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Atlas or Order

This chapter explores the various layers of meaning superimposed on the image of the atlas from the late Middle Ages to the early modern period, as the atlas embodied the human intellect of the cosmic patterns. As the atlas was associated with a prime mover or universal axis, it functioned as a metaphor for astrological insight and universal knowledge, for cosmic order and divine providence, or even moral responsibility. With the decline of heliocentric astrological cosmology in the 16th century, the atlas transformed into a symbol of geographical pan-planetaryism. Commercial cartography in the 17th and 18th centuries continued the image of atlas as a globe-bearer, which became a trademark of multi-volume map collections.

From the late Middle Ages to the early modern period, various layers of meaning superimposed on the image of the atlas, as the atlas embodied the human intellect of the universal machine, as it was associated with a prime mover or universal axis, it functioned as a metaphor for universal knowledge and astrological interpretation, for cosmic order and divine providence, or even moral responsibility. Cosmographers and astronomers used the image to illustrate their work in the search for universal rationality. With the decline of heliocentric and astrological cosmology in the 16th century, the atlas transformed into an iconic figure of geographic panplanetism. Thus, commercial maps retained the image of the atlas as a bearer of the Earth, signposting large map collections in the 17th and 18th centuries.

Index entries

Detailed outline

Full text

Exploring the World Machine

1 The legend of Atlas does not disappear 1. The leaders in the sky, which symbolize their efforts and indomitable spirit, inspire writers, artists, scholars, and scientists from all over the world. Currently, the term "Atlas" not only means bookbinding map collection, but also in various fields, such as astronomy, history, sociology, life sciences, and natural science. 3.. It also refers to structural elements in various fields, from anatomy to mathematics, computer, architectural to psychology. Two major works: Borgez's ATLAS (1984) and Abbey Walberg's "MNEMOSYNE ATLAS" (1924-29), two major works: humanities and humanities. ATLAS SIVE COSMOGRAPHICAE Meditationes De Fabrica et Fabricati (or a space magazine meditation on the created image) There was a desire 。

2 This title is not limited to geographical map collection, but described in the ambition of exploring the mechanism of the world machine that Mercattle had been holding for a lifetime.

Since I was young, geography was my first research. When I was working on geography by applying natural science and geometric science, I gradually became not only the description of the earth but also the structure of the whole machine around the world.

As described in the three Atlas, his project was an attempt to accept knowledge overall. Inspired by the new platonism of Christianity, the concept of Neopita Goras, the idea of the creator of the universe in accordance with the mathematical principle, and in cosmology, astronomy, astrology, the ancient and modern geology of the ground kingdom, universal chronology. We aimed to include an article about the genealogy. 1 The legend of Atlas does not disappear 1. The leaders in the sky, which symbolize their efforts and indomitable spirit, inspire writers, artists, scholars, and scientists from all over the world. Currently, the term "Atlas" not only means bookbinding map collection, but also in various fields, such as astronomy, history, sociology, life sciences, and natural science. 3.. It also refers to structural elements in various fields, from anatomy to mathematics, computer, architectural to psychology. Two major works: Borgez's ATLAS (1984) and Abbey Walberg's "MNEMOSYNE ATLAS" (1924-29), two major works: humanities and humanities. ATLAS SIVE COSMOGRAPHICAE Meditationes De Fabrica et Fabricati (or a space magazine meditation on the created image) There was a desire 。

2 This title is not limited to geographical map collection, but described in the ambition of exploring the mechanism of the world machine that Mercattle had been holding for a lifetime.

Since I was young, geography was my first research. When I was working on geography by applying natural science and geometric science, I gradually became not only the description of the earth but also the structure of the whole machine around the world.

As described in the three Atlas, his project was an attempt to accept knowledge overall. Inspired by the new platonism of Christianity, the concept of Neopita Gora, the idea of the creator of the universe in accordance with the mathematical principle, in cosmology, astronomy, astrology, the ancient and modern geography of the ground kingdom, universal chronology. We aimed to include an article about the genealogy. 1 The legend of Atlas does not disappear 1. The leaders in the sky, which symbolize their efforts and indomitable spirit, inspire writers, artists, scholars, and scientists from all over the world. Currently, the term "Atlas" not only means bookbinding map collection, but also in various fields, such as astronomy, history, sociology, life sciences, and natural science. 3.. It also refers to structural elements in various fields, from anatomy to mathematics, computer, architectural to psychology. Two major works: Borgez's ATLAS (1984) and Abbey Walberg's "MNEMOSYNE ATLAS" (1924-29), two major works: humanities and humanities. ATLAS SIVE COSMOGRAPHICAE MEDITATITIONES DE FARICA ET FARICATI (or the world's creation and creative images) There was a desire 。

2 This title is not limited to geographical map collection, but described in the ambition of exploring the mechanism of the world machine that Mercattle had been holding for a lifetime.

Since I was young, geography was my first research. When I was working on geography by applying natural science and geometric science, I gradually became not only the description of the earth but also the structure of the whole machine around the world.

As the universe contains the number, species, order, harmony, proportional, virtue, and effects, the order of the creation, as it starts with the creation of the heavens and earth, all part of it, and requests a meticulous explanation. Express naturally according to. Science is born from these, and wisdom is born from science. The wisdom creates a thoughtful depth, and the thought depth leads to a good purpose. Next, the celestial body, followed by astrology, will be described in the following astrology from the stars. Fourth, about elements, and geography. In this way, I draw the whole world as if it were reflected in a mirror, find the cause of things, and gain wisdom and thoughts, leading readers to higher sources. 7 to be enough.

4. Mercattle's view of the universe is based on the main premise of the Christian new platonist view of the universe, including the number, species, order, harmony, proportional, and effect. In particular, theory, astronomy, and geographics are a complex science that is associated based on the mathematical and astrologic consistency created by God 8, which is the concept of Roger Bacon's cosmology 8. For experts, all of the creation of the heavens and earth were the elements of sacred indications, and their overall expressions were theology of theology.

Atlas and Ptolemy

The 5 Mercattle project ended in an incomplete. Atlas, published after death, contains the interpretation of the new platonist creation in the sixth part. The traces of astronomy and astrology have been lost, even if they are written. The universe starts with the creation of all the top and earth as the number, species, order, harmony, proportional, and effects, so that all of them are listed and requires meticulous explanations. Express naturally according to the order of creation. Science is born from these, and wisdom is born from science. The wisdom creates a thoughtful depth, and the thought depth leads to a good purpose. Next, the celestial body, followed by astrology, will be described in the following astrology from the stars. Fourth, about elements, and geography. In this way, I draw the whole world as if it were reflected in a mirror, find the cause of things, and gain wisdom and thoughts, leading readers to higher sources. 7 to make it sufficient.

The 5 Mercattle project ended in an incomplete. Atlas, published after death, contains the interpretation of the new platonist creation in the sixth part. The traces of astronomy and astrology have been lost, even if they are written. As the universe contains the number, species, order, harmony, proportional, virtue, and effects, the order of the creation, as it starts with the creation of the heavens and earth, all part of it, and requests a meticulous explanation. Express naturally according to. Science is born from these, and wisdom is born from science. The wisdom creates a thoughtful depth, and the thought depth leads to a good purpose. Next, the celestial bodies will be described in order, followed by astrology that infer from the stars. Fourth, about elements, and geography. In this way, I draw the whole world as if it were reflected in a mirror, find the cause of things, and gain wisdom and thoughts, leading readers to higher sources. 7 to make it sufficient.

4. Mercattle's view of the universe is based on the main premise of the Christian new platonist view of the universe, including the number, species, order, harmony, proportional, and effect. In particular, the theology, astronomy, and geography are complicated science that are associated with the mathematical and astrologic consistency created by God 8. For experts, all of the creation of the heavens and earth were the elements of sacred indications, and their overall expressions were theology of theology.

6 The reason for choosing Titan as the title is given in the Preface to the Atlas, which introduces the 1595 edition. Citing the Euhemerist interpretation of ancient myths by Diodorus Siculus11 and the early Christian syncretic exegesis by Eusebius Pamphilj12, Mercator describes Atlas as the son of the Titan Atlas, grandson of the Sun (Erius), son of the sky (Kurus) and the earth (Tera), an ancient king of Mauritania, "a most skilled astrologer, and the first to dispute the spheres."13 He belonged to the royal family of the eldest son Atlantes, and "had acquired great prudence, mercy, and piety by contemplating the things of nature." Atlas is portrayed as a wise and thoughtful philosopher-king, the ideal of erudition, humanity, and wisdom. I have made this man, remarkable for his erudition, humanity, and wisdom, my model, to the best of my genius and power.

7 To follow him means to recover his universal wisdom and to arrive at the "contemplation of the world-machine," which is the express purpose of the Cosmology:

Magnus astrologus

To any mind that contemplates the structure of this world-machine, [...] the most admirable, exquisite, and most wise ornamentation and arrangement of its fabric [...]: from the marvelous harmony of all things to the one purpose of God, and from the incomprehensible providence in its construction, [...] God has created and ordered the world which we have undertaken to contemplate, and all its parts necessary for the use of man thus constituted, in the order, nature, and proportions that we shall see, and then, by his omnipotence, from the idea conceived from eternity. 15....

8 Mercattle is the last sentence, always quoting the words of Dioros and Eusevios, the genealogy of Atlas, Hesperus, (2nd), Atlas, and the guardian of the golden apple garden. He draws seven daughters in the Hesperides. Hesper death is the last mentioned Maia, along with her son, Mercury / Hermes, is often confused with Helenism's philosopher and Hermes Tris Migistos, the founder of Hermes. According to Dioros, Hesperides said, "I was connected to the most famous heroes and gods, which became the first ancestor of humanity." Mercattle would have wanted to show this genealogy to show the blood relationship between the inventor of Astrology and the Hermes religion. There is one exception. Mercattle mentions Atlas's descendants in a set of maps in the Southeast Europe, which was dedicated to the Grand Duke of Tuscan, Ferdinand II, and is a descendant of Idae's Hercules and Etruria's King Janus, and Atlas in Italy. He said he was a disciple 19.

9 The invention of the Mercattle was not a map collection, but a label for identifying booked map collection as a book category. The Shaho Map Collection was untitled or distributed with various titles since the early 14th century. In the next century, a collection of systems, ISOLARII, and the postcards of the Geographical Geography in Ptolemaos were created, and became a model for this kind of book. Ptolemaos's geographical books include how to draw world maps and projection methods (Volume 1), a wid e-range public newsletter (Volume 2 to Volume 7), which describes about 8, 000 place names and their coordinates. It consists of 27 maps (Volume 8) consisting of a world map that covers the entire manned world and 26 regional maps, so it can be regarded as an atlas prototype. 8 Mercattle is at the end of the preface, always quotes the words of Dioros and Eusevos, the protection of Atlas's genealogy, Hesperos, (2nd) Atlas, (2nd), and the guards of the golden apple garden. He draws seven daughters of the Hesperides. Hesper death is the last mentioned Maia, along with her son, Mercury / Hermes, is often confused with Helenism's philosopher and Hermes Tris Migistos, the founder of Hermes. According to Dioros, Hesperides said, "I was connected to the most famous heroes and gods, which became the first ancestor of humanity." Mercattle would have wanted to show this genealogy to show the blood relationship between the inventor of Astrology and the Hermes religion. There is one exception. Mercattle mentions Atlas's descendants in a set of maps in the Southeast Europe, which was dedicated to the Grand Duke of Tuscan, Ferdinand II, and is a descendant of Idae's Hercules and Etruria's King Janus, and Atlas in Italy. He said he was a disciple 19.

