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DESCRIPTION: Henricus Martellus was the one mapmaker who linked the late medieval cartography, just emerging from social, religious, academic and technological constraints, to mapping that reflected the Renaissance and the new discoveries. No one at that time had any knowledge of the true position and outlines of East Asia, yet the representation of East Asia is identical on both the Martellus maps and the Behaim globe.
Who had most to gain from such a reckless exaggeration of the extent of Eurasia and who was the first to do so? The Arctic coasts on the Martellus map and those of north and northwest Europe resemble those of the Fra Mauro planisphere of 1459 (#249) rather than those of the Ulm Ptolemy of 1482.
In the volume of Imago Mundi, found amongst the possessions of Christopher Columbus after his death, there are numerous notes or postils written in the margins or below the printed matter. Note that in the year a€?88 in the month of December arrived in Lisbon Bartholomew Diaz, Captain of three caravels which the Most Serene King of Portugal had sent to try out the land in Guinea. Another peculiar feature of the Martellus map is the enormous peninsula commencing due south of Aureus Chersonesus [the Malay peninsula] at 28A° south, thereafter widening to reach China. It has become clear to some cartographic scholars that South America was represented as a huge peninsula of southeastern Asia on many world maps of the 16th century, from the Zorzi sketches of 1506 to the Livio Sanuto map of 1574.
It is not so well known that this very same peninsula existed already under the name of India Meridionalis on earlier maps, drawn before the arrival in the western hemisphere of Christopher Columbus. However, the Martellus maps show a very good representation of the South American hydrographic system, including all the great rivers in the sub-continent. A deeper study of the same maps has made possible the identification of several capes on the Atlantic coast, the swamps of the Rio Negro in Brazil, and Lake Titicaca. There was thus no known pre-Columbian historical exploration of South America by the European nations. The earlier maps extant include the so-called mappaemundi drawn by medieval churchmen in Western Christendom. In order to detect this peninsula on pre-Martellus maps, we needed an identifying criterion.
The following is a theory expressed by Paul Gallez regarding the depiction of South America prior to Columbusa€™ voyages. In the southernmost part of South America (?), there are the words, next to a strait: Hic sunt gigantes pugnantes cum draconious [Here live some giants who fight against the dragons].
Traditionally, the so-called Legend of the Patagonian Giants is attributed to Antonio Pigafetta, the chronicler of Magellana€™s voyage.
The east-west extent from the Canaries to the coast of China is about 235A°, which agrees with the Toscanelli-Columbus concept and with the 1489 Martellus map now in the British Library.
The sheets of paper on which the Yale map is drawn are of different sizes, which excluded the possibility that they were printed map sheets, for they would then have had to be the same size to fit within the map portfolio. Roberto Almagia (1940) stated that he had identified no less than three manuscript maps of the world signed by Martellus, all virtually identical with that in the codex in the British Library.
When Columbus left Lisbon in 1485 for Spain, Bartholomew, with his highly trained skills as a cartographer in the Genoese style, stayed on in the map workshop of King John II. These two world maps by Martellus represent, along with Martin Behaima€™s famous globe of 1492, the last view of the old pre-Columbian world as perceived by Western Europe before the great expansion of the world picture during the subsequent twenty years. The Yale example shows more of the Ocean Sea in the Far East than does the British Library manuscript. Very little is known about Henricus Martellus Germanus, a mapmaker working in Florence from 1480 to 1496.
The Indian Ocean is open to the south, but Martellus retains its eastern coast, which Ptolemy had called Sinae, home of the fish-eating Ethiopians. Martellus retains other Ptolemaic features, such as the appearance of the northern coast of the Indian Ocean with a flattened India and a huge Taprobana.
Although Martellusa€™s world maps in the Ptolemy manuscripts show an extension of the inhabited world as 180A°, those in the Insularium make it 220A° or more, an attractive feature to those who dreamed of reaching Asia by sailing west. Most of the text still isna€™t legible, but some of the parts that are appear to be drawn from the travels of Marco Polo through east Asia. The work of Henricus Martellus Germanus epitomizes the best of European cartography at the end of the 15th century. Wolff, Hans, a€?The Conception of the World on the Eve of the Discovery of America - Introduction,a€? in Wolff, Hans (ed.), America.
AlmagiA , Roberto, a€?I mappamondi di Enrico Martello e alcuni concetti geografici di Cristoforo Colombo,a€? La Bibliofolia, Firenze, XLII (1940), pp. AlmagiA , Roberto, a€?On the cartographic work of Francesco Roselli,a€? Imago Mundi, VIII (1951), pp.
Caraci, Ilaria L., a€?La€™opera cartografica di Enrico Martello e la a€?prescopertoa€™ della€™America,a€? Rivista Geografica Italiana 83 (1976), Florence, pp.
Caraci, Ilaria L., a€?Il planisfero di Enrico Martello della Yale University Library e i fratelli Colombo,a€? Rivista Geografica Italiana 85 (1978), Florence, pp.
