Fra Mauro's mappamundi, drawn around 1450 in the monastery of San
Michele on Murano in the lagoon of Venice, is among the most
relevant compendia of knowledge of the Earth and the Cosmos of the
fifteenth century. By examining literary, visual, textual and
archival evidences, some long considered lost, this book places the
map within the larger context of Venetian culture in the fifteenth
century. It provides a detailed analysis of both its main sources
(auctores veteres such as Pliny, Solinus, Ptolemy, and novi, like
Albert the Great, Thomas Aquinas, Marco Polo and Niccolo de' Conti)
as well as of the composite networks of contemporary knowledge
(scholasticism, humanism, monastic culture, as well as more
technical skills such as marine cartography and mercantile
practices), investigating the way they combine in the
epistemological unity of the imago mundi. More a work on
intellectual history than cartography, the book constructs a
complex set of frameworks within which to situate Fra Mauro's
monumental effort. These range from the cultural history of the
reception of the world map from the fifteenth to the nineteenth
centuries to the analysis of the material conditions under which
map-makers such as Fra Mauro worked; from the history of ideas,
especially of natural philosophy to the links between world
representations and travel literature. It also addresses the
Venetian reception of Ptolemy's Geography, the interactions between
Venetian art, theology and cosmography and the complexities of the
Venetian vernacular. The books develops a multi-tiered approach, in
which different elements of the rich cultural context in which this
world map was created, interact with each other, each casting a new
light on the encyclopaedic work being analyzed.
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