9 The invention of the Mercattle was not a map collection, but a label for identifying booked map collection as a book category. The Shaho Map Collection was untitled or distributed with various titles since the early 14th century. In the next century, a collection of systems, ISOLARII, and the postcards of the Geographical Geography in Ptolemaos were created, and became a model for this kind of book. Ptolemaos's geographical books include how to draw world maps and projection methods (Volume 1), a wid e-range public newsletter (Volume 2 to Volume 7), which describes about 8, 000 place names and their coordinates. It consists of 27 maps (Volume 8) consisting of a world map that covers the entire manned world and 26 regional maps, so it can be regarded as an atlas prototype. 8 Mercattle is the last sentence, always quoting the words of Dioros and Eusevios, the genealogy of Atlas, Hesperus, (2nd), Atlas, and the guardian of the golden apple garden. He draws seven daughters in the Hesperides. Hesper death is the last mentioned Maia, along with her son, Mercury / Hermes, is often confused with Helenism's philosopher and Hermes Tris Migistos, the founder of Hermes. According to Dioros, Hesperides said, "I was connected to the most famous heroes and gods, which became the first ancestor of humanity." Mercattle would have wanted to show this genealogy to show the blood relationship between the inventor of Astrology and the Hermes religion. There is one exception. Mercattle mentions Atlas's descendants in a set of maps in the Southeast Europe, which was dedicated to the Grand Duke of Tuscan, Ferdinand II, and is a descendant of Idae's Hercules and Etruria's King Janus, and Atlas in Italy. He said he was a disciple 19.

9 The invention of the Mercattle was not a map collection, but a label for identifying booked map collection as a book category. The Shaho Motobu Collection has been distributed from the early 14th century or distributed under various titles. In the next century, a collection of systems, ISOLARII, and the postcards of the Geographical Geography in Ptolemaos were created, and became a model for this kind of book. Ptolemaos's geographical books include how to draw world maps and projection methods (Volume 1), a wid e-range public newsletter (Volume 2 to Volume 7), which describes about 8, 000 place names and their coordinates. It consists of 27 maps (Volume 8) consisting of a world map that covers the whole manned world and 26 regional maps, so it can be regarded as an atlas prototype.

10 The influence of Ptolemy's Geography on the concept of the atlas was decisive, since the Greek cartographic manual set the standard of geometric and graphical uniformity as well as the structural model for the content of geographical atlases. 22 Gradually, Ptolemy's Geography was supplemented with modern maps and, later, with geographical descriptions from ancient and modern times. The demand for analytical cartographic representations of the world prompted the related production. The full edition of Ptolemy's Geography reached its zenith in northern Italy in the second half of the 16th century. At the same time, collections of printed maps, plans and topographical maps also grew. What we call "atlases" today were produced between 1570 and 1600 with the publication of "Modern geographical maps according to the Ptolemaic order" (Geografia. Tavole moderne di geografia [...] secondo l'ordine di Tolomeo) in Rome and Venice, and more or less systematic collections of maps by Abraham Ortelius, Gérard de Youdes, and Mercator (Theatrum orbis terrarum, Speculum orbis terrarum, Atlas, respectively) in Antwerp and Duisburg.

11 What made Mercator's title a trademark was not "theatre", "mirror", or the more mundane "geography", but the unity of their content, the mathematical and graphic coherence of their maps. All these maps were newly designed based on an integrated system of projection and a consistent calculation of longitude and latitude, and their geographical content was the result of a critical review of all available information, ancient and modern, from all over the world. In contrast, the Italian publishers, like Ortelius and De Yode, were editors rather than creators of the maps included in their books. Their books consisted of a selection of maps produced by various modern authors, arranged in a more or less uniform format and accompanied by explanatory text. The geometric consistency and uniformity of Mercator's maps gave the atlas rapid authority. The commercial success of the book created and sustained a significant and profitable publishing industry in the Low Countries for the next two centuries. 23 It did not take long for the title to become a trademark and the standard designation for the publication of systematic collections of geographical maps. 24

Atlas moralized

12 For Mercator's 1595 Atlas, Rumourdas used two title pages. The first is the title page for the entire book. On this page, Atlas is depicted as a biblical patriarch holding the Creation. He is not a powerful giant with the heavens on his shoulders, but a bearded, broad-shouldered man of middle age, seated on a mountaintop and holding a celestial globe. His burden is intellectual, not physical. At his feet is a terrestrial globe, suggesting that he is meditating on the relationship between the two spheres. Above the portico, two putti are depicted holding the "armillary sphere," which Ptolemy described in the Almagest as a device for demonstrating the heliocentric universe (fig. 1). Figure 1 - Title page of the 1595 edition of Mercator's Atlas sive cosmographicae meditationes de fabrica mundi et fabricati figura, Washington, Library of Congress, G1007. A7, 1595 (© Library of Congress).

13 This frontispiece was borrowed from Ptolemy's Geographia, published by Mercator in 1579, and has since been retitled Atlantis pars altera. Geographia nova totius Mundi, fig. 2. It shows a portico with a celestial globe at its top and its base. Standing on either side of the portico's pillars are Ptolemy and Marinus of Tyre. The former has the long beard of a northern humanist and holds astronomical and geometrical instruments. Ptolemy is a cartographer, a practitioner who records on maps the empirical knowledge of merchants, sailors, and travelers. In his upraised right hand he holds an arm ball pointing to a celestial globe at the top of the portico, and in his left hand he holds a pair of dividers. He holds a pen and points to a globe placed at the base of the portico. He is a cosmographer, a sage who explores the mathematical relationships between the spheres. The image therefore refers not only to Ptolemy's cartographic work, but to his entire project, which included treaties on mathematical astronomy (the Almagest), astrology (the Tetrabiblos), cartography (the Geographia) and music (the Harmonica). In this sense, Ptolemy, like Atlas, was the prototype of Mercator's ideal cosmographer and philosopher.

Figure 2-Frontispiece to the map section of the 1595 edition of Mercator's Atlas (Atlantis pars altera. Geographia nova totius mundi), Washington, Library of Congress, G1007. A7 1595, (© Library of Congress). 13 This frontispiece is borrowed from Ptolemy's Geographia, published by Mercator in 1579, and bears the title "Second Part of the Atlas. Atlantis pars altera. Geographia nova totius mundi, fig. 2), which depicts a portico with a celestial globe at its top and a terrestrial globe at its base. Standing on either side of the portico's pillars are Ptolemy and Marinus of Tyre. The former has the long beard of a northern humanist and holds astronomical and geometrical instruments. Ptolemy is a cartographer, a practitioner who records on maps the empirical knowledge of merchants, sailors, and travelers. In his upraised right hand, Ptolemy holds an arm ball pointing to the celestial globe at the top of the portico, and in his left hand, holding a pair of screens, pointing to the terrestrial globe at the base of the portico. He is a cosmographer, a sage who explores the mathematical relationships between spheres. The image therefore refers not only to Ptolemy's cartographic work, but also to his entire project, including treaties on mathematical astronomy (Almagest), astrology (Tetrabiblos), cartography (Geographia), and music (Harmonica). In this sense, Ptolemy, like Atlas, was the prototype of Mercator's ideal cosmographer and philosopher.

Fig. 2 - Frontispiece to the cartographic section of Mercator's 1595 atlas (Atlantis pars altera. Geographia nova totius mundi), Washington, Library of Congress, G1007. A7 1595, (© Library of Congress). 13 The frontispiece is borrowed from Mercator's 1579 edition of Ptolemy's Geographia, and bears the title "Second Part of the Atlas. Atlantis pars altera. Geographia nova totius Mundi, fig. 2), which depicts a portico with a celestial globe at its top and a terrestrial globe at its base. Standing on either side of the portico's pillars are Ptolemy and Marinus of Tyre; the former has the long beard of a northern humanist and holds astronomical and geometrical instruments; Ptolemy is a cartographer, a practitioner who records on maps the empirical knowledge of merchants, sailors, and travelers; in his upraised right hand he holds an arm ball pointing to the celestial globe at the top of the portico, and in his left hand he holds a pair of dividers. He holds a pen and points to the globe placed at the base of the portico. He is a cosmographer, a sage who explores the mathematical relationships between the spheres. The image therefore refers not only to Ptolemy's cartographic work, but also to his entire project, which included treaties on mathematical astronomy (Almagest), astrology (Tetrabiblos), cartography (Geographia), and music (Harmonica). In this sense, Ptolemy, like Atlas, was the prototype of Mercator's ideal cosmographer and philosopher.

Fig. 2 - Frontispiece to the map section of the 1595 edition of Mercator's map (Atlantis pars altera. Geographia nova totius mundi), Library of Congress, Washington, G1007. A7 1595, (© Library of Congress).

14 As far as I know, there was no theoretical text before Mercator that justified the place of Atlas in early modern cosmological and cosmographical thought. However, it seems likely that Ptolemy, rather than Atlas, was the first to be used as the patron and symbol of astronomy. From the early 12th century onwards, there is ample evidence of Ptolemy's embodiment of astronomy in the sculptural decoration of cathedrals, in frescoes, and mainly in illustrated manuscripts. 25 In contrast to the astronomical context of Ptolemy's representations, early images of Atlas are primarily depicted in an astrological cosmological context. Research conducted by Fritz Saxl and continued by Kristen Lippincott26 has allowed the iconography of Atlas to be traced back to astrological manuscripts of the late 11th and early 12th centuries, especially the early manuscript of the Dialogus inter Nemroth et Joathon de Astronomia, held in the Biblioteca apostolica vaticana, the Marciana, and the Bibliothèque nationale de France. 27 As far as I know, there was no theoretical text before Mercator that justifies the place of Atlas in early modern cosmological and cosmographical thought. However, it seems likely that Ptolemy, rather than Atlas, was the first to be used as a patron and symbol of astronomy. From the early 12th century onwards, evidence of Ptolemy’s astronomical embodiment is abundant, in the sculptural decoration of cathedrals, in frescoes and mainly in illustrated manuscripts. 25 In contrast to the astronomical context of the representations of Ptolemy, the early figures of Atlas are primarily depicted in astrological and cosmological contexts. Research undertaken by Fritz Saxl and continued by Kristen Lippincott26 has allowed the iconography of Atlas to be traced back to astrological manuscripts from the late 11th and early 12th centuries, in particular to early copies of the Dialogus inter Nemroth et Joathon de Astronomia (Dialogue between Nemroth and Joathon) in the Biblioteca apostolica vaticana, the Marciana and the Bibliothèque nationale de France. 27 14 As far as I know, there was no theoretical text before Mercator that justified the place of Atlas in early modern cosmological and cosmographical thought. However, it seems likely that Ptolemy, rather than Atlas, was the first to be used as the patron and symbol of astronomy. From the early 12th century onwards, there is ample evidence of Ptolemy's embodiment of astronomy in the sculptural decoration of cathedrals, in frescoes, and mainly in illustrated manuscripts. 25 In contrast to the astronomical context of Ptolemy's representations, early images of Atlas are primarily depicted in an astrological cosmological context. Research conducted by Fritz Saxl and continued by Kristen Lippincott26 has traced the image of the atlas back to astrological manuscripts from the late 11th and early 12th centuries, in particular early copies of the Dialogus inter Nemroth et Joathon de Astronomia (Dialogue between Nemroth and Joathon) held in the Biblioteca apostolica vaticana, the Marciana Library, and the Bibliothèque nationale de France. 27

15 This book is a short edition of an anonymous cosmetic editorial, translated into Latin in the 6th and 10th centuries. "Dialogue" does not describe Atlas, but some manuscripts describe Atlas at the beginning of the text. In the Vatican manuscript, it is introduced in an excerpt from Augustine's "de Civitate dei" (18. 8), and Atlas is a great astrologer, along with his younger brother Prometheus, as one of Moses' Greek sages. I am. In the attached illustration, Atlas is drawn with the legendary Caldea King Nimrod. Atlas stands in the Pyrenees and holds the sky. According to the legend, Nimrod is said to be "a great astrologer, the King of Spain, and a bent shoulder covered with stars." Nimrod is standing on the mountain of Judah ("Montes Amorreolum"), described as "the heavenly world, the king of Caldea, and the star without stars in their hands." Augustine's excerpts are not included in Marciana manuscripts, but Atlas is also drawn at the beginning of this book, and at this time it is alone, with a starry sky next to a star without a star. According to the legend, at the beginning of this book, the basic matters in the sky are explained, and then the stars and the "calculation" 31 are described. From these expressions, it can be presumed that these two books belong to the same manuscript.