Crino, Sebastiano, a€?I Planisferi di Francesco Roselli,a€? LaBibliofilia, Firenze, XLI (1939), pp. Francesco Rosselli was one of the earliest known map stockists and map sellers; in addition he was an important map-maker whose cartographic output spans the decades of the great discoveries. The mapa€™s most prominent feature is, like the Martellus model, the new outline of Africa, now quite separate from Asia, and reflecting the rounding of the Cape by Bartolomeu Diaz in 1487. First, by 1486 the mathe-matical junta had solved the problem of establishing latitude by measuring the height of the mid-day sun. Take a direct, simple story, unfold it with exquisite care, and the result is a gem of a play opening Northlighta€™s 37th season.
The snapshots, originally photos clutched in their hands, become large projections on the paneled walls before actually springing to life in the form of two incarnations of their earlier selves: Susie and Danny (Megan Long and Nick Cosgrove) and Susan and Daniel (Jess Godwin and Tony Clarno). And what songs they are: 28 drawn from 12 successful musicals a€“ all written by Stephen Schwartz. The cast has remarkable voices, clear and compelling and their dramatic ability marches the timbre a€“ moving from humor to nostalgia with ease as past and present intermingle and advice is exchanged back and forth, neatly breaking barriers as they address their earlier selves.
Kudos to Jack Magaw for the multi-level set, Karl Christian for musical staging, Steve Orich for Musical direction and arrangements, A and to the orchestra: Chris Sargent, Scott Reed, Paul Dallas, Jeffrey Handley and Marc Hogan. While Act I is stronger than the slower second act, by playa€™s end the viewers responded to much that reached their hearts.A  On opening night, not a few wiped away tears as they joined the rest of the audience for a standing ovation. The idea works because of the originality of the set-up, but also because Schwartz's songs, filled with aspiration and quizzical wonder, fit the basic premise so well. I could go on about many more such inspired musical choices here, most of which are beautifully sung, especially by Long and Clarno. I imagine Schwartz aficionados will enjoy Snapshots as a clever twist on the revue or jukebox musical, but I was impressed that it also works as something entirely new. Touching musical comedy at Northlight blends new lyrics to familiar Stephen Schwartz music. A At the center of one of the most highly anticipated productions of the Northlight Theatre's 2011-2012 season, Snapshots (music and lyrics by Stephen Schwartz, book by David Stern and directed by Ken Sawyer) are Dan (Gene Weygandt)and Sue (Susie McMonagle), a long-time couple that have been friends since childhood, back when they were still known as Danny (Nick Cosgrove) and Susie (Megan Long).
When the play opens, Sue, dissatisfied with the state of their marriage, is up in the attic of their home, suitcase packed, in the middle of writing Dan a letter explaining that she has decided to leave him. While puttering around in the attic, talking with Sue, he comes across a box of snapshots on the floor, much of its contents spilled out.
Though they do love and care about each other a great deal (therea€™s no doubt about that), therea€™s also no denying that there are real problems in the relationship. SNAPSHOTS is a new musical by the amazing Stephen Schwartz (Wicked, Pippin, Godspell, The Bakera€™s Wife)!! A group of very talented theatre folk and myself formed a theatrical production company called Cardboard Belt Productions. When a box of old photographs tumbles from a dusty attic shelf, Dan and Sue are flooded with memories of their many years together. In many ways, "Snapshotsa€? marks Schwartza€™s return to smaller, more intimate shows. Lyric rewrites have made many of Schwartza€™s retrofitted songs more suitable for their new settings, but too often I found myself imagining them in their original contexts. Stern has crafted a book whose well-drawn characters and realistic situations offer something every audience member can identify with. The authors have opted to ignore conventional uses of time and space, a ploy that results in the past intruding on the present and vice versa: a charactera€™s older self giving advice to his more youthful counterpart, and a young girl questioning the woman she fears shea€™ll become. Snapshots will open the 2010-2011 season.A  The remainder of the season will be announced soon.
Blending together some of the best-loved music with some of the genuinely wonderful lesser known gems of renowned Broadway composer Stephen Schwartz, this touching romantic comedy exposes a marriage at a crossroads.A  Newly adapted, this musical reveals the humorous twists and unexpected turns of a middle-aged couple's reminiscence of how love brought them together and why life pushed them apart. Relevant Theatricals and Cardboard Belt Productions have been developing this project for the past several years and most recently workedA on the musical with David Stern, Stephen Schwartz and the creative team in preparation for its Chicago premiere.
