Sam1521: 1

Sam1521ENGL 1213Dr. Hessler 8 April 2012

The Nova Tortius Terrarum Orbis:

Greek Gods and the New World

The Austrian cartographer Gerard van Schagen (UvA) crafted the map The Nova Tortius

Terrarum Orbis”, The New Map of the World (Dixie Hendrix), in 1689 to depict an ornate

rendering of the world and its affairs in late sixteenth centaury. The map consists of four circles,

two large and connected, and two smaller and separate, that represent the physical world. The

two large, conjoined circles depict the eastern and western hemispheres of the world. While the

smaller, separate circles depict the north and south poles. Bordering the map, ornate illustrations

depict Greek gods and goddesses interacting with mortals and their brethren. While the map

provides insightful, if not geographically obscure, depictions of the political states of the world,

the intricate boarders provide insight into the beliefs of the artists and the ideas of the world

according to the European nations.

The Nova Tortius Terrarum Orbis (mappery)

A modern day map of the world (Hrw)

Sam1521: 2

Beginning with the physical map of the world, when compared to a world map of today,

the Nova Tortius Terrarium Orbis obscures the geography of the

Earth. Although the map includes both the eastern and western

hemispheres, indicating the discovery of, and partial exploration

of, the new world, much of the North American continent

appears missing. Most likely, that area remained unexplored

during Schagen’s cartographical inquiries, and as such, he had no

knowledge of the geography of the northwestern area of North America. In addition, the

continents appear misshapen, out of proportion and yet recognizable in comparison to the

modern day world map. These misshaped continents probably resulted fromthe less accurate

visual observations and hand rendered mapping techniques of the time. However, Europe in

particular appears drastically oversized, possibly to enforce European belief that Europe the

greatest nations in the world resided in Europe. Despite this, the fact that Schage made a map as

accurate as he did with his present resources deserves accreditation. Nonetheless, the omission

and distortion, malevolent or not, of geographical structures casts a mist over the true face of the

earth for those who seek it. (Monmonier 43)

There is, however, another element to this map more important than the geological

symbols, which represent the continents and seas, the decorative boarder. In accordance with

many renaissance artworks, the Nova Tortius Terrarium Orbis features depictions of Greek gods,

goddesses, and mythological creatures interacting with, and interfering with, human and

nature.This aspect of the map not only represents the gorgeous artwork of the time, but also the

political and social ideology of Europe through the symbols of the gods.

Sam1521: 3

Four brilliantly crafted illustrations reside on each corner of the map. On the top right

corner, Zeus and the gods and goddesses of Olympia reside in the clouds far above the influence

of man. In the bottom right corner, Poseidon and Aphrodite reign in a kingdom of water. While

Hades, his queen Proserpine, (Auerbach 62) and Cerberus rise from the underworld to a fierce

battle in the upper left hand corner of the map. As along the lower left, Demeter, the goddess of

agriculture (Auerbach 56), and Pan, the goat like god of the wild (Pan) watches over the harvest

and livestock seemingly in bliss.

High in the sky, apart from the lower world of mortals, a precession of Olympic deities

converse and make mischief. In the foreground, Zeus, god of the sky and ruler of the gods,

apparently annoyed by the mischief of the god of

love, Eros, prepares his lightning to strike the

impish, winged god. As his queen, Hera, goddess

of women and marriage (Edkins) attempts to

subdue her husband’s wrath. While behind them,

seated under the zodiac, Apollo, god of music

and poetry (Auerbach 56), shimmering in all his glory, looks upon his sister, Artemis, goddess of

the moon and hunting, as she converses the god of language and messenger of the gods, Hermes.

Beside them, Chronos, god of time (Auerbach 56), torments some indistinguishable being and

Aries, god of war, engages in apparent trade with another indistinct being (Auerbach 66).

This merriment of the Greek gods in Olympia may appear nonchalantly placed, but the

design’s placement relays insight into the minds of the European empires of the sixteen

hundreds. England, France, Spain three of the major powerhouses of the time competed for the

new world and territory in Africa. Concerned with expanding their enterprises across the seas

Sam1521: 4

into the new and ever expanding world, the European nations viewed themselves as the panicle

of society. Unconcerned with the dealing of other “primitive” societies, the European nations

ventured for power for the estate, the wealth of gold, and the spread of their religion to

“uneducated” peoples. Indeed, much of the literature, as well as the art, of the time reflected

those high placed ideals. The placement of the Olympic gods in Nova Tortius Terrarium Orbis

near the continent of Europe suggests that the Europeans viewed themselves as beings of a

higher standard than the rest of the world. This would explain their “divine right” to conquer

other more primitive nations as to expand their territory.