The recognition that Atlas was the inventor of astrology was brought by Prinnus and Augustine. Prinius introduced Atlas as a discoverer of astrology, 32, and said that Augustine positions Atlas as a pantone of esoteric wisdom, a great astrologer, Mercury's grandfather, and his grandfather of Hermes Trisemejistos. : 15 This book is a short version of an anonymous cosmetic editorial translated into Latin in the 6th and 10th centuries. "Dialogue" does not describe Atlas, but some manuscripts describe Atlas at the beginning of the text. In the Vatican manuscript, it is introduced in an excerpt from Augustine's "de Civitate dei" (18. 8), and Atlas is a great astrologer, along with his younger brother Prometheus, as one of Moses' Greek sages. I am. In the attached illustration, Atlas is drawn with the legendary Caldea King Nimrod. Atlas stands in the Pyrenees and holds the sky. According to the legend, Nimrod is said to be "a great astrologer, the King of Spain, and a bent shoulder covered with stars." Nimrod is standing on the mountain of Judah ("Montes Amorreolum"), described as "the heavenly world, the king of Caldea, and the star without stars in their hands." Augustine's excerpts are not included in Marciana manuscripts, but Atlas is also drawn at the beginning of this book, and at this time it is alone, with a starry sky next to a star without a star. According to the legend, at the beginning of this book, the basic matters in the sky are explained, and then the stars and the "calculation" 31 are described. From these expressions, it can be presumed that these two books belong to the same manuscript.

The recognition that Atlas was the inventor of astrology was brought by Prinnus and Augustine. Prinius introduced Atlas as a discoverer of astrology, 32, and said that Augustine positions Atlas as a pantone of esoteric wisdom, a great astrologer, Mercury's grandfather, and his grandfather of Hermes Trisemejistos. : 15 This book is a short edition of an anonymous cosmetic editorial, translated into Latin in the 6th and 10th centuries. "Dialogue" does not describe Atlas, but some manuscripts describe Atlas at the beginning of the text. In the Vatican manuscript, it is introduced in an excerpt from Augustine's "de Civitate dei" (18. 8), and Atlas is a great astrologer, along with his younger brother Prometheus, as one of Moses' Greek sages. I am. In the attached illustration, Atlas is drawn with the legendary Caldea King Nimrod. Atlas stands in the Pyrenees and holds the sky. According to the legend, Nimrod is said to be "a great astrologer, the King of Spain, and a bent shoulder covered with stars." Nimrod is standing on the mountain of Judah ("Montes Amorreolum"), described as "the heavenly world, the king of Caldea, and the star without stars in their hands." Augustine's excerpts are not included in Marciana manuscripts, but Atlas is also drawn at the beginning of this book, and at this time it is alone, with a starry sky next to a star without a star. According to the legend, at the beginning of this book, the basic matters in the sky are explained, and then the stars and the "calculation" 31 are described. From these expressions, it can be presumed that these two books belong to the same manuscript.

A Cosmic Agent

His brother Atlas was said to have been a great astrologer, which gave rise to the fable that Atlas held up the sky, but the popular belief that Atlas held up the sky seems to have been suggested rather by the high mountain named after Atlas. In fact, many other legends were invented in Greece from this time. He was famous for being skilled in many arts, which he taught to people, so that people decided to create him, and even believed that he was worthy of being a god after death. [It is known that Atlas, a great astrologer and brother of Prometheus, lived at the time when Moses was born. Atlas was the maternal grandfather of Mercury the Elder. His grandson is Mercury, called the thrice great 33.

17 Abridgements or adaptations of the accounts of Pliny and Augustine are found in Isidore of Seville, Rabanus Maurus, and Julius Honorius. 34 The perception of Atlas as a great astrologer was further strengthened in the 13th century by Bacon's account in Opus majus, which emphasizes Atlas's astrological skill and wisdom, his Egyptian origin, and his "acquaintance with Hermes Trismegistus, a famous philosopher of Egypt and the southern regions, especially in matters moral, liturgical, and divine."35 In a similar context, Atlas ("Atalas") appears in Michael Scotus' Liber introductorius. Frederick II's court astrologer played an important role in spreading the Arabic tradition of judicial astrology to the Latin West and in implanting the idea of astrological determinism in geography. 36 Scotus reconstructed the legend of Atlas. Perhaps inspired by his reading of Arabic, he presented Atlas as an Egyptian astrologer and inventor of astrology, who traveled through Europe, sold it to two French priests in Spain, and later erected a giant statue of Atlas to honor his invention. Variations of the legend echo the traditions of Greek and Roman mythology, the discovery of the science of the stars, the gigantic size of the Titans, the pillars of the sky, and the Pillars of Hercules. In two early manuscripts of the Liber introductorius, Atlas is depicted as a naked leonine giant.

Fig. 3 - "Athalas" by Michael Scotus, Liber introductorius (Munich, Staatsbibliothek, Clm 10268, f. 19v°).

18 The writings of Pliny, Augustine and Bacon were highly influential, placing Atlas as the mythical founder of astrology. As the science of the stars developed into a common frame of reference for understanding the world, its patron Atlas gained authority. 38 From the fourteenth to the sixteenth centuries, from the commentators of Sacrobosco to Giovanni Pontano, and from Regiomontanus to Gerolamo Cardano, astrologers constantly referred to this legendary pioneer of the astrological interpretation of the universe. 39 Although most of their references were merely rhetorical allusions to the noble origins and high antiquity of this art, they nevertheless reveal the power of the symbols and their widespread recognition.

19 As the first person who has found the secret pattern of the universe, Atlas's hardship embodies the constant labor of scholars trying to gain knowledge, and has inspired scholars since the dawn of humanism. Atlas's legend was linked to Hercules and Perseus's hardships, and as his interest in heroic examples increased again, Atlas was frequently recalled. According to the legend, Hercules has been a substitute for Atlas for a while. Before falling into the underworld in the last labor, Hercules gave birth to an Atlas's seven daughters, a golden apple from Hesperides forbidden. The encounter between the hero and the Titan, the exchange of the heavenly burden, the delivery of the golden apple is a metaphor of acquiring knowledge, and is a vision that responds to the concept of Beethoven, the ultimate reward in life dedicated to the pursuit of wisdom. 41. Petralka is seeing a sign of the birth of a hero = philosopher in this encounter.

Hercules himself was the most famous philosopher as one thought, and as one thought, a stronger warrior than other humans. The intelligence that this man had was very great, and the heavens were put on their shoulders, so the knowledge of the heavens was given by Atlas, a great expert in these things. 42 that is said.

Following the 20 Petrarka, Coruccio Saltery also thought that the encounter between heroes and Titan was an allegory of science. In an annotation of "Hercules's Labor", written from 1378 to 1405, the legend of the Great Florence, the legend of getting a golden apple, is interpreted as a complex metaphor of transmitting and spreading knowledge. 19 As the first person who has found the secret pattern of the universe, Atlas's struggle embodies the constant labor of scholars who want to gain knowledge, and the scholars from the dawn of humanism. I've been inspired. Atlas's legend was linked to Hercules and Perseus's hardships, and as his interest in heroic examples increased again, Atlas was frequently recalled. According to the legend, Hercules has been a substitute for Atlas for a while. Before falling into the underworld in the last labor, Hercules gave birth to an Atlas's seven daughters, a golden apple from Hesperides forbidden. The encounter between the hero and the Titan, the exchange of the heavenly burden, the delivery of the golden apple is a metaphor of acquiring knowledge, and is a vision that responds to the concept of Beethoven, the ultimate reward in life dedicated to the pursuit of wisdom. 41. Petralka is seeing a sign of the birth of a hero = philosopher in this encounter.

Following the 20 Petrarka, Coruccio Saltery also thought that the encounter between heroes and Titan was an allegory of science. In an annotation of "Hercules's Labor", written from 1378 to 1405, the legend of the Great Florence, the legend of getting a golden apple, is interpreted as a complex metaphor of transmitting and spreading knowledge. Tei: 19 As the first person who found the secret pattern of the universe, Atlas's hardship embodies the constant labor of scholars trying to gain knowledge, and inspires scholars since the dawn of humanism. 。 Atlas's legend was linked to Hercules and Perseus's hardships, and as his interest in heroic examples increased again, Atlas was frequently recalled. According to the legend, Hercules has been a substitute for Atlas for a while. Before falling into the underworld in the last labor, Hercules gave birth to an Atlas's seven daughters, a golden apple from Hesperides forbidden. The encounter between the hero and the Titan, the exchange of the heavenly burden, the delivery of the golden apple is a metaphor of acquiring knowledge, and is a vision that responds to the concept of Beethoven, the ultimate reward in life dedicated to the pursuit of wisdom. 41. Petralka is seeing a sign of the birth of a hero = philosopher in this encounter.

However, Hercules is the perfect human, overcoming the actual wall of Hesperides, that is, clarifying the stars as much as possible, and killing the dragon, or killing it, that is, time guidance. I found. In this way, he reached the knowledge of the model and stars and got Yuno and Atlas apple. It is believed that he studied astronomy from Atlas and brought this study first to Greece.

21 Sultati, inspired by his strong confidence in the scientific method, boldly praised nature philosophy and accused the incorrect knowledge and superstition. According to him, Atlas's knowledge of stars was not useful for astrology, but to help navigators, accurate time measurements, and the establishment of the calendar. Saltati's annotation about the legend of the golden apple was inspired by Macrobius's annotation about Sukipio's dreams that Kikero spoke, but Sarubius also found a description of the definition of an astronomical one year. 44 that has been pointed out. According to Celvius, Atlas said, "The year has been divided into time, and for the first time describing the course of the planet, the lap of the stars, and its movements. Atlas has instructed Mercury and Hercules, so Hercules is from Atlas. It is said that Saltati was the first person to study the stars of the stars as the first person to study the star pattern. Vitolwius may have been reinforced as "the first person to explain the sun's operation, the monthly operation, the movement of the stars, and the astronomical feeling to humanity." There is. However, Hercules is the perfect human, overcoming the actual wall of the Hesperides, that is, clarifying the situation of the stars as much as possible, and killing the dragon and killing it. Discovered the principle of guidance. In this way, he reached the knowledge of the model and stars and got Yuno and Atlas apple. It is believed that he studied astronomy from Atlas and brought this study first to Greece.

