Celestial Map by Antonio Saliba

Description

Saliba’s map of the cosmos, integrating ancient Pagan and medieval Christian cosmology with Renaissance beliefs and experiences. It presents the universe as a place that is simultaneously ordered and chaotic, spiritual and temporal, familiar and fantastical. Originally published in Italian by Antonio Saliba in 1582, the map was later reissued in Latin by Cornelis de Jode in slightly modified format (lacking one of the nine rings). The De Jode edition shows eight concentric rings, from the inner ring depicting the infernal regions to an encircling ring of fire, populated by demons, phoenixes and salamanders. The fourth ring is a hemispheric map on a north-polar projection, derived from de Jode’s 1593 Hemispheric Ab Aequinoctiali Linea. Within the spandrels are decorative images and text describing solar and lunar eclipses. The diagram is surmounted by a title with flanking hemispheric maps also on a polar projection and adorned with the strap-work embellishments characteristic of late-16th century Dutch engraving. Whitfield’s notes that this cosmological chart, which appears so bizarre and unfamiliar, is in fact only mildly unorthodox as a pre-scientific image of the cosmos. The work’s title promises to display “All things which are in the world and in the heavens, for the universal benefit of all who would know the occult secrets of nature.” It is in the eighth circle [the seventh in the Jollain issue] that Saliba’s unorthodoxy and occultism are given freest rein. The appearance in 1577 of a great comet was, inevitably, interpreted as having prophetic significance. Saliba seems to have regarded this so seriously that the eighth circle is devoted largely to descriptions of comets, their historic appearances and occult significance. The cosmic model of concentric rings was derived from Aristotle and Ptolemy, which in modified forms prevailed until the seventeenth century. The Ptolemaic model comprised nine spheres around the earth: five planets, the sun, the moon, the stars, and the primum mobile. Saliba’s departure from the classical content of the nine spheres while retaining the structure, is entirely typical of the fluid state of Renaissance science.1603/Italy

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This artwork is available in the following variations (size in inches): 12×18 paper poster – 12×18 paper giclee – 12×18 canvas print – 12×18 canvas giclee – 16×24 paper giclee – 16×24 canvas print – 18×27 paper giclee – 20×30 paper poster – 20×30 paper giclee – 20×30 canvas print – 20×30 canvas giclee – 24×36 paper giclee – 24×36 canvas print – 24×36 canvas giclee

Sizes refer to the image itself. In addition there is a white border of approximately 2 inches on each side, which can be trimmed for framing or