Global
Short Teaching Module: European Maps of the Early Modern World
I use images of three historical maps for topics on colonial exploration and for interpreting historical evidence in undergraduate courses on history and historical methodology. I have several aims in using the maps.
From John Bartholomew, Literary and historical atlas of America
This unusual map appeared in a 1911 atlas of America by John George Bartholomew, a prestigious Scottish cartographer and geographer. In this map Bartholomew dramatized the provincialism of European cartography three centuries earlier.
Cantino planisphere
The famous Cantino planisphere was made in 1502 by an anonymous Portuguese official at the request of Alberto Cantino, an Italian agent in Lisbon of Ercole d’Este, Duke of Ferrara.
World map by Henricus Martellus
Henricus Martellus was a German geographer and cartographer who worked in the Italian city of Florence from 1480 to 1496. His book of 1490, Insularium Illustratum ("Illustrated Book of Islands"), in which this map appeared, was widely circulated for two reasons.
Islamic Carpet made in Safavid Iran
This carpet called the Qazvin Carpet (also known as the "Salting Carpet") was made in late-sixteenth century Safavid Iran likely in a royal atelier.
Primer: Transcultural History
Broadly, transcultural histories include those historical contexts and processes brought about by circulation of people, objects, and knowledge through travel, trade, migration, or globalization.
Short Teaching Module: Early Modern Islamic Carpets as Transcultural Objects
Islamic carpets were ubiquitous in the early modern period (1500-1800) in Europe as much as it was in the Islamic world. They were important objects of decor within homes, imperial palaces, and religious buildings.
Islamic Carpets
These three carpets made in the period between the 16th and 18th centuries show two distinct types of carpets produced in the Islamic World for particular culture-specific uses.
Coins
Well worth its weight in gold—or silver seeing as most of the coins in the collection were made out of it—Coins is perhaps the pre-eminent example of digitisation and visualisation done right. It synthesises academic rigour, curatorial thoroughness, and a spirit of playfulness to bring cold, hard