Northlight Theatre aspires to promote change of perspective and encourage compassion by exploring the depth of our humanity across a bold spectrum of theatrical experiences, reflecting our community to the world and the world to our community. Snapshots may be available for licensing in the future, and will be appropriate for groups who need a small show, as it involves only six actors, four musicians, and a single set. Bookwriter David Stern brought Stephen Schwartz the idea of using a compilations of Schwartz songs to create a musical scrapbook of a couple's life. Little is known of this important German cartographer, probably from Nuremberg, who worked in Italy from 1480 to 1496 and produced a number of important manuscript maps. No meridians, parallels or scales of longitude are given, but estimates based on measurements of the map indicate about 230A° from Lisbon to the coast of China, or 240A° from the Canaries. The actual latitude of the Cape of Good Hope is 34A° 22a€™ south based on land measurements by Diaz, who landed three times on the south coast. He reported to the same Most Serene King that he had sailed beyond Yan 600 leagues, namely 450 to the south and 250 to the north, up to a promontory which he called Cabo de Boa Esperanza [Cape of Good Hope] which we believe to be in Abyssinia.
It indicates that he was high in the confidence of the King as an expert cartographer, otherwise he would not have been present at such a secret occasion. It was done probably in Seville after he joined his brother, entering the postil in Imago Mundi and altering his prototype map at the same time.
It seems that the prototype originally showed the Cape at 35A° south, well clear of the frame at about 41A° south, as one would expect of a competent cartographer.
It is a relic of the continuous coastline that linked Southeast Asia to South Africa in Ptolemaic world maps that displayed a land-locked Indian Ocean, and it needs a name to identify it in argument. This is the India that Columbus was looking for, because it was marked in the right place on his maps.
In the post-Columbian series, the isthmus of Panama is represented with its true width, because it had been heard of by Columbus and other explorers from the aborigines; in the pre-Columbian series, the union of the peninsula with Asia is much broader, because nobody had exact information about it. The pre-Magellanic maps have South America extending only to some degrees South; on post-Magellanic maps the land extends to 53 degrees South. On these pre-Columbian maps, the drainage net is much better drawn than on any other representation made before 1850.
So Gallez believes that the deep and sound European knowledge of South America before its exploration by Columbus and his Spanish and Portuguese challengers has been firmly established.
But the detail of its hydrographic features mapped by Martellus in 1489 is a fact, even if this fact remains historically unexplained. In this way we have identified the Dragona€™s Tail on three maps drawn between 1440 and 1470.
As cultured persons, both Pigafetta and Magellan would have seen such maps as Walspergera€™s or others of the same family, and they would surely have taken aboard some copies of them. Long in the possession of a family from Lucca, it went to Austria in the 19th century and was bought for Yale in 1961. Vietor, then Map Curator of Yale University, reported a gift by an anonymous donor a€?in the form of a magnificent painted world map signed by Henricus Martellus, approximately six feet by four feet (180 x 120 cm).
In a private communication of June 1972, Vietor stated that X-ray examination had revealed no evidence of printing on the paper sheets and that it was hand-drawn, lettered and colored. It was not foretold on Folio 1 and is clearly an unexpected addition to the codex of picture-islands. He was engaged in building up a large map of the world based on Donus Nicolaus and on Portuguese charts. On his globe, South Africa, between 23A° and 28A° south, extends a horn of land for hundreds of miles due eastward into the Indian Ocean.

Among the thousands of islands Marco Polo reported off the coast of Asia, an enormous Sumatra and Java are found in the south, while to the northeast is the huge island of Cipangu [Japan].
The map is remarkable for its exciting new information, although being imperfect because of its acceptance of classical and medieval antecedents.
On the world map in his Insularium at the British Library, he shows the results of Bartholomew Diasa€™ rounding of the Cape of Good Hope in 1488, listing the names of the various ports and landmarks along the way.
This was the edge of Ptolemya€™s map - he did not show the full extent of Asia, noting that a€?unknown landsa€? lay beyond.
In the north, Greenland is a long, skinny peninsula attached to Europe and north of Scandinavia, a concept derived from the Claudius Clavus map of 1427.
One of the Insularium manuscripts at the Laurentian Library in Florence seems to be a working copy, as it has many cross-outs and corrections on the maps and in the texts.
His intelligent effort to reconcile modern discoveries with traditional knowledge, especially Ptolemy, provides a workable model for the world map in a time of rapid change.
He worked in Florence prior to 1480, then was away from Italy for about two years before returning to his home town where he was active until his death some time after 1513. The cartography of such maps is very poor: for instance, on the maps of Hieronymo Girava 1556, Johann Honter 1561, Giacomo Gastaldi 1562 and Francesco Basso 1571, the Rio Amazonas has its source in Patagonia and flows from south to north. The three couples interact to sing and dramatize specific, emotion-filled episodes that trace the two from their early days in elementary school A a€“ hitting on many rites of passageA  a€” A before moving on to courtship and highlights of their 30 years together. The melodies are recognizable from many of these shows which include Wicked, Pippin, A Godspell, The Magic Show, Rags, Personals, The Bakera€™s Wife, Enchanted, Captain Louie, Working, Reluctant Pilgrim and Children of Eden a€“ but the lyrics have been rewritten to fit the new dramatic situation. The musical logo flashes onto the attic walls.A  Ita€™s a powerful kick-off to the singing revue.
