Both figures are placed on a plinth containing the title of the map, Europe. This map would seem to be the first to make use in a limited way of the image of a bull bearing a maiden on his back. These were emblematic of Christ’s blood, as drunk as part of the Christian Eucharist.Ĥ Within the atlas itself, the map of the continent of Europe has a small mythological image which is part of the title in the upper left part of the map. The cross signifies her Christian Catholic religion and, to add further emphasis, she is seated under a pergola decked with vine shoots and clusters of grapes. She sits on a throne as if superior to all other peoples of the world and, as well as being crowned, holds a sceptre in her right hand and in her left grasps a cross secured to a large orb of the earth. At the top of the architectural ensemble is the figure of Europe (Figure 1a). Four figures show Africa, Asia, America and the supposed and only partly known land Magellanica. Shown as Figure 1, it has within an architectural structure, images of five women representing the known continents of the time 1. (1998), "The Titlepages to (.)ģ However, the image of Europe that appears in the well-known titlepage to Abraham Ortelius’ Theatrum Orbis Terrarum of 1570, the first standardised world atlas of its time, is not taken from Ovid. 1 For an elaboration of the meaning of Ortelius’ titlepage, see SHIRLEY R. Some say to Crete as its first queen others suggest that she was carried across the seas to the more distant land that would later bear her name. Sources differ as to where Jupiter took his bride. Details vary in other accounts-in some she is astride his back in others she sits gracefully side-saddle. As he swam out to sea she naively waves a farewell to her companions. Transforming himself into a handsome white bull he came close to the shore, enticed her onto his back and seductively allayed her fears so that she wound a chain of flowers around his horns. From afar off in the heavens the god Jupiter (or Jove or Zeus) espied Europa and became enamoured of her. In brief, the maiden Europa, a Phoenician by lineage, was gathering flowers on the sea-shore with her female attendants. This tale is found at the end of book II, lines 836 – 875, although Ovid is known to have tapped into much earlier Graeco-Roman mythology going back several centuries BC. The image of Europe (or Europa) is only one of very many such visual representations.Ģ One of the earliest classical tales that influenced Renaissance scholars was the fable of the abduction of Europe derived from Ovid’s famed Metamorphoses, written in about AD 7 when Ovid was in his late forties and at the height of his poetic vigour. Typically, from the 1570s and over the next 300 years these printed engravings employ the language of allegory, fable, imagery and classical references to achieve this end. Similar visual messages may be imparted through the decorative cartouches of maps. Their aim is to attract the potential reader, first opening the book, by a visual expression of the contents of the work that is to follow. Top of pageġ Since the 16 th century many atlases of maps and, more widely, works of geography, cosmography, exploration and travel have been preceded by highly decorative titlepages and/or frontispieces presenting their contents in symbolic form. D’autres images du XIX e siècle la montrent parfois dans un rôle plus nationaliste, flanquée des armoiries de chaque pays. Dans plusieurs gravures du XVII e siècle elle est aussi représentée en train de défendre le continent des attaques des Ottomans venus de l’Est. D’autres représentations montrent l’Europe assise sur un trône, tel un dirigeant régnant sur les autres continents, ou, plus tard, comme un promoteur des arts et des sciences. Une image mythologique fréquemment utilisée était celle de l’enlèvement d’Europe par le dieu Jupiter déguisé en taureau, une fable basée sur les Métamorphoses d’Ovide. Les mêmes images visuelles se retrouvent souvent dans les cartouches des cartes de l’Europe. Cet article examine quelques exemples notables en matière d’images de l’Europe. Ceux-ci montraient souvent des images et symboles allégoriques reflétant le contenu du livre dans le but d’attirer des lecteurs potentiels. A partir du XVI e siècle beaucoup de cartographes et d’auteurs ont produit des pages titres ou des frontispices décoratifs en début de leurs ouvrages.
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