That expansion, however, came at a price. War and death ravaged many lands as these

European nations raged war, not only on the natives of

foreign lands, but also with each other. The new world

represented new opportunities, but cost the lives of many

men in battle. Along the Northwest corner of the map,

Hades, ruler of the underworld and death, rises with his

queen Proserpine (Auerbach 56) and the guardian of the

underworld, the three headed dog Cerberus (Auerbach

60) rise from the underworld to a scene of one such war

and carnage. The placement of this portrait most likely

represents the wars fought for the expansion of the

European nations in the new world. As the wars in the

Americas expanded, the New World became a vision of

untamed ferocity, unknown wonders, and vicious battles.

Sam1521: 5

However, the Americas also presented new prospects in agriculture, trade, and livestock.

Featured close by now South America, Men attend to their crops and animal of the wild as the

goddess of agriculture, Demeter and the goat-like god of the wild, Pan, observe the mortals in

their efforts to hunt and farm. Unlike the majority of the other depictions, this one represents not

only the continent for which it resides nearest, but for both the northern and southern American

continents. With the opening of the New World came new product of agriculture, such as the

potato, many fruits and plants, and new commodities such as cotton thus opening new routes for

European trade.

As trade remained a major influence in the economics of European and other world

cultures, shipping trade routes became important for their ability to transport vast amounts of

cargo over a shorter period than traditional land routes. As such, because of their importance in

trade with the Americans and with Eastern nations such as China and India, the seas were an

important aspect of military power and trade and influenced the effectiveness of those routes.

The illustration near the Indian Ocean, thus, describes many of the challenges associated with sea

travel and trade.

Depicted in the illustration, the ruler of the sea, Poseidon (Auerbach 56) and the serpent-

like creature called the Charybdis (Britannica) represent the power and danger of the sea, while

Aphrodite, the goddess of desire, (Auerbach

56) represents the allure of sea trade and

travel. While traveling the seas, ships often

capsized and demolished by the raging storms

of the ocean. In Greek mythology, Poseidon,

known for his temper and control over the

Sam1521: 6

forces of nature of the sea, often created tempest, which could demolish ships their cargo and the

crew, while the Charybdis would create vast whirlpools and deadly tidal waves for ships baring

trade (Britannica). Yet people continued to brave these waters for the chance of riches from

foreign countries through trade. Just like how many a god and mortal sought Aphrodite for her

beauty.

Besides the gods and monster of this picture, the human threat presents a challenge onto

itself. A ship bearing a red banner in the center of the picture represents the brutality observed

between competing nations. The long, streaming red banner, called a bauccedillian, “[first

appeared in the] thirteenth centaury, and flew over a ship’s masterhead” to signify that no

prisoners would be left behind. Therefore, whoever flew the bauccedillian stated that they would

ransack the ship and kill all the crewmembers. In a way, sailors had to worry more about these

warships, which spelled certain death, than they would rough seas where their skills could save

them.

Gerard van Schagen’sNova Tortius Terrarium Orbis characterizes more than a physical

map representing the known world and the mapping techniques of the time. The map itself

represents a medium for which Schagen injects the politics of the world into the geographical

aspects of the world. Using the gods, goddesses and mythical creatures of Greek mythology as

symbols, Schagen drives his audience to his conclusions about his current political situations of

society. From the cradle of western civilization where the “gods” reign, to the Americas where

war over territory and trade rule the people of the time, to finally the sea where sixteenth

centaury trade bases its economy. Schagen’s map of the new world graphs the people of Europe

and their relation with the world around them.

Sam1521: 7

A close up of The Nova Tortius Terrarum Orbis (mappery)

Sam1521: 8

Work Cited:

Auerbach, Loren, et al. Encyclopedia of World Mythology. Bath, UK: Parragon. 2008. Print.

Britanica. Scylla and Charybdis. http://www.britannica.com/EBchecked/topic/530331/Scylla-and-Charybdis. Britanica. Online. 8 April 2012.

“De Atlas Van Schagen”. http://dpc.uba.uva.nl/cgi/i/image/image-idx?c=carto;page=index;tpl=p_schagen.tpl. University of Amsterdam. Online. 8 April 2012.

Edkins, Jo. Roman Gods. http://gwydir.demon.co.uk/jo/roman/. Online. 8 April 2012.

Hesiod. Theogony. http://www.theoi.com/Text/HesiodTheogony.html. online. 8 April 2012.

Hrw. The World. Holt, Rineheart and Winston. http://go.hrw.com/atlas/norm_htm/world.htm. Online. 8 April 2012. Online. 5 April 2012

Hyatt, Dixie. Interview with Dixie Hyatt. 2012

Maxvell. Old World map 1689. Mappery. 24 January. 2008. http://mappery.com/Old-World-map-1689. Online. 5 April 2012.

Monmonier, Mark. How to Lie with Maps. Chicago, IL: The University of Chicago Press. 1996. Print.

Pan. Theoi. http://www.theoi.com/Georgikos/Pan.html. Online. 10 April 2012.

Raeside, rob. Dictionary of Vexillology: B (Banner Roll - Birlinn). Flags of the World. 16 March 2012. www.crwflags.com/fotw/flags/vxt-dvb2.html#battlehonor. Online. 8 April 2012.