The playa€™s book is by David Stern.a€?a€?Schwartz, a prolific composer and lyricist whose resume includes Godspell, Pippin, The Bakera€™s Wife, Working, RagsA and Wicked, has taken more than 25 musical numbers from these and his other works and adapted lyrics to fit Snapshots.
Just as shea€™s almost done, about to make the move and leave, Dan comes up, genuinely confused about what she might be doing up there.A Rather than giving him the letter or informing him of her plans to leave him herself, she comes up with an excuse. While he gathers them up, one in particular catches his eye -- a photo taken during a trip that they took to the Caribbean many years earlier.
Much of the time they act as if they expect one another to be mind readers, each expecting the other to just somehow know what they want them to do or say. Ten years ago we began working with Stephen Schwartz and David Stern to bring this fantastic musical to the stage. The playa€™s book is by David Stern.Schwartz, a prolific composer and lyricist whose resume includes Godspell, Pippin, The Bakera€™s Wife, Working, RagsA and Wicked, has taken more than 25 musical numbers from these and his other works and adapted lyrics to fit Snapshots.
In addition to capturing a moment in time, they hold myriad memories for those whose images are pictured within.
A cast of six portrays Dan and Sue at three stages in their lives: as childhood friends, as newlyweds and as a couple whose 30-year marriage is falling apart. As they reflect on their past, they recall happier times they spent together, a few missed opportunities and some of the inevitable challenges every couple faces.
It shares similarities with Dan Goggina€™s "Balancing Act,a€? a chamber musical with a main character whose conflicting personalities are played by five actors. Who doesna€™t remember a first crush, an awkward first kiss, rites of passage and missed opportunities? Evans announce the first show of Northlight's 2010-2011 season, A Snapshots, a new show described by the authors as a "musical scrapbook," that includes some of the best-loved music and lyrics by the creator of Wicked, Godspell, Pippin! He collaborated with Leonard Bernstein on the English texts for Bernstein's Mass and wrote the title song for the play and movie Butterflies Are Free. Ken is a BFA graduate of The Juilliard School.A  He is also an alumnus of the Lincoln Center Director's Lab West and the LaMama Italy International Directors Workshop. Several theatre groups staged new versions of it in the summer of 2007, including Dayton, Ohio's The Human Race, whose production is pictured in the photo with cast members Kristy Cates and Michael Marcotte. Ptolemya€™s geographical writings, largely unknown to Western Europeans during the earlier Christian Middle Ages in Europe, became the basis for the Renaissance in geography.
His entire hopes of gaining support from King John in 1485 for such an enterprise as sailing westward to Cathay rested on his argument that it lay only 130A° to 140A° to the west.
A manuscript copy of Polo and his travels was given by the Doge of Venice to Prince Pedro in 1427 and was thereafter in the Kinga€™s Treasury in Lisbon. Measurements of altitudinal height of the sun by astrolabe or quadrant were accurate on land but could be 2A° or more out on the rolling deck of a ship. 23 is in the handwriting of Bartholomew, and was identified as his by Bishop Bartolomeo de Las Casas, who knew him well.
He says that in this place he found by the astrolabe that he was 45A° below the equator and that this place is 3,100 leagues distant from Lisbon [19,850 km].
It was to influence the Catholic Sovereigns who were in the dark owing to the intense secrecy by Portugal regarding discovery.
There is no record extant of anyone reporting that they had seen any land or island south of the equator, nor did anybody pretend to have explored the inner part of a trans-Atlantic continent and to have mapped its rivers. We may thus believe that this knowledge already existed before Martellus, and we should look at older maps in search of the sources that he could have had at his disposal. They thus knew that, following their maps, they would have to sail to the south along the coast of the Dragona€™s Tail until they reached the Land of Giants, and that at the end of that land, they would find a passage to the West, to the Sinus Magnus, and thus a way to the Moluccas. It shows a great deal more ocean to the east of Asia with several large islands in it, including Japan in the far northeast.
Signora Carla Marzoli of Milan, in a private communication, stated that this large map a€?had left Italy into the possession of family centuries ago and had been lodged in a Swiss bank for safety, for a long time.a€™ In 1959, through trade channels, she learned that this map was for sale. It uses the homeopathic (heart-shaped) projection, as far as can be judged, for it lacks meridians and parallels and scales. They all omitted Cipangu but he found a separate map of Cipangu in a codex which had the same outlines as those in the Behaim globe of 1492.
It was, like all important maps at that time, drawn on sheets of parchment which could be joined together almost invisibly, and mounted on linen. In the Indian Ocean, the islands of Madagascar and Zanzibar, rather poorly drawn, add an intriguing aspect. It was the most accurate delineation available to Martin Behaim when he constructed his globe exhibiting the pre-Columbian world. On the Martellus map there is a long peninsula to the east of the Golden Chersonese (Indochina), featuring the mysterious port of Cattigara. The Mediterranean and Black Seas and the Atlantic coasts are taken from sea charts, while the east coast of Africa, as yet unexplored, also follows Ptolemya€™s design.
