Accuracy, veracity, and theological truth in the 16th century atlas Theatrum Terrae Sanctae

Ioana Zamfir

doi:10.5194/ica-proc-4-116-2021

Abstract

Abstract. The characteristics and appearance of an authentic map (in conformity with reality), together with the convention about how authenticity should be obtained in a map, continued to change since the beginning of modern cartography along the centuries. As Critical Cartography has emphasised, the authenticity of a map was in many cases just a convincing appearance, hiding intricate ideologies. However, the political role of maps is just one aspect of their significance, which does not exclude the existence of genuine beliefs and ideals which were guiding cartographers and map authors in the creation process.With a long tradition of understanding maps as illustration devices, Renaissance geography blended intimately with the assumptions and debates of the artistic domain of painting. Among these, veracity was a much praised ideal, signifying the ability of the art work to make present the absent things or giving a new life to people or events gone long ago, a perspective which allowed for rich metaphysical implications. In his theological atlas Theatrum Terrae Sanctae, Christian Adrichom used a variety of formula through which he expressed his view on the evocative power of maps, deriving from contemporary theories concerning truth, vision and representation. In this article we will employ the textual analysis of Adrichom’s affirmations, approaching them through the filter of the Intellectual History methodology. This method allows us to discover that the author explored the metaphysical implications of painting realism in order to present and use his maps as Christian devices, equating the veracity of the cartographic medium with the authenticity of Christ’s life and with the theological understanding of truth.

Highlights

Nowadays, the cartographic medium employs a communication mode which relies on precise rules and conventions, such as projections, labels, and legends, colour schemes etc
Combining the scientific dimension of geography with the authority of the painted image in the Renaissance, Adrichom wished to keep his publication in the sphere of truth, knowledge, and authenticity
Through an abundance of expressions referring to the evocative power of maps, Adrichom relates the cartographic veracity with the spiritual truth of the Cristian faith

Summary

Introduction

The cartographic medium employs a communication mode which relies on precise rules and conventions, such as projections, labels, and legends, colour schemes etc. The subjective mode of presenting a territory or a city by the Renaissance cartographers was not seen, in contradiction with the high ideals such as accuracy, scientific grounding and veracity All these characteristics ensured, as the authors claimed, truthful map products, offering an impacting reading experience, transporting the viewer within a different space through mind travel. Especially in the religious circles, the authority of religion and the truth of revelation, provided by the Scriptures, were still overcoming the truth provided by the other domains of human knowledge In his atlas, Adrichom read in theological key the evocative power of maps, by ascribing to them almost the characteristics of an icon (as a help in prayer and in the reconnection with the Biblical events). After a short presentation of the atlas and its author, we will explain in separate sections each of the points emphasised above

The atlas

Geographical accuracy

The map as image

Map as Christian instruments

Conclusion