21 Sultati, inspired by his strong confidence in the scientific method, boldly praised nature philosophy and accused the incorrect knowledge and superstition. According to him, Atlas's knowledge of stars was not useful for astrology, but to help navigators, accurate time measurements, and the establishment of the calendar. Saltati's annotation about the legend of the golden apple was inspired by Macrobius's annotation about Sukipio's dreams that Kikero spoke, but Sarubius also found a description of the definition of an astronomical one year. 44 that has been pointed out. According to Celvius, Atlas said, "The year has been divided into time, and for the first time describing the course of the planet, the lap of the stars, and its movements. Atlas has instructed Mercury and Hercules, so Hercules is from Atlas. It is said that Saltati was the first person to study the stars of the stars as the first person to study the star pattern. Vitolwius may have been reinforced as "the first person to explain the sun's operation, the monthly operation, the movement of the stars, and the astronomical feeling to humanity." There is. However, Hercules is the perfect human, overcoming the actual wall of Hesperides, that is, clarifying the stars as much as possible, and killing the dragon, or killing it, that is, time guidance. I found. In this way, he reached the knowledge of the model and stars and got Yuno and Atlas apple. It is believed that he studied astronomy from Atlas and brought this study first to Greece.

A cultural topos

22 In Petrarch's and Salutati's readings of the myth, Hercules is depicted as being taught celestial mechanics, astronomical navigation, and almanac by Atlas. An early 15th-century fresco on the south wall of the Hall of Ercole in the Paradiso Palace in Ferrara depicts a gentle young Hercules carrying the sky and a sextant. The legend of Hercules teaching astronomical calculations also permeates vernacular literature. It echoes Bertrand Boisset's Illustrated Surveys, written in Provençal in 1406. In this text, Hercules is presented as "tall, wise, accepting every challenge, skilled in weapons, daring, versed in movement and in all materials" and as the inventor of the measure of leagues, a remarkable feat that required a combined understanding of mathematics, geometry, astrology, and surveying. 48 23 The lineage of the transmission of celestial knowledge from Atlas to humans through the teachings of Hercules and Mercury/Hermes Trismegistus was uneven. Atlas’ teaching of Hercules generated a rich text and iconography, especially in the field of astronomy, of which Hercules was its symbolic patron. 49 In contrast, Atlas’ teaching of Mercury, mentioned by Augustine and defended by Servius, left no obvious mark on Renaissance culture. In any case, Atlas’s knowledge of celestial mechanics and the theory of time, and his role as guardian of the forbidden garden where the golden apples of the Hesperides grew, gave him divine characteristics. This is how Petrarch’s close friend Pierre Bersiller saw him. In Ovidius moralisatus, a Christianized version of the Metamorphoses, completed by 1340, Atlas (Athlas) appears as a metaphor for the gods. 22 In Petrarch's and Salutati's readings of the myth, Hercules is depicted as being taught celestial mechanics, astronomical navigation, and almanac by Atlas. An early 15th-century fresco on the south wall of the Hall of Ercole in the Palazzo del Paradiso in Ferrara depicts a gentle young Hercules carrying the sky and a sextant. The legend of Hercules teaching astronomical calculations also permeates vernacular literature. It echoes Bertrand Boisset's Illustrated Surveys, written in Provençal in 1406. In this text, Hercules is presented as "tall, wise, accepting every challenge, skilled in weapons, daring, versed in movement and all materials" and as the inventor of the measure of leagues, a remarkable feat that required a combined understanding of mathematics, geometry, astrology, and surveying. 48 23 The lineage of the transmission of celestial knowledge from Atlas to humans through the teachings of Hercules and Mercury/Hermes Trismegistus was uneven. Atlas’ teaching of Hercules generated a rich text and iconography, especially in the field of astronomy, of which Hercules was its symbolic patron. 49 In contrast, Atlas’ teaching of Mercury, mentioned by Augustine and defended by Servius, left no obvious mark on Renaissance culture. In any case, Atlas’s knowledge of celestial mechanics and the theory of time, and his role as guardian of the forbidden garden where the golden apples of the Hesperides grew, gave him divine characteristics. This is how Petrarch’s close friend Pierre Bersiller saw him. In Ovidius moralisatus, a Christianized version of the Metamorphoses, completed by 1340, Atlas (Athlas) appears as a metaphor for the gods. 22 In Petrarch's and Salutati's readings of the myth, Hercules is depicted as being taught celestial mechanics, astronomical navigation, and almanac by Atlas. An early 15th-century fresco on the south wall of the Hall of Ercole in the Paradiso Palace in Ferrara depicts a gentle young Hercules carrying the sky and a sextant. The legend of Hercules teaching astronomical calculations also permeates vernacular literature. It echoes Bertrand Boisset's Illustrated Surveys, written in Provençal in 1406. In this text, Hercules is presented as "tall, wise, accepting every challenge, skilled in weapons, daring, versed in movement and in all materials" and as the inventor of the measure of leagues, a remarkable feat that required a combined understanding of mathematics, geometry, astrology, and surveying. 48 23 The lineage of the transmission of celestial knowledge from Atlas to humans through the teachings of Hercules and Mercury/Hermes Trismegistus was uneven. Atlas’ teaching of Hercules generated a rich text and iconography, especially in the field of astronomy, of which Hercules was its symbolic patron. 49 In contrast, Atlas’ teaching of Mercury, mentioned by Augustine and defended by Servius, left no obvious mark on Renaissance culture. In any case, Atlas’s knowledge of celestial mechanics and the theory of time, and his role as guardian of the forbidden garden where the golden apples of the Hesperides grew, gave him divine characteristics. This is how Petrarch’s close friend Pierre Bersiller saw him. In Ovidius moralisatus, a Christianized version of the Metamorphoses, completed by 1340, Atlas (Athlas) appears as a metaphor for the gods.

In the 24 Ovid's Metamolfose, Atlas is related to the legend of Perseus and is associated with Hercules. After defeating Gorgon Medusa, Perseus asked Atlas for a welcome and told him that he was Zeus's son. There was a prediction that Zeus's son (Hercules) steals Hesperides's golden apple. The angry Perseus showed the head of Medusa and turned Atlas into a huge mountain that reached the starry sky. Marianne Shapiro emphasized that in his skillful analysis, Belsille emphasized Atlas to the Christian god because he had something in common, such as royal power, esoteric wisdom, and tolerance. Atlas's divine image has been repeatedly referred to in the French unknown poem, Ovide Moralisé, which was composed at the same time. Atlas becomes "our father, the god of our father," and controls the sky and supports the creation of heaven and earth: Atlas is the "our father," who holds the sky and supports the creation of heaven and earth.

The 25 Owydius Atlas legends have many traces, both literfully and in terms of image. In the late 14th century, the illustrations of OVIDIUS MORALISATUS, which were produced in Bologna, have two images of Atlas. The first image depicts a scene where Perseus turned Atlas into a mountain supporting the sky, and another image shows that Atlas is a divine figure supporting the starry sky. Atlas petrification is also the theme of African fables (1490) in the Geographical Geography in Ptolemaos, currently in the France National Library. Atlas expresses the universe in the form of an Ishido r-like space spacecraft connected in the yellow road. 24 Ovid's Metamolfose is associated with the legend of Perseus and is associated with Hercules. After defeating Gorgon Medusa, Perseus asked Atlas for a welcome and told him that he was Zeus's son. There was a prediction that Zeus's son (Hercules) steals Hesperides's golden apple. The angry Perseus showed the head of Medusa and turned Atlas into a huge mountain that reached the starry sky. Marianne Shapiro emphasized that in his skillful analysis, Belsille emphasized Atlas to the Christian god because he had something in common, such as royal power, esoteric wisdom, and tolerance. Atlas's divine image has been repeatedly referred to in the French unknown poem, Ovide Moralisé, which was composed at the same time. Atlas becomes "our father, the god of our father," and controls the sky and supports the creation of heaven and earth: Atlas is the "our father," who holds the sky and supports the creation of heaven and earth.

The 25 Owydius Atlas legends have many traces, both literfully and in terms of image. In the late 14th century, the illustrations of OVIDIUS MORALISATUS, which were produced in Bologna, have two images of Atlas. The first image depicts a scene where Perseus turned Atlas into a mountain supporting the sky, and another image shows that Atlas is a divine figure supporting the starry sky. Atlas petrification is also the theme of African fables (1490) in the Geographical Geography in Ptolemaos, currently in the France National Library. Atlas represents the universe in the form of a ocido r-like spacecraft connected in the yellow road. In the 24 Ovid "Metamolfose", Atlas is related to the legend of Perseus, implicit as Hercules. It is related to our house. After defeating Gorgon Medusa, Perseus asked Atlas for a welcome and told him that he was Zeus's son. There was a prediction that Zeus's son (Hercules) steals Hesperides's golden apple. The angry Perseus showed the head of Medusa and turned Atlas into a huge mountain that reached the starry sky. Marianne Shapiro emphasized that in his skillful analysis, Belsille emphasized Atlas to the Christian god because he had something in common, such as royal power, esoteric wisdom, and tolerance. Atlas's divine image has been repeatedly referred to in the French unknown poem, Ovide Moralisé, which was composed at the same time. Atlas becomes "our father, the god of our father," and controls the sky and supports the creation of heaven and earth: Atlas is the "our father," who holds the sky and supports the creation of heaven and earth.

However, it must be noted that Vanacular or academic, or in literary creation, the status of Atlas, a secret recipient and secretary, was two synonyms. In the 12th century, he appeared as a pagan magician Atlante in the 12th century, and at the end of the 15th century he was converted into Christianity by Boward and became an adviser of the Emperor Karl to compete with the Sarasen. In Ariost's "Orlando Friosso" (1516), it appears as a sophisticated magician with Ruggero trapped in a fantasy palace. Atlas again becomes the father of the father, and his apprentice, Hercules, must be the god of the child, must wait for Ronthal's "hymn" in the mi d-16th century: "Hercules, his disciples Hercules, and his son. Atlas is the father of the father again, his apprentice, Hercules, and his son, Atlas, again become the father of the father, and his disciples, Hercules, and his son, Atlas, again. "56.

27 Atlas has increased its importance in the 15th century, with growing trust in universal mathematical consistency. The universal mathematics system (astronomical, astrology, geography, and harmony) of Ptolemaos has been integrated into an established Aristotl e-like view, and it is a Christian new platonism, Neopita Goraism, Neo. The long way of thinking of a mathematically adjusted world machine, opened in stor e-based thought 57 has been strengthened. Astronomical coordinates of astronomy and the geographical coordinates of the natural sphere are part of their unique patterns, which is an expression of a comprehensive astrology grounds that control spheres, planets, elements, and humans. In this scheme, the mathematical concept of the map reflects the mathematical concept of the universe, and the conceptual, natural and representative spaces are fused. 26 However, it should be noted that the status of Atlas, a secret recipient and a secret guard, was both synonymous with Vanacular or academic. It doesn't. In the 12th century, he appeared as a pagan magician Atlante in the 12th century, and at the end of the 15th century he was converted into Christianity by Boward and became an adviser of the Emperor Karl to compete with the Sarasen. In Ariost's "Orlando Friosso" (1516), it appears as a sophisticated magician with Ruggero trapped in a fantasy palace. Atlas again becomes the father of the father, and his apprentice, Hercules, must be the god of the child, must wait for Ronthal's "hymn" in the mi d-16th century: "Hercules, his disciples Hercules, and his son. Atlas is the father of the father again, his apprentice, Hercules, and his son, Atlas, again become the father of the father, and his disciples, Hercules, and his son, Atlas, again. "56.