Here the habitable world is extended to 265A°, with northern Asia coming right up against the right-hand border. According to historian Chet Van Duzer who is participating in a new (2014) digital image scanning of the Yale Martellus, a€?In northern Asia, Martellus talks about this race of wild people who dona€™t have any wine or grain but live off the flesh of deer and ride deer-like horsesa€?. The role of experience was clearly important to Martellus, for in his copy of the Laurentian Insularium he includes a verse about his own travels, noting that he has been traveling around for many years, and adding that it is worthwhile but difficult to set a white sail upon the stormy sea.
It is a cleanly-engraved copperplate, with finely-stippled sea and six characteristic loose-haired wind-heads grouped round the border of the map.
A legend at the bottom referring to the date 1498 is clearly an error for 1489, and has been copied as such from the 1489 Martellus manuscript world map with obviously similar geographic content to that of Rosselli. These maps depicted graphically the theory that Cipangu [Japan] was but 3,500 miles (5,635 kilometers) westward, and only 1,500 miles (2,415 kilometers) further lay the shores of Cathay [China].
23 is in the handwriting of Bartholomew, and was identified as his by Bishop Bartolomeo de Las Casas, who knew him well.A  Arthur Davies has made a long study of the writing of the Columbus brothers and states, without a shadow of doubt that it is in the hand of Bartholomew. What might be clunky in other hands, flows smoothly under the expert direction of Ken Sawyer. He shows up from work, oblivious as ever, and the two end up looking back through their lives as lovers, parents and take-each-other-for-granted spouses, with the wife's impending exit providing the requisite tension. Press about this show has revealed that Schwartz has re-written some of his lyrics to fit the new narrative, but other than noting such changes in a couple tunes from Wicked, I have no idea what was altered or to what extent.
Ita€™s a creative endeavor that works well.a€?a€?The show, featuring a pitch-perfect cast bursting with talent, opens in a cluttered attic where middle-aged Sue (Susie McMonagle), packed suitcase in hand, is poking through keepsakes. While they are up there, Dan starts to go through the items that have gathered over the years, pointing out what he feels they can get rid of.
It is also through these glimpses, these memories, that we learn about what really happened versus how they remember certain events in their lives happening, how they went from childhood friends to married couple, to married couple on the verge of breaking up after decades of being together. Indeed they go to great lengths not to talk about anything of substance, to avoid any unpleasantness or arguments. We then teamed up with Relevant Theatricals (Million Dollar Quartet) and have workshopped SNAPSHOTS at Theatre Works, The Village Theatre, The Human Race Theatre, Seaside Music Theatre and more to come. Schwartz has taken his most famous songs and brilliantly reworked them into an entirely new powerful book written by David Stern. Ita€™s a creative endeavor that works well.The show, featuring a pitch-perfect cast bursting with talent, opens in a cluttered attic where middle-aged Sue (Susie McMonagle), packed suitcase in hand, is poking through keepsakes. They also have the power to rekindle powerful emotions years, even decades, after they were taken. Schwartz has rewritten many of the lyrics to even the most familiar songs, to stay true to the fascinating story and characters of this new work.A  Funny and bittersweet, Snapshots brings into focus all the wonders and frustrations of trusting your heart and believing your memories.
Schwartz was intrigued by the notion, and gave permission for the concept to be developed further. The Martellus delineation included some Ptolemaic dogma in its continental contours and projection but significantly modified and improved upon the ancient model with regards to its contents.
The coast of Cathay is approximately 130A° West of Lisbon on the Martellus map, on the Behaim globe and in the Columbus-Toscanelli concept. Copious marginal notes, in the handwriting of Bartholomew and his older brother Christopher, are found in the Admirala€™s copy of the printed book of Marco Polo published at Louvain between 1485 and 1490.
The coasts charted by Diaz have been fitted into the circular outline of the world of the Fra Mauro hemisphere, representing such a marked trend to the southeast that the Cape of Good Hope seems to be due south of the Persian Gulf, whereas it is due south of the Adriatic. Yet the Martellus map shows South Africa extending across the frame of the map to 45A° south. He has described this voyage and plotted it league by league on a marine chart in order to place it under the eyes of the Most Serene King himself. This dates the legend as 1489, probably in January of that year, just before Bartholomew went to Seville. Arthur Davies, in his discussion of this map refers to it as the Tiger-leg peninsula; in others it is referred to as Catigara.
The best preserved copy is in the British Library and there is also a poorer copy in the University of Leiden.
Considering that in 1489 Martellus knew about the inner courses of many South American rivers, we have no reason to doubt that, forty years earlier, Andreas Walsperger (#245) knew of the Patagonians. The meeting with the Tewelche in Saint Julian was the full confirmation, for Magellan and Pigafetta, of what they already knew from their maps. The Laon globe (#259), made in France about 1493 (probably by Bartholomew Columbus when he served Anne, Regent of France) has the Tiger-leg to 40A° south.
