings in different centers of map production around the same time. It asks questions about the contrasts between maritime and terrestrial cartography in the Renaissance, and the cartographical languages associated with each of these cartographical modes. The habitus of maritime cartographers in Goa, Lisbon, and Seville differed profoundly, it is argued, from that of mapmakers in Italy, and particularly Venice, who aimed for an integration of all available data as part of a tradition of commenting on Ptolemy, and produced highly desirable printed maps for a growing consumer audience. The article thus advocates a comparative approach to maps, and critiques the assumption that knowledge “flows” between regions. It proposes instead a “(dis)connected history” of knowledge production and consumption to throw new light on the origins of the cartographical printing revolution

Aesthetics · Archaeology · Art · Art history · Cartography · Geography · Ptolemy's table of chords · The Renaissance · Toponymy · Visual arts · Classics · Historical Influence and Diplomacy · Historical Studies on Spain · History · Philippine History and Culture

• “Descrição universal e navegável de todo o globo terrestre”

  Open Access•Aline Camargo, Aline Sousa Camargo•Outros Tempos – Pesquisa em Foco…•2026

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