27 Atlas has increased its importance in the 15th century, with growing trust in universal mathematical consistency. The universal mathematics system (astronomical, astrology, geography, and harmony) of Ptolemaos has been integrated into an established Aristotl e-like view, and it is a Christian new platonism, Neopita Goraism, Neo. The long way of thinking of a mathematically adjusted world machine, opened in stor e-based thought 57 has been strengthened. Astronomical coordinates of astronomy and the geographical coordinates of the natural sphere are part of their unique patterns, which is an expression of a comprehensive astrology grounds that control spheres, planets, elements, and humans. In this scheme, the mathematical concept of the map reflects the mathematical concept of the universe, and the conceptual, natural and representative spaces are fused. However, it must be noted that Vanacular or academic, or in literary creation, the status of Atlas, a secret recipient and secretary, was two synonyms. In the 12th century, he appeared as a pagan magician Atlante in the 12th century, and at the end of the 15th century he was converted into Christianity by Boward and became an adviser of the Emperor Karl to compete with the Sarasen. In Ariost's "Orlando Friosso" (1516), it appears as a sophisticated magician with Ruggero trapped in a fantasy palace. Atlas again becomes the father of the father, and his apprentice, Hercules, must be the god of the child, must wait for Ronthal's "hymn" in the mi d-16th century: "Hercules, his disciples Hercules, and his son. Atlas is the father of the father again, his apprentice, Hercules, and his son, Atlas, again become the father of the father, and his disciples, Hercules, and his son, Atlas, again. "56.

27 Atlas has increased its importance in the 15th century, with growing trust in universal mathematical consistency. The universal mathematics system (astronomical, astrology, geography, and harmony) of Ptolemaos has been integrated into an established Aristotl e-like view, and it is a Christian new platonism, Neopita Goraism, Neo. The long way of thinking of a mathematically adjusted world machine, opened in stor e-based thought 57 has been strengthened. Astronomical coordinates of astronomy and the geographical coordinates of the natural sphere are part of their unique patterns, which is an expression of a comprehensive astrology grounds that control spheres, planets, elements, and humans. In this scheme, the mathematical concept of the map reflects the mathematical concept of the universe, and the conceptual, natural and representative spaces are fused.

28 The theoretical texture that defends Atlas as a cosmic device does not exist, indicating that Atlas was accepted as such a image, and literary scales in the latter half of the 15th century. In contrast to many testimonies left. Interesting is the impressive tapestry of 1490 to 1500 to 1500 to 1500 to 1500 to 1500 (Figure 4) 58 (Figure 4) 58. In the center of this tapestry depicts a constellation and a natural spherica l-shaped world machine depicting the guardian. Atlas ("Aslas") is spinning the universe, helping by two people who help in the crank. The first is an angel from the gods who control the power of the Potentia Primi Motoris, and the second is anthropomorphic moving agility (Agilitas Mobilis). On the right side of the celestial sphere is philosophy, and at his feet, geometric and mathematics are sitting. On the left is astrology, and on the right are two men, Abrakis and Virgil.

Conclusion

Figure 4-Atlas that turns the machine of the world. Brussels or Tornay tapestry, 1490-1500. Toledo Tapis Textile Museum.

29 (39 inscriptions 59 explaining the configuration 59. The first thing (upper left) is written as follows: "The stars decorate the sky and rotate under the north wind and the south wind. They have various effects. Compatible with people and various constellations and planets, and the Yellow Obi controls the movement = "true". "In the middle inscription:" The poet says that when the angels act under the power of the motor, the world will harmonize with their own agility, and the sky will rotate while controlling the movement. "The last one (upper right) is:" Abrakisu understands the facts of astrology that poet Virgil speaks through philosophy and science. Some people have this knowledge through geometry and mathematics, and the number has continued to increase. 28 The theoretical text of Atlas as a cosmic device indicates that Atlas was accepted as such. In contrast to many images and literary testimonies, it is an impressive tapestry of 1490 to 1500, which was decorated with Toledo's cathedral before 1503. 4) The center of this tapestry is a world machine with a constellation and a guardian. While turning the universe. The first is an angel from the gods who control the power of the Potentia Primi Motoris, and the second is anthropomorphic moving agility (Agilitas Mobilis). On the right side of the celestial sphere is philosophy, and at his feet, geometric and mathematics are sitting. On the left is astrology, and on the right are two men, Abrakis and Virgil.

Bibliography

Primary sources

Figure 4-Atlas that turns the machine of the world. Brussels or Tornay tapestry, 1490-1500. Toledo Tapis Textile Museum.

29 (39 inscriptions 59 explaining the configuration 59. The first thing (upper left) is written as follows: "The stars decorate the sky and rotate under the north wind and the south wind. They have various effects. Compatible with people and various constellations and planets, and the Yellow Obi controls the movement = "true". "In the middle inscription:" The poet says that when the angels act under the power of the motor, the world will harmonize with their own agility, and the sky will rotate while controlling the movement. "The last one (upper right) is:" Abrakisu understands the facts of astrology that poet Virgil speaks through philosophy and science. Some people have this knowledge through geometry and mathematics, and the number has continued to increase. There is no theoretical text that defends Atlas as a cosmic device, indicating that Atlas was accepted as such. In contrast to many of the testimonies remaining is the 1490-1500 impressive tapestry that decorated Toledo's cathedral before 1503 (Fig. 4) 58. However, in the center of this tapestry, the world machine (Aslas) is a cran k-shaped world machine depicting the guardian. I'm turning the universe. The first is an angel from the gods who control the power of the Potentia Primi Motoris, and the second is anthropomorphic moving agility (Agilitas Mobilis). A philosophy is sitting on the right side of the celestial sphere, and geometric and mathematics are sitting at their feet. On the left is astrology, and on the right are two men, Abrakis and Virgil.

Figure 4-Atlas that turns the machine of the world. Brussels or Tornay tapestry, 1490-1500. Toledo Tapis Textile Museum.

Some scholars believe that Abrakis is Abraham, the inventor of the star science, according to Josephus 60. However, Abrakis is probably the astronomer Hippalcos. This is 61 or Georg Palebach and Johannes, or Geork Palebach and Johannes, or geork Palebach and Johannes, or geork Palebach and Johannes, based on the Latin translation of "Ptolemaos Armagest" (Arabic Version) by Cremona's Gerard. It seems to be derived from reading the Epitome of Ptolemy's Almagest, which was created in 1462 by Legio Montanus in 1494 and printed in Venice for the first time in Venice. In Chapter 7 of Epitom, Legio Montanus reconstructed Hippalkos's astronomical theory based on the information collected from Almagest, spelled his name as "ABACHIS", and emphasized that it would be ahead of Ptolemaos. 62. It is interesting that the astronomy patron is not a Ptolemaos but a hippalcos / Abrakis, but the overwhelming spread of Ptolemaos mathematics books is increasing. It may be diagonally above.

31 However, given the fact that poets intuitively understood the work of the world's machinery, the existence of Virgil, which is specified in both the middle and right sentences, is clearer. In fact, the great poets of the Augustus era praised Atlas as a cosmic. Virgil describes Atlas as a person who rotates the axis of the starry sky. Ovid also uses the same metaphor and expresses that Atlas is carrying the axis of the world on the shoulder: Atlas En IPSE LABORORAT UIXQUE SUIS UMERIS CANDENTEM SUSTINET AXEM 64. Atlas and universal axis It is derived from the semantic conversion of mythical interpretation of mythology by the pythagoras, the new platon, and the store. Virgil also mentions Atlas's cosmic teachings. In the first volume of Dide's feast in Aene Equis, Atlas's apprentice and Bard poet Ipass sings about the movement of the universe and the impact of it on the earth: 30 scholars, Abrakis is Abrakis. According to Josephus 60, he thinks it is Abraham, the inventor of the star science. However, Abrakis is probably the astronomer Hippalcos. This is 61 or Georg Palebach and Johannes, or Geork Palebach and Johannes, or geork Palebach and Johannes, or geork Palebach and Johannes, based on the Latin translation of "Ptolemaos Armagest" (Arabic Version) by Cremona's Gerard. It seems to be derived from reading the Epitome of Ptolemy's Almagest, which was created in 1462 by Legio Montanus in 1494 and printed in Venice for the first time in Venice. In Chapter 7 of Epitom, Legio Montanus reconstructed Hippalkos's astronomical theory based on the information collected from Almagest, spelled his name as "ABACHIS", and emphasized that it would be ahead of Ptolemaos. 62. It is interesting that the astronomy patron is not a Ptolemaos but a hippalcos / Abrakis, but the overwhelming spread of Ptolemaos mathematics books is increasing. It may be diagonally above.

31 However, given the fact that poets intuitively understood the work of the world's machinery, the existence of Virgil, which is specified in both the middle and right sentences, is clearer. In fact, the great poets of the Augustus era praised Atlas as a cosmic. Virgil describes Atlas as a person who rotates the axis of the starry sky. Ovid also uses the same metaphor and expresses that Atlas is carrying the axis of the world on the shoulder: Atlas En IPSE LABORORAT UIXQUE SUIS UMERIS CANDENTEM SUSTINET AXEM 64. Atlas and universal axis It is derived from the semantic conversion of mythical interpretation of mythology by the pythagoras, the new platon, and the store. Virgil also mentions Atlas's cosmic teachings. In the first volume of Dido's feast in Aene Equis, Atlas's apprentice and bard Iopus sings about the movement of the universe and the impact of it on the earth: 30 Abrakis is Josephus 60. Thus, I think it is Abraham, the inventor of the star science. However, Abrakis is probably the astronomer Hippalcos. This is 61 or Georg Palebach and Johannes, or Geork Palebach and Johannes, or geork Palebach and Johannes, or geork Palebach and Johannes, based on the Latin translation of "Ptolemaos Armagest" (Arabic Version) by Cremona's Gerard. It seems to be derived from reading the Epitome of Ptolemy's Almagest, which was created in 1462 by Legio Montanus in 1494 and printed in Venice for the first time in Venice. In Chapter 7 of Epitom, Legio Montanus reconstructed Hippalkos's astronomical theory based on the information collected from Almagest, spelled his name as "ABACHIS", and emphasized that it would be ahead of Ptolemaos. 62. It is interesting that the astronomy patron is not a Ptolemaos but a hippalcos / Abrakis, but the overwhelming spread of Ptolemaos mathematics books is increasing. It may be diagonally above.

The lon g-haired Iopus taught by the great Atlas makes the hall sound and sounds with a golden lyre. Wandering moon and sun's hardships, people and beasts, the origin of rain, the origin of the fire, Arcturus, the Hyades of the rain, the twin bears, the reason why the winter sun is rushing to the ocean, the reason for delaying the night passing slowly 66 sing.

32 The name of the painter depicting the tapestry Carton has been lost, but he must have been familiar with humanistic astrology cosmics. He is a symbolic person of the universal movement of Higinus from the illustration of the image of Higinus's "de Astronomica" 67, and the iconic person of the universal movement of Atlas, an Aristotl e-like driving force, that is, universal. It was drawn along with the primitive cause of harmony. This was not appropriate for the decoration of the cathedral or an exceptional subject. Aristotl e-like concepts were integrated into Christian cosmics by Thomas Aquinas (as unable to move) 68, at the same time (1508), and Raphael is the same subject for the Vatican Stanza Della Seg Natura. It is drawn (Fig. 5). Rafaelo's fresco had a more direct astrology meaning because the stars were drawn in the same position as Julius II was elected to the Pope.

Figure 5-Raphael Santi << Motor >> Fresco, 1508. Vatican, Palazi Pontifich, Stanza Della Segnatura, ceiling painting.