She examined it and saw its connection with the Martellus map in the British Library and with the conceptions of Columbus. Fortunately, Martellus copied most of the nomenclature and legends on to the smaller map, now in the British Library, so the a€?Yalea€™ Martellus can recover them without difficulty. Next come three regional maps, striking because of the enormous nomenclature on the coasts. The three manuscript maps were larger in scale and showed more detail than the codex world map.
This large map, 180 cm by 120 cm, formed a standard Portuguese world map, continually added to by new discoveries, including those of CA?o and Diaz. Some historians claim that their presence indicates the map cannot be dated before 1498, when Vasco da Gama returned with news of his voyage to India. Modern Africa is so long, however, that it breaks through the frame at the lower edge of the map.
Unlike Ptolemya€™s Asia, Martellusa€™ version has an eastern coast with the island-bedecked ocean beyond and additional names taken from Marco Polo.
From this we can see that in the Insularia Martellus used modern information when he had it, incorporating it into a classical format. Martellusa€™s depiction of rivers and mountains in the interior of southern Africa, along with place names there, appear to be based on African sources. He suggests that the reader might prefer to stay safely at home, and learn about the world through his book.

Like its model, the projection is the barrel-shaped (homeoteric, or modified spherical) a€?second projectiona€™ of Ptolemy. Columbus thus had documentary support for his beliefs about oceanic distances from his readings of earlier cosmographers, Cardinal Da€™Ailly (#238) and Paolo Toscanelli (#252). Its shape, outline and position are identical with the representation of Cipangu on the Behaim globe. Their younger selves, variously played by Megan Long, Jess Godwin, Nick Cosgrove and Tony Clarno, act out vistas from their lives, singing Schwartz as they go, often with lyrics newly penned by the composer himself. Feeling distant from her workaholic husband Dan (Gene Weygrandt), she is ready to call it quits after 20 years of marriage to her childhood sweetheart in order to chase a dream of intimacy that has eluded her.a€?a€?Before Sue can get out the door, Dan comes home early from the office and joins her, and the pair spend time pouring over old photos. Feeling distant from her workaholic husband Dan (Gene Weygrandt), she is ready to call it quits after 20 years of marriage to her childhood sweetheart in order to chase a dream of intimacy that has eluded her.Before Sue can get out the door, Dan comes home early from the office and joins her, and the pair spend time pouring over old photos.
A Snapshots, with book by David Stern, music and lyrics by Stephen Schwartz, A direction by Ken Sawyer, musical staging by Karl Christian, and musical supervision and arrangements by Steve Orich, will run at Northlight Theatre, 9501 Skokie Blvd in Skokie, September 16 - October 23, 2011. For films, he collaborated with Alan Menken on the songs for Disney's Enchanted as well as the animated features Pocahontas and The Hunchback Of Notre Dame and wrote the songs for the DreamWorks animated feature The Prince Of Egypt. Early versions were produced in the mid 90s, and over time, it evolved in terms of the story and the lyrics. Kimble demonstrated that, as far as 13A° South, the nomenclature of West African coasts is 80% identical in the two maps but bears no relation to the nomenclature of any other map of the period. The minor differences in location between these three must be seen against the enormous exaggeration of the extent of Eurasia which they exhibit in comparison with all previous estimates. The only other claim that the Cape was at 45 degrees south is in the hand of Bartholomew Columbus. It suited Columbus admirably and it is likely that Bartholomew made the change at his direction. It is shown to more than 25A° south in the Cantino map of 1502 (Book IV, #306), Canerio map of 1504 (Book IV, #307), the WaldseemA?ller maps of 1507, 1513 (Book IV, #310) and many others. The map is surrounded by a dozen puffing classical wind heads, and for the first time in a non-Ptolemaic map, there is a latitude and longitude scale on the side. At her request, Roberto Almagia and Raleigh Skelton examined it and pronounced it authentic. The first is of Western Europe and Morocco, cut off in the east through the center of France; the second starts from this line and extends east as far as Naples and Tunis. The Martelli were a prominent merchant family in Florence, and Enrico Martello sounds Italian enough. If the two Ptolemy atlases can be dated as the first and last of his works, it is interesting to see that he reverts to the pure Ptolemaic form for the world in the later edition, with the lengthened Mediterranean and the closed Indian Ocean. Ita€™s likely that this information came from an African delegation that visited the Council of Florence in 1441 and interacted with European geographers. This provided him with the ammunition to further promote his plan to sail west to reach the Indies. The Martellus map in the British Library is less than 20 inches (50 cm) from west to east, and is on a scale one-quarter that of the Yale map.
These snapshots trigger memories of when they first met, birthday parties, family gatherings, a€?best palsa€? during their college years, dating experiences (with one another and others) and eventually their engagement and birth of a college-age son.
