The mythic creature expert and author of Phoenix takes readers through a bestiary of sea monsters featured on the famous 16th century map Carta Marina. In the sixteenth century, sea serpents, giant man-eating lobsters, and other monsters were thought to swim the waters of Norther Europe, threatening seafarers who ventured too far from shore. Thankfully, Scandinavian mariners had Olaus Magnus, who in 1539 charted these fantastic marine animals in his influential map of the Nordic countries, the Carta Marina. In Sea Monsters, mythologist Joseph Nigg brings readers face-to-face with these creatures and other magnificent components of Magnus’s map. Nearly two meters wide in total, the map’s nine wood-block panels comprise the largest and first realistic portrayal of the region. But in addition to its important geographic significance, Magnus’s map goes beyond cartography to scenes both domestic and mystic. Close to shore, Magnus shows humans interacting with common sea life—boats struggling to stay afloat, merchants trading, children swimming, and fisherman pulling lines. But from the offshore deeps rise some of the most terrifying sea creatures imaginable—like sea swine, whales as large as islands, and the Kraken. In this book, Nigg draws on Magnus’s own text to further describe and illuminate these inventive scenes and to flesh out the stories of the monsters. Sea Monsters is a stunning tour of a world that still holds many secrets for us land dwellers, who will forever be fascinated by reports of giant squid and the real-life creatures of the deep that have proven to be as bizarre and otherworldly as we have imagined for centuries. It is a gorgeous guide for enthusiasts of maps, monsters, and the mythic. “[A] beautiful new exploration of the Carta Marina.”—Wired

Olaus Magnus’s 1539 Carta Marina can be considered the major source of Renaissance sea monster iconography and lore. The map and its voluminous commentary, History of the Northern Peoples, established Olaus as the innovative historian of the sea serpent, the giant squid and sea monsters in general. Sea Monsters is structured around Olaus’s map – which is reproduced as a beautiful fold-out on the back of this book jacket – and the charts that two pre-eminent sixteenth-century cartographers derived from it: Sebastian Münster’s Monstra Marina & Terrestria (1544) and Abraham Ortelius’s Islandia (1590). All three charts are remarkable for their identification of sea beasts in lettered keys. The keys are included in the book, enabling the reader to match corresponding beasts with each other and with the text. Joseph Nigg introduces readers to Olaus’s fantastic sea beasts by taking an imaginary voyage up the northern seas of the historic Carta Marina map, with Olaus himself as guide. After the Swedish cartographer has introduced each creature, it bursts forth in stunning art, followed by a discussion of its meaning and influence. Olaus’s marine beasts multiplied in natural histories, and his map inspired and influenced marine zoology and cartography for centuries thereafter. Sea Monsters is an enthralling tour of a world that still holds many secrets for us land dwellers, who will forever be fascinated by reports of giant squid and the real-life creatures of the deep that have proven to be as bizarre and otherworldly as we have imagined for centuries. It is a gorgeous guide for enthusiasts of maps, monsters and the mythic.

Sea Monsters introduces readers to Magnuss marvellous marine beasts by taking an imaginary voyage up the northern seas of his historic map with Magnus himself as guide. As each creature is encountered it is introduced by his original narrative, then presented in full-colour art before its meaning and influence are discussed and explained. With a fold-out facsimile of the original map, and keys for this map and its two most significant successors, Sea Monsters is both a visual feast and a valuable addition to cartographic research.

The sea realm has ever been mysterious: strange happenings upon it, an unfathomable abyss of 'The Great Unknown' below. Before the scrutiny of scientific Enlightenment and Age of Reason, in the eighteenth century, ghost ships and oceanic monsters were the stuff of superstition, myth and legend to explain the inexplicable, to enthral the imagination – and enliven the unimaginable. Narratives of phantom ships manned by ghostly (sometimes skeletal) crews, or damned like the Flying Dutchman to roam the seas forever; of sinister, sinuous sea serpents; and the lore of the terrible multi-tentacled kraken. Accounts inspired spirited controversy amongst believers and sceptics, in the awestruck thrill of such frightful enigmas.

The sea monsters on medieval and Renaissance maps, whether swimming vigorously, gamboling amid the waves, attacking ships, or simply displaying themselves for our appreciation, are one of the most visually engaging elements on these maps, and yet they have never been carefully studied. The subject is important not only in the history of cartography, art, and zoological illustration, but also in the history of the geography of the "marvelous" and of western conceptions of the ocean. Moreover, the sea monsters depicted on maps can supply important insights into the sources, influences, and methods of the cartographers who drew or painted them. In this highly-illustrated book the author analyzes the most important examples of sea monsters on medieval and Renaissance maps produced in Europe, beginning with the earliest mappaemundi on which they appear in the 10th century and continuing to the end of the 16th century.

Giants, cannibals and other monsters were a regular feature of Renaissance illustrated maps, inhabiting the Americas alongside other indigenous peoples. In a new approach to views of distant peoples, Surekha Davies analyzes this archive alongside prints, costume books and geographical writing. Using sources from Iberia, France, the German lands, the Low Countries, Italy and England, Davies argues that mapmakers and viewers saw these maps as careful syntheses that enabled viewers to compare different peoples. In an age when scholars, missionaries, native peoples and colonial officials debated whether New World inhabitants could – or should – be converted or enslaved, maps were uniquely suited for assessing the impact of environment on bodies and temperaments. Through innovative interdisciplinary methods connecting the European Renaissance to the Atlantic world, Davies uses new sources and questions to explore science as a visual pursuit, revealing how debates about the relationship between humans and monstrous peoples challenged colonial expansion.

In "Neither Letters nor Swimming": The Rebirth of Swimming and Free-diving, John McManamon documents the revival of interest in swimming during the European Renaissance and its conceptualization as an art. Renaissance scholars realized that the ancients considered one truly ignorant who knew “neither letters nor swimming.”

This monograph studies the constructions of ‘impressive’ historical descent manufactured to create ‘national’, regional, or local antiquities in early modern Europe (1500-1700), especially the Netherlands. This was a period characterised by important political changes and therefore by an increased need for legitimation; a need which was met using historical claims. Literature, scholarship, art and architecture were pivotal media that were used to furnish evidence of the impressively old lineage of states, regions or families. These claims related not only to Classical antiquity (in the generally-known sense) but also to other periods that were regarded as periods of antiquity, such as the chivalric age. The authors of this volume analyse these intriguing early modern constructions of appropriate “antiquities” and investigate the ways in which they were applied in political, intellectual and artistic contexts in Europe, especially in the Northern Low Countries. This book is a revised and augmented translation of Oudheid als ambitie: De zoektocht naar een passend verleden, 1400–1700 (Nijmegen: Vantilt, 2017).