33 The Virgilian perception of the Atlas as a universal axis also inspired a drawing by Francesco di Giorgio Martini (fig. 6), painted between 1472 and 1475, or between 1490 and 1500. 69 The painting depicts a giant youth standing between heaven and earth, depicted as a geometrically conceived disk, the heavens divided into a section of astrological lists and the earth into a section of astrological geography. 70 The drawing is untitled, and the context in which Francesco produced this enigmatic work remains unclear. Perhaps it was painted as a personal decoration for the reverse of a medal or an architectural decoration, or perhaps it was painted at the behest of a patron or client who was proud of his cosmological insight and astrological abilities. Arthur McCombe considered the work an "Allegory of Fortune," but Saxl corrected it to "Atlas."71 But this is no ordinary Atlas. The handsome young man's posture suggests that he is moving both heaven and earth, and his features are more reminiscent of a powerful Titan king of legend than of the dynamic force of perfect beauty and self-reflection depicted in Aristotle's Metaphysics. 72

Fig. 6 - Francesco di Giorgio Martini, Atlas, 1472-1475 or 1490-1500, Herzog Anton Ulrich Museum, Brunswick, Kupferstichkabinett, Z 292. The Virgilian perception of the Atlas as a universal axis also inspired a drawing by Francesco di Giorgio Martini (fig. 6), painted between 1472 and 1475, or between 1490 and 1500. 69 The painting depicts a giant youth standing between heaven and earth, depicted as a geometrically conceived disk, the heavens divided into a section of astrological lists, and the earth into a section of astrological geography. 70 The drawing is untitled, and the context in which Francesco created this enigmatic work remains unclear. Perhaps it was painted as a personal decoration for the reverse of a medal or an architectural decoration, or perhaps it was painted at the behest of a patron or client who was proud of his cosmological insight and astrological abilities. Arthur McCombe considered the work an "Allegory of Fortune," but Saxl corrected it to "Atlas."71 But this is no ordinary Atlas: the handsome young man's posture suggests he is moving both heaven and earth, and his features are more reminiscent of the powerful Titan king of legend than the powerhouse of perfect beauty and self-reflection depicted in Aristotle's Metaphysics. 72 Fig. 6 - Francesco di Giorgio Martini, Atlas, 1472-1475 or 1490-1500, Brunswick, Museum Herzog Anton Ulrich, Kupferstichkabinett, Z 292. 33 The Virgilian perception of Atlas as a universal axis was also the inspiration for a drawing by Francesco di Giorgio Martini, painted between 1472 and 1475 or between 1490 and 1500 (Fig. 6). 69 The painting depicts a gigantic young man standing between heaven and earth, depicted as a geometrically conceived disk, the latter divided into a section of astrological registers and the latter into a section of astrological geography. 70 The drawing is untitled, and the context of Francesco’s enigmatic work remains unclear. Perhaps it was painted as a personal decoration for the reverse of a medal or for an architectural decoration, but perhaps it was done at the behest of a patron or client who was proud of his cosmological insight and astrological abilities. Arthur McCombe considered it an "Allegory of Fortune," but Saxl corrected it to "Atlas." 71 But this is no ordinary Atlas. The posture of the handsome young man suggests that he is moving both heaven and earth, and his features are more reminiscent of the powerful Titan king of legend than of the driving force of perfect beauty and self-reflection depicted in Aristotle's Metaphysics. 72

Fig. 6 - Francesco di Giorgio Martini, "Atlas," 1472-1475 or 1490-1500, Herzog Anton Ulrich Museum, Brunswick, Kupferstichkabinett, Z 292.

Atlas's important image as an agent of the universe was brought from the territory of Germany and university education. It is a famous illustration drawn in Gregor Resh's Margarita Philosophica, published by Johannes Shot in Freiburg in 1503 (Figure 7). Riche boasted overwhelming authority. He is one of the most prominent scholars in this era, has a huge number of correspondents networks, and represents the 16th century, including Martin Vartze Muller, Johan Euk, and Sebastian Munung's. There were space scholars and theorists. His "Margarita Philosophy" was a great success. In 1504, 1508, and 1512, it was reprinted in Basel since 1517 and became the bestseller until the end of the 16th century. The Lissi illustration encyclopedia covers the entire field of education and had a great influence on the development of cosmology in the 16th century. Chapter 7 is entitled "The Theorem on the Place of the World Machinery" (THEOREOREREMATA TOTIUS MACHINEM DISPOSITION), covering astronomy and astrology with 46 leaves, geography is the latter. Included in.

Figure 7-Gregor Rich, Atlas, Margarita Philosophy, Freiburg, 1503, M II V °, Washington, Library of Congress, AE3. R34 (© Library of Congress).

35 Atlas ("Athlas") is 73 at the beginning of this chapter, one of the astronomical inventors. In addition, Richt is "Poet" and [Virgill], "Atlas is a giant giant who supports the sky, puts his head on the other, his legs on the other pole, and his left hand east, west. "" 74. Rish has literally accepted Virgil's poems, but at the attached illustration, Atlas does not carry the universe on his shoulder. His huge figure poses in front of the Ishidor diagram, which displays the sphere of the universe, mainly on the earth (hidden by him). His body is located on the vertical axis between the two poles, where the spheres of the ground motion theory are evolved, and his arms are open to the eas t-west axis in the center. Atlas represents the basic standards of the universal coordinate system, the primary universal longitude and latitude. Atlas is a scale of the universe.

36 In terms of painting, this result implies a cros s-assigned Christ, but it also depicts an astrology relationship between the universe and the human body. It is reminiscent of the initial illustration as included in the 76 illustrations.

37 Atlas's metaphor as a universal harmony agent or tool was accepted without any doubt. The ancient myths, the poetic agreement of Owed, Virgil, and Boethius, or the historic and eugygstinus interpretation of Prinnius, Vuittorvius, and Augustine, were rewarding and quoted. In fact, the sarcastic that Platon had an anthropomorphic as the cohesion of the universe, was repeatedly criticized by the fact that Aristotle transformed atlas to "diameter that turns the heavens to both poles" 79. It has not been found in all documents that Atlas has denied "Old Story" 80, which discovered "the necessity of moving", that is, the "old story" 80, which discovered the wonderful power of moving from the earth and continuing to move the universe. Polydor Verzill's presentation history published in Venice in 1499 clearly shows that the Atlas legends were unwaveringly accepted in the field of history. Atlas is one of the first philosopher, one of the inventors of voyage, and the inventor of astrology. Similarly, Velgill links Titan to (implicitly) music and harmony: "It is said that Mercury found the harp first, but it was seven strings similar to the seven daughters of Atlas. Mercury's mother Mia was one of them. 36 Picture, this result implies a cross, but 75, and the 13t h-century Bingen Hildegalt, which depicts an astrology relationship between the universe and the human body. It is reminiscent of the initial illustration, as included in the illustration of "Shinto" 76.

37 Atlas's metaphor as a universal harmony agent or tool was accepted without any doubt. The ancient myths, the poetic agreement of Owed, Virgil, and Boethius, or the historic and eugygstinus interpretation of Prinnius, Vuittorvius, and Augustine, were rewarding and quoted. In fact, the sarcastic that Platon had an anthropomorphic as the cohesion of the universe, was repeatedly criticized by the fact that Aristotle transformed atlas to "diameter that turns the heavens to both poles" 79. It has not been found in all documents that Atlas has denied "Old Story" 80, which discovered "the necessity of moving", that is, the "old story" 80, which discovered the wonderful power of moving from the earth and continuing to move the universe. Polydor Verzill's presentation history published in Venice in 1499 clearly shows that the Atlas legends were unwaveringly accepted in the field of history. Atlas is one of the first philosopher, one of the inventors of voyage, and the inventor of astrology. Similarly, Velgill links Titan to (implicitly) music and harmony: "It is said that Mercury found the harp first, but it was seven strings similar to the seven daughters of Atlas. Mercury's mother Mia was one of them. 36 In terms of painting, this result implies a cros s-assigned Christ, but it also depicts an astrology relationship between the universe and the human body. It is reminiscent of the initial illustration as included in the 76 illustrations.

38 The permanent of this metaphor indicates that Atlas was accepted as a cultural symbol, that is, as a common universal device. Under these circumstances, the Atlas statue of Rishi was easily adopted in space 図図. In fact, Atlas's image is the German mathematician, polymerized, and astrologer Johannes Shainer published in 1533, and the British astrology published in 1559, published in 1559. It will also be used in subsequent space picture books, such as the Cosmographical Glasse (Fig. 9) 83 by the teacher William Kuningham. In these images, Atlas is no longer the organization of the universe. Atlas is drawn as a kneeling king and supports the globe of Earth, mainly the univers e-shaped ptolemaos. Shaner's illustration has no captions, and the Cuningham illustration is written only "CœLifer ATLAS": "I sing about the wandering moon and the sun's efforts, Alcturus, rainy H i-Des, twin bear 84."

Figure 8-Iodas Shonner "Atlas". Opusculum Geographicum, Nuremberg, Johann Peterjus, 1533, F. Br °.

Figure 9-WILLIAM CUNNINGHAM, "CæLifer Atlas", In The Cosmographical Glasse, London, John Day, 1559, P. 50, Washington, Library of Congress, GA6. C97 IBRARY OF CONGRESS).

There is no description of Titan in the related text of 39 manuals. Neither illustration is directly meaningful, but is depicted as a symbol of the universe. Cuningham uses this illustration to advertise the organic structured image of the universe.

And now, look at the type of the world. Among them, the areas of the heavens with spheres and ring as described earlier in this discussion, and the areas of elements, including fire, sea, water, and soil, are the reason, practice, and the most approved author. It matches both the authority, and is depicted in a matching order and form.

40 Atlas is a space magazine scholar and shows a reasonable composition of the universe. Atlas portraits are replaced by Putolemais, Sakurobosco, or Legio Montanus portraits, and are drawn to the reader, raising the Armillary SpHERE, which is an expression of Ptolemai c-like world machinery.

41 Curifer Atlas carried space around the earth, but at the same time standing on the earth. Aristotle has already been uncomfortable with the story that Atlas is "stepping on the earth" and as if "the earth is not part of the universe". In the gentle flow between astronomy and geography through the crisis of the land motion theory, the spheres surrounding the earth are omitted, and Atlas's image is gradually simplified. In the latter half of the 16th century, an atlas statue that only carries the globe appears. In 1584, Daniel Engelhard drew a Terefortras for Orterius's "Album Amicorum" 87, and also depicts Terfar Athras on the unplusible title page of Italian composite ground map (Fig. 10). 。 Such a modification has led to worse, even if it is not completely lost the essential meaning of ATLAS. Atlas has become a meaningless decorative theme. Nevertheless, this last transformation also depended on the symbolic material brought by the ancient legends and Augustus poetry: Atlas's transformation is a hig h-mounted mountain that Ovid has reached the star. , Atlas's shoulder height, the ground, the sharp bird' s-eye view of the ground:

Go along the starry sky, leave the ground and its dull areas on the clouds, stand on the shoulder of Atlas, loses reason, and suffers from anxiety and fear of the afterlife. It is a pleasure to see the humans who can not wander.