Growing up Susie had her own dreams, wanted her own career, all of which now seems to have taken a backseat to raising a family, while Daniel spent much of his time away, often working 70 hours a week.
South of that limit, however, the Martellus map gives the outlines and nomenclature of the voyage of Bartholomew Diaz in 1487-88, while the Behaim globe has invented nomenclature corresponding to nothing in Portuguese cartography. It is difficult to avoid the conclusion that he copied a map which was originally designed to support the ideas of Columbus.
Due south of the Malay peninsula, at 28A° South, there appears an enormous peninsula which widens and turns north to join China again with the largely circular concept of the Fra Mauro map. On the face of it, seeing it on the Martellus map, it asserts that Diaz had proceeded north along the cast coast of South Africa to beyond Natal.
Columbus hoped Spain would support a voyage westward to Cipangu, 85A° away, and to Cathay 130A° to the west. Of course, this is mostly symbolic, as neither Henricus Martellus nor anyone else had a complete set of accurate coordinates. The sheets of the a€?Yalea€™ Martellus, together with certain regional maps, were acquired by the patron. The one piece of information he gives us about himself, that he had traveled extensively, suggests a career in business. Again, with the Tigerleg or the Dragona€™s Tail, there has been an controversial attempt to identify it as an early map of South America, turning Ptolemy's a€?Sinus Magnusa€? into the Pacific Ocean. Clearly, Ptolemy maps were considered as illustrations for a revered and ancient text and did not have to include the latest news. Three other surviving maps contain some of this same information, but the Martellus map covers more territory than any of them, making it the most complete surviving representation of Africansa€™ geographic knowledge of their continent in the 15th century. The splendid manuscript of Martellus preserved in the National Library at Florence contains thirteen tabulA¦ modernA¦, but is probably later than the earliest printed editions of Ptolemya€™s Geography.A  However, Martellus revised the Ptolemaic world map based on Marco Poloa€™s information on Asia, and he incorporated the recent Portuguese voyages to Africa. Due south of the Malay peninsula, at 28A° South, there appears an enormous peninsula which widens and turns north to join China again with the largely circular concept of the Fra Mauro map.A  This peninsula does not exist in fact, and seems to be a repeat of the Donus Nicolaus map of the world in the Ulm Ptolemy, cut away by the circular outline of Fra Mauro.
On the face of it, seeing it on the Martellus map, it asserts that Diaz had proceeded north along the cast coast of South Africa to beyond Natal.A  His furthest point, in fact, was the Rio de Infante [Great Fish River] on the south coast, at 34A° south. Although the Columbus brothers knew that Marco Polo had returned from China by this sea route, they inserted this great obstruction of Tiger-leg by 1485. While those long hours were necessary early on, when they were young a€“ they wouldna€™t have been able support a family without that job a€“ he long ago could have scaled back to a much more reasonable, manageable schedule that would have allowed him to spend more time with Sue, yet somehow he never did, leaving her to feel essentially alone. His first opera, Seance on a Wet Afternoon, premiered with Opera Santa Barbara in the fall of 2009.
The correspondence between the Behaim globe and the 1489 Martellus map consequently ended in 1485, when Diego CA?o had returned from his first voyage after reaching 13A° south (Cape Santa Maria in the Congo, 1482-1484).
Yet that map could not have been completed until early in 1489 for it had complete details of the discoveries of Bartholomew Diaz in his voyage of 1487-88, when he circumnavigated the Cape of Good Hope (capo da€™ esperanza) and reached the Indian Ocean.
At that latitude one degree was thought to be 50 miles (80 km), according to the Toscanelli letter, so that Japan was only 4,250 miles (7,200 km) west. No wonder that, having regard to his maps, he concluded that this river flowed from Paradise.
Martellus assembled the paper sheets, stuck them on a canvas backing, made his characteristic rectangular picture frame for it and colored the seas in dark blue. His surviving work includes two editions of Ptolemya€™s Geography, a large wall map now at Yale University, and five editions of the Insularium Illustratum of Cristoforo Buondelmonti. The correspondence between the Behaim globe and the 1489 Martellus map consequently ended in 1485, when Diego CA?o had returned from his first voyage after reaching 13A° south (Cape Santa MariaA  in the Congo, 1482-1484). It would show King John that even if the Portuguese reached India they could not reach the Spice Islands (which were on the equator east of Tiger-leg) without having to make long voyages into the southern stormy seas. To have included Cipangu would have required a scale reduced one-sixth, too small to permit of legible nomenclature. But what really brings them to life are four hard-working cast members who re-enact these various milestones in song and dialogue. Compounding the problem is that Dan has fallen into a familiar pattern of long hours spent at work, not recognizing that there is any sort of problem at home, whatsoever. This was the time when Martin Behaim, as a member of the King Johna€™s mathematical junta, was able to study the map and proposals of Columbus. He returned from this voyage in December 1488 and, within a year, full details, including rich nomenclature, had appeared on the map of Martellus made in Italy; this despite the utmost secrecy on the part of King John of Portugal.
The fact that the map had been put away in a Swiss bank for perhaps 60 years explains why it went unobserved.
Martellus had been required by his patron to include in the codex a world map and regional maps which had just come into his possession in 1489. The historian Roberto Almagia has pronounced that Henricus Martellus was an excellent draftsman, who drew upon the latest information and improved the maps he adapted for his collections. This was the time when Martin Behaim, as a member of the King Johna€™s mathematical junta, was able to study the map and proposals of Columbus.A  On the 1489 Martellus map there is an inscription next to the Congo that mentions the commemorative stone (PadrA?o) that CA?o erected at Cape Negro during his second voyage (1485-87) when he reached as far as Cape Cross.
For King John and for the Catholic Sovereigns it showed that Spain could easily reach Cathay and then the Spice Islands, secure from all interference from Arabs or Portuguese in the Indian Ocean.A  Columbus may have deceived himself regarding the existence of the Tiger-leg but, since it suited his plans so admirably, one suspects that he asserted its existence just as he later made the Cape of Good Hope to be at 45A° south. The second major difference is that, while the coasts from Normandy to Sierra Leone, on the Yale map, are based on the world map of Donus Nicolaus of 1482, the corresponding coasts on the British Library Martellus uses a Portuguese map for them. From his perspective, he doesna€™t recognize that a problem exists, therefore there isna€™t one, all of which leads up to the point where the play begins a€¦ the point at which Sue must decide whether she is to leave or stay and try to work their problems out together. Tony Clarno as Daniel, Jess Godwin as Susan, Nick Cosgrove as Danny and Megan Long as Susie are shadow figures from the past, younger versions of Ken and Sue with whom they often interact. Under the auspices of the ASCAP Foundation, he runs musical theatre workshops in New York and Los Angeles, and is currently the President of the Dramatists' Guild. The furthest point reached by Diaz, the Rio de Infante [the great Fish River], is duly recorded as ilha de fonti. His great talent for such an exacting task was his skill as a draughtsman-cartographer experienced in altering the scale of maps of islands that he was copying.
Someone with access to it and to the reports of Bartholomew Diaz, drew the prototype of the Martellus map. According to the historian Arthur Davies, this is conclusive evidence that the prototype originally terminated at 35A°, with the legend correctly placed near it.
As the events play out, they dona€™t always match how the principal characters remember them.A A A  Many of the rekindled events are hilarious.
Even today, the best source for information on the voyage of Diaz is the Martellus map of 1489. The extra ten degrees in shifting the Cape to 45A° south meant more than twenty degrees extra distance in a voyage to India.
Two peculiar features in the region of South Africa suggest that Bartholomew Columbus was that someone. When Bartholomew altered the prototype map to 45A° south, he was unable to remove the legend. In the first apartment that he will share with Sue, Dan has a number of surprise female visitors, baggage from his past, who literally pop up from the most unexpected places.
Schwartz has recently been given a star on the Hollywood Walk of Fame and inducted into the Theatre Hall of Fame and the Songwriters Hall of Fame.
The policy of secrecy of King John was shattered in one great leakage by someone in a unique position to know all the details. Moreover, and perhaps this was the decisive factor, it would take Portuguese ships to nearly 50A° south to round Africa, into what Diaz had already found to be the roughest seas encountered anywhere in the world.
Moreover, and perhaps this was the decisive factor, it would take Portuguese ships to nearly 50A° south to round Africa, into what Diaz had already found to be the roughest seas encountered anywhere in the world.A  Bartholomew, in 1512, gave evidence in the Pleitos (the great lawsuit of the Columbus family versus the Crown of Spain) and declared that he had gone about with his brother in Spain helping to gain support for his enterprise. Even funnier is a bedroom scene where more ghosts put in an appearance (Godwin, changing wigs and intonation in rapid succession).
Other awards include three Academy Awards, four Grammy Awards, four Drama Desk Awards, and a tiny handful of tennis trophies.
Each island-picture is surrounded by a frame, drawn and painted in ivory to give the impression of a carved wood frame, suggesting a picture hanging on a wall. Such picture-islands occupy nearly all the folios, making an Atlas of Islands, and are then followed by a superb picture-map of Italy, taken from the 1482 world map of Donus Nicolaus. The islands in this codex were copies from the Ulm Ptolemy, from the Isolario of Bartolomeo de li Sonetti printed in Venice in 1485, and from other sources.
My DH doesn't understand why I feel that way (after all, it could be totally benign), so I thought today was a good day to intro and get some support from those who have had similar experiences. This account of Gallo was copied, almost verbatim by Serenega in 1499 and by Giustiniani in 1516. Bartholomew left Genoa as a youth in 1479 and officially made only one further visit to Italy, in 1506. Gallo could have acquired knowledge of the role of Bartholomew only from his own lips, in 1489.

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