Figure 1 0-Terfar Atlas, the top of the title page of "Geographia". Tavole Moderne Di Geograph ..., Rome, Pietro de Nobili [1592]. Washington, Library of Congress, G1015. L25, 1575 (© Library of Congress). 41 Curifer Atlas carried space around the earth, but at the same time stood on the earth. Aristotle has already been uncomfortable with the story that Atlas is "stepping on the earth" and as if "the earth is not part of the universe". In the gentle flow between astronomy and geography through the crisis of the land motion theory, the spheres surrounding the earth are omitted, and Atlas's image is gradually simplified. In the latter half of the 16th century, an atlas statue that only carries the globe appears. In 1584, Daniel Engelhard drew a Terefortras for Orterius's "Album Amicorum" 87, and also depicts Terfar Athras on the unplusible title page of Italian composite ground map (Fig. 10). 。 Such a modification has led to worse, even if it is not completely lost the essential meaning of ATLAS. Atlas has become a meaningless decorative theme. Nevertheless, this last transformation also depended on the symbolic material brought by the ancient legends and Augustus poetry: Atlas's transformation is a hig h-mounted mountain that Ovid has reached the star. , Atlas's shoulder height, the ground, the sharp bird' s-eye view of the ground:

Figure 1 0-Terfar Atlas, the top of the title page of "Geographia". Tavole Moderne Di Geograph ..., Rome, Pietro de Nobili [1592]. Washington, Library of Congress, G1015. L25, 1575 (© Library of Congress). 41 Curifer Atlas carried space around the earth, but at the same time standing on the earth. Aristotle has already been uncomfortable with the story that Atlas is "stepping on the earth" and as if "the earth is not part of the universe". In the gentle flow between astronomy and geography through the crisis of the land motion theory, the spheres surrounding the earth are omitted, and Atlas's image is gradually simplified. In the latter half of the 16th century, an atlas statue that only carries the globe appears. In 1584, Daniel Engelhard drew a Terefortras for Orterius's "Album Amicorum" 87, and also depicts Terfar Athras on the unplusible title page of Italian composite ground map (Fig. 10). 。 Such a modification has led to worse, even if it is not completely lost the essential meaning of ATLAS. Atlas has become a meaningless decorative theme. Nevertheless, this last transformation also depended on the symbolic material brought by the ancient legends and Augustus poetry: Atlas's transformation is a hig h-mounted mountain that Ovid has reached the star. , Atlas's shoulder height, the ground, the sharp bird' s-eye view of the ground:

42 By naming his book after the mythical Titan, Mercator created a word with enduring meaning. By the late 16th century, Atlas’s cosmic metaphor was already fading. In the slow decline of classical cosmology, heliocentrism and astrology were called into question, and Atlas lost his iconic status as explorer, cause, and instrument of universal order. 90 But the symbol proved resilient, and was used by proponents of new cosmologies. 91 Indeed, the legend of Atlas was deeply rooted in late Renaissance culture. The sophisticated public became acquainted with Atlas through the reading of Virgil, Ovid, Boethius, Ariosto, and Ronsard, while the specialized scholars, Pliny, Vitruvius, Augustine, Servius, Petrarch, Versil, Salutati, and the Greek heritage of humanism, Eusebius and Diodorus, were quite fashionable among the learned. 42 Mercator, who named his book after the mythical Titan, created a word with lasting meaning. By the second half of the 16th century, the cosmic metaphor of Atlas was already fading. In the slow decline of classical cosmology, heliocentrism and astrology were called into question, and Atlas lost its symbolic status as an explorer, a cause, and an instrument of universal order. 90 But the symbol proved resilient and was used by advocates of new cosmologies. 91 In fact, the legend of Atlas was deeply rooted in late Renaissance culture. The sophisticated public knew him through the reading of Virgil, Ovid, Boethius, Ariosto, and Ronsard, and the specialized scholars, Pliny, Vitruvius, Augustine, Servius, Petrarch, Versil, Salutati, and the Greek heritage of humanism, Eusebius and Diodorus, were quite prevalent among the learned. 42 Mercator, who gave his book its title after the mythical Titan, created a word of lasting meaning. By the second half of the 16th century, Atlas's cosmic metaphor was already fading. In the slow decline of classical cosmology, heliocentrism and astrology were called into question, and Atlas lost his symbolic status as explorer, cause, and instrument of universal order. 90 But the symbol proved resilient, and was used by those proposing new cosmologies. 91 In fact, the legend of Atlas was deeply rooted in late Renaissance culture: the sophisticated public became acquainted with him through their reading of Virgil, Ovid, Boethius, Ariosto, and Ronsard, and specialized scholars, such as Pliny, Vitruvius, Augustine, Servius, Petrarch, Versil, Salutati, and the Greek heritage of humanism, Eusebius and Diodorus, all of whom were highly fashionable among learned men.

From the early 12th century to the late 16th century, and since then, the image of Atlas has a lot of weight. Atlas was linked to the astrology insight of world machine, drain, and universal axis, and functioned as a universal knowledge, cosmic order, and a god's providence. As a result, he appeared in astrology, religion, and occult art, and a collection of emblems and a relevant sentence 92. 93, which has been decorated with facade, Portico, art, and even daily necessities such as ink vase and paperweight. Astronomers also focused on the legend that Atlas taught Hercules the science of spheres, and decorated many astronomical publications and title pages with an Atlas statue until the 17th century. In commercial map production, Atlas's corrupt image as a carrier carrier was maintained, which became a trademark of multiple volumes of the 17th and 18th century. Atlas no longer implies the universal mathematical order. James Ahaman finds the allegory of the order itself in Atlas. This is because Atlas contains an analytical image in order to the world and its region. He also sees Atlas a methodological and analytical image of the world and its region.

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Little 1992 = D. A. Little, The Song of Iopas - Aeneid I. 740-46, in Prudentia, 24, 1992, p. 16-36.

Luckhardt - Döring 2017 = J. Luckhardt and Th. Döring (EDS), Herzog Anton Ulric h-Museum Kunstmuseum. Landes Niedersachsen Meisterzeichnungen. AUS DEM BRAUNSCHWEIGER KUPFERSTichkabinett, Dresden, 2017.

Makuchowska 2014 = L. Makuchowska, Scientific Discourse in John gives’s eschatological poetry, Cambridge, 2014.

Mangani 1998 = G. Mangani, Abraham Ortelius and the Hermetic Meaning of the Cordiform Projection, in Imago Mundi, 50, 1998, p. 59-83.

Footnotes

Mangani 2005 = G. Mangani, The Atlante Come Raccolta del Sapere, in Atti della IX Conferenza Nazionale Asita, Milano, 2005, p. XVII-XXVI.

1991 年＝ J. M. Massing, The Movement of the Universe, in J. A. Levenson (Ed.), Circa 1492: Art in the Age of Exploration (Exhibition Catalog), National Gallery of Art, Washington, New Haven-London, 1991, p. 214-215.

McComb 1924 = A. McComb, The Life and Works of Francesco Di Giorgio, in Art Studies, 2, 1924, p. 1-32.

Merlan 1946 = P. Merlan, Aristotle's Unmoved Movers, In Traditio, 4, 1946, p. 1-30.

Milanesi 2015 = M. Milanesi, Intentio totius cosmographiae , in G. Holzer, V. Newby, P. Svatek and G. Zotti (eds), A World of Innovation： Cartography in the Time of Gerhard Mercator , Cambridge, 2015, p. 131-145.

Mittelstrass 1995 = J. Mittelstrass, Machina Mundi: zum astronomischen Weltbild der Renaissance , Basel-Frankfurt, 1995.

Mosley 2007 = A. Mosley, Bearing the Heavens： Tycho Brahe and the Astronomical Community of the Late 16teenth Century , Cambridge, 2007.

Ogden 2008 = D. Ogden, Perseus , London, 2008.

Ormeling 2015 = F. Ormeling, Ptolemy's Heritage, the Atlas as an Ordering Device. Lecture Addressed in the Official Ceremony for the Doctor Honoris Causa Award to Prof. Ferjan Ormeling (Utrecht) by the Aristotle University of Thessaloniki, Faculty of Engineering, School of Rural and Surveying Engineering, Thessaloniki 7 May 2015 , Thessaloniki, 2015.

Panofsky 1939 = E. Panofsky, Studies in Iconology: Humanistic Themes in the Art of the Renaissance , New York, 1939.

Popplow 2007 = M. Popplow, Setting the World Machine in Motion： The Meaning of 「Machina Mundi」 in the Middle Ages and the Early Modern Period , in M. Bucciantini, M. Camerota and S. Roux (eds), Mechanics and Cosmology in the Medieval and Early Modern Period , Florence, 2007, p. 45-70.

ラマチャンドラン 2015 = A. Ramachandran, The Worldmakers： Global Imagining in Early Modern Europe , Chicago-London, 2015.

Raphael 2010 = Raphael cartoons and tapestries for the Sistine chapel, edited by Mark Evans and Clare Browne with Arnold Nesselrath with contributions by Mark Haydu and Adalbert Roth, catalogue by Mark Evans and Anna Maria De Strobel , London, 2010.

Reed 2004 = A. Y. Reed, Abraham as Chaldean Scientist and Father of the Jews： Josephus, Ant. 1. 154-168, and the Greco-Roman Discourse about Astronomy/Astrology , Journal for the Study of Judaism in the Persian, Hellenistic, and Roman Period , 35-2, 2004, p. 119-158.

Remmert 2007 = V. R. Remmert, Visual Legitimisation of Astronomy in the Sixteenth and the Seventeenth Centuries： Atlas, Hercules, and Tycho's Nose , in Objects, texts and images in the history of science, Studies in History and Philosophy of Science, 38-2, 2007, p. 327-362.

Saxl 1933 = Fr. Saxl, Atlas, der Titan, im Dienst der astrologischen Erdkunde , in Imprimatur , 4, 1933, p. 44-53.

Schuler 1999 = S. Schuler, Vitruv im Mittelalter die Rezeption von De architectura von der Antike bis in die frühe Neuzeit, Cologne, 1999.

Settis 2005 = S. Settis, Archeologia delle machine , in M. Veneziani (ed.), Machina. XI colloquio internazionale, Roma 8-10 gennaio 2004 , Florence, 2005, p. 1-18.

Seznec 1981 = J. Seznec, The Survival of the Pagan Gods. The Mythological Tradition and its Place in Renaissance Humanism and Art , trans. B. F. Sessions, Princeton, N. J., 1981.

Shapiro 1983 = M. Shapiro, From Atlas to Atlante , in Comparative Literature , 35, 1983, p. 323-350.

Shirley 2009 = R. Shirley, Courtiers and Cannibals, Angels and Amazons： The Art of the Decorative Cartographic Title Page , Houten, 2009.

Simons 2008 = P. Simons, Hercules in Italian Renaissance Art： Masculine Labour and Homoerotic Libido , in Art History , 31-5, 2008, p. 632-664.

Snoep 1967 = D. P. Snoep, Van Atlas tot Last. Aspecten van betekenis van het Atlasmotief , in Simiolus： Netherlands Quarterly for the History of Art , 2-1, 1967, p. 6-22.

Soranzo 2011 = M. Soranzo, Giovanni Giovano Pontano (1429-1503) on Astrology and Poetic Authority , in ARIES , 11-1, 2011, p. 23-52.

Stafford 2012 = E. Stafford, Herakles , London, 2012.

Starn 1986 = R. Starn, Reinventing Heroes in Renaissance Italy , in The Journal of Interdisciplinary History , 17-1, 1986, p. 67-84.

Stimilli 2013 = D. Stimilli, Aby Warburg's Impresa , in Images Re-vues , Hors-series 4, retrieved on September 17, 2021, https://doi. org/10. 4000/imagesrevues. 2883

Thorndike 1949 = L. Thorndike, The Sphere of Sacrobosco and its Commentators , Chicago, 1949.

Tolias 2014-15 = G. Tolias, Penser les régions. Histoire brève d'une conception cosmographique , in Geographia Antiqua , 23-24, 2014-15, p. 139-150.

Tolias 2019 = G. Tolias, The World Under the Stars： Astrological Geography and the Bologna 1477 edition of Ptolemy's Cosmographia , in Imago Mundi , 71-2, 2019, p. 125-150.

van der Kroght 2009 = P. van der Kroght, Gerard Mercator and his Cosmography： How the Atlas became an atlas , in Archives Internationales d'histoire des Sciences , 59-13, 2009, p. 465-484.

Vandenbroeck 2016 = P. Vandenbroeck, The Motion of the Universe , in J. van der Stock (ed.), in Search of Utopia： Art and Science in the Era of Thomas More (exhibition catalogue), Amsterdam, 2016, p. 370-373.

Vernet 1975 = J. Vernet, Historia de la Ciencia Española , Madrid, 1975.

Wood 1987 = D. Wood, Pleasure in the Idea： The Atlas as Narrative Form , in Cartographica , 24-1, 1987, p. 24-45.

Woodware 1997 = D. Woodward and H. Howe, Roger Bacon on the Geigraphy and Cartogram, IN J. HACKETT (Ed.) ESSAYS, Leiden, 1997, p. 199-222.

YATES 1964 = F. YATES, GIORDANO BRUNO AND THE HERMETIC TRADITION, CHICAGO-LONDON, 1964.

1 Acquisition: Jean-MARC BESSE, who was happy to invite Atlas's history of history, Patrick Gautier Dalché, who fixes the early draft, Chet Van Duzer who kindly shared information Thanks to the 2017-18 seminar participants in Ephe, who provided an exciting conversation, and Damian Mac Con Uladh for elaborating my text.

2 For Atlas's image in ancient times, ATLAS 1986, Saxl 1933 and Lippincott 2013 and 2017 for the image of Atlas and the late Middle Ages and the early modern period, Snoep 1967 for the image of Atlas in the artistic art, and about Atlas in modern literature. See Shapiro 1983, Mosley 2007, P. 4-19 and Remmert 2007 for positioning Atlas in the 16th and 17th century astronomy. See Grafton, Most and Settis 2010, P. 102-103 for an overview of Atlas in the early modern era. See also the Warberg Research Institute's Eas y-based image database https://iconographic. warburg. sas. ac. uk.

3. See Daston and Galison 2007 for the use of Atlas in the modern visual encyclopedia. In the Merriam-Webster dictionary, it is defined as follows: 1. House of Titan's rebellion against the gods, so Zeus forced to support the heavens; Frequently illustrated, bookbinding, or textbooks including illustrations, useful tables, or sentences; 3b. Table, chart, or plat e-binded collection; A male image used like a carritid as a Pasta.

4 For a wide range of usage of this term, see Wood 1987; Basse 2003; DIDI-HUBERMAN 2011.

5 In the first English version of this work, the title is Atlas or Cosmographic Medital. Der Krogt For the concept of "space magazine meditation" for 2009 and akerman 1991, Lestringant and Basse 2009, P. 197-204, Mercattle's cosmetic recognition, Milanesi 2015, and the concept of "Fabrica Mundi". See RamachanDran, 2015, P. 28-33.

6 Mercattle's speech to Creve s-Belge's speech (Mercator/Ptolemy 1578, F. 1 R.

7 Mercator 1595, F . 2R ° (Intentio Totius Cosmographiae). David Sullivan translated "Mercattle 2000". Van der krogt 2009, p. 465, n. 1

8 Hacket 1997; Woodward 1997; Gautier Dalché, 2015 and 2009, P. 135-142. Glacken 1976, I, 282.

9 Mercattle 1569; Mercattle 1578.

See Gautier Dalché 2015 for 10 Mercattle Hexae melon.

11 Dioros 1935, 3. 60: "(Atlas) has completed the science of astrology and first published a sphere doctrine to humanity."

12 The description of the 12 Eusevios Atlas is widely expanded in the gospel Praeparatio Evangelica excerpted from Dioros. Especially Praeparatio II. 44, IX. 17, X. 6. Mercattle also mentions in the genealogy of Atlas to the phenician historian Sancnia Ton and its translators, Philo, the translator.

13 Mercator 1595, Fol.

14 Same as above. David Sullivan translated "Mercattle 2000".

15 Mercator 1595, Fol. A2R ° (Intentio Totius Cosmigraphiae).

16 Mercator 1595, Fol. A1V (Stemma Atlantis). See Yates 1964 for the Renaissance Hermes Trismegistos.

17 Diodorus 1935, III. 60. 4: "According to myth, Atlas also had seven daughters, called Atlantides after their father, but whose individual names were Maea, Electra, Taygete, Sterope, Merope, Halcyon, and the last of them, Seleno. These daughters, having slept with the most famous heroes and gods, became the first ancestors of a large part of the human race, and gave birth to people who, because of their great merit, became gods and heroes. After the death of Hyperion, the sons of Uranus divided the kingdom. Of these, Atlas possessed the coastal regions and became a great astronomer. Atlas had seven daughters, called Atlantides, who, having married the most elegant gods, became the ancestors of the most numerous races, and gave birth to people who, because of their merit, became gods and heroes."

18 On the relationship between early modern regional maps and the establishment of political geography, see Akerman 1995a, Branch See 2011 and 2014.

19 Mercator 1595, f. XXX r: "My spirit of praising Roman antiquity drew me to the seat of Janus, the most ancient and wise of Etruscan kings, where, under the patronage of Hercules of Idae, his son Tuscus, his grandson Janus, and Janus' tutor, the Italian Atlas, all the glories of Italy were born as if from its most ancient cradle." The first set of maps of Italy and South-Eastern Europe was published in 1589, addressed to Ferdinand II.

20 See Akerman 1991, 1995b and 2005.

21 The oldest known collection of maps is that compiled in Venice in 1311-13 by Pietro Vesconte and Paolino Veneto; Bouloux 2003, p. 55-63.

22 Ormeling 2015; Tolias 2014-15.

23 van der Krogt 2009, p. 480-482. "Atlas is sometimes combined with Ortelius's Theatre, which was also a great commercial success, especially in the 17th-century edition of Blaeu.

25 Website ICONOGRAPHY of PTOLEMY'S PORTRAIT, http://rd. uqam. ca/ptolemy/index. html. Prior to 1400 years ago, Ptolemaos was described as a guardian deity of astronomy at the Cathedral in Chartre (1145-1155), Clermon Ferran (1276-1325), Florence (Campanyre de Jott, about 1334-1343). It is depicted in a fresco that shows the educational culture of Florence, San Maria Novella, Capperone de Saint Thomas D'-Quin, about 1330). Included by the Library of Heidelberg (Thomasin Von ZERKLAERE, Der WELSCHE GAST, COD. Pal. , 1403-1404 GUIART DES MOULINS in Paris Located in BIBLE HISTORIALE (British Library, MS Harl. 4381, F. 3R).

26 SAXL 1933, P. 44-53. Panofsky 1939, P. 20-21 adds a religious person like Atlas and Caliatides. These statues are likely to model atlas as atlas, but they don't care here because they do not represent the giants who play the heavens. Research on Saxul's mythical, astrological medieval and modern periods has been continued at the Institute of Waarburg, and related databases have enriched his original consideration and consideration. See also lippincott 2013 https://iconographic. warburg. sas. ac. uk;

27 BIBLIOTECA VATICANA, Ms Pal. Lat. 1417, Fol. 1R (Saxl 1933, P. 46); et al. 2016, p. 53 0-535); Bibliotherèque Nationale de France, Ms Lat. 14754 (Blume et al. 2016, P. 449-453).

29 King of Ispanen Sium, Atlas, a major astrologer.

30 Nemroth Inspector Celorum ACX Caldeorum, REGENS Manibus Suis Celum Sine Stellis. GUIDETTI 2017, 101-102 Not included in Nemlos books The manuscript suggests that it may refer to a star catalog that has been completed by adding the pseudo-bede "De Signis Caeli" (F. 31V-36R).

31 Venice, Marchana Library, MS Lat. VIII 22 (2760), Fol. 1v. (1v.) MS Lat Viii 22 (2760), Fol.

32 Pliny 1938, II. 6. 3 And Pliny 1942, VII. 57. 12;

33 Augustine 1965, 18. 8 and 18. 39.

34 Isidore 2011, 8. 17; Honorius 1583, p. 27.

35 Bacon 1928, I, p. 55-56.

36 Burnett, 1994; Gautier Dalché 2009, p. 122.

37 Munich, Staatsbibliothek, Clm 10268, fol. 19 v; Oxford, Bodleian Library, MS Bodley 266, fol. 25 r. Saxl 1933, p. 47.

38 There is a large body of relevant literature. For overviews, see Garin 1983; Grafton and Newman 2001; and Dooley 2014.

39 On the commentators of Sacrobosco's La sphera, see Thorndike 1949 p. 429; on Giovanni Pontano, see Soranzo 2011 p. 29; on Regiomontanus, see Byrne 2006 p. 50-51; on Gerolamo Cardano, see Grafton 1999 p. 130.

40 The literature on this subject is extensive: on Hercules in antiquity, see Stafford 2012; on the reception of the hero in the early modern period, see Galinsky 1972, chap. 9, and Ettlinger 1972; see also Starn 1986; on the legend of Perseus, see Ogden 2008. Hercules, in particular, was celebrated by leading theorists and poets such as Erasmus, Ariosto, and Ronsard as the epitome of heroic virtue, who "under the rule of reason, tempers anger, subjugates desire, and subordinates pleasure" (Simons 2008, p. 632). Moreover, he was the legendary founder of many Italian and Spanish cities, which linked him to important rulers of the time, such as the Este, Medici, and Habsburg families.

41 Boethius 2009, p. 73: "The bristly boar of Erymanthus has borne his foam upon shoulders that should bear the heights of the heavens. Go boldly where the path of high example leads. Why do you sluggards turn away? Conquer the earth, and the stars are yours.'" "

42 Petrarch 2009, (De viris illustribus), Hercules, 2.

43 Salutati 1995, III. 25. 18.

44 Macrobius 2001-03, II. 11.

45 Servius 1946, I. 303-304 (quoted and translated by Shapiro 1983, n. 10).

47 Vitruvius 1999, VI. 7. 6.

48 Bertrand Boysset, Traité d'Arpentage, Carpentras, Bibliothèque Inguimbertine, MS 327, f. 161 bis. I am grateful to Armel Kellien and Patrick Gautier-Darché for introducing me to Bertrand Boysset and his work.

50 Ovid 1916-1927, I, p. 225 (IV. 620-662). 51 Shapiro 1983, p. 338. See also Kretschmer 2016.

52 Ovide moralisé, 1919-38, IV, 6403-05 and 6428-29.

53 GOTHA, Landesbibliothek, Ms Membr. I. 98, F. 24 R and 137 R (SAXL 1933, P. 48).

54 French National Library, MS Lat. 10764, F. 285R.

56 Ronsard 1555, P. 188-189 ("Hercule Chestien").

57 For the concept of world machinery, see Galzerano 2018; Popplow 2007; MittelStrass 1995; Settis 2005, P. 1-18. See the Cosgrove 2001, P. 102-138 and Goutier Dalche 2009 for the world view of Ptolemaos.

58 It is still stored in the Museo de Tapices Y Textiles de Toledo. The size is 415 x 800 cm, which are called "astrology", "celestial spherical", "world machine", and "constellations". See Cortez Hernández 1992, P. 81-107 and Hernández Pérez 2017.

59 vandenbroeck 2016, p. 370-373; Massing 1991, p. 214-215.

61 Kuni 2016, P. 51.

Author

62 Regiomontanus and Peurbach 1496, 7. 3. When Legio Montanus gave a lecture on Mathematical Science at Padva in 1464, he again mentions Hippalcos as a true inventor of astronomy. He mentioned the Greek's myth that Atlas is an astronomy inventor, claiming that "Hipparkos on Rhodes is the first creator of this study." See "Byrne 2006, P. 50-51.

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école française de Rome. glfe.info?lang Mise en forme et objet du savoir géographique dans une compilation du. This book brings together four lectures by Célestin Bouglé, who, together with Émile Durkheim, was a major French sociologist at the beginning of the 20th. Forme du savoir, forme du pouvoir. Les atlas géographiques à l'époque — Rome, Publications de l'École française de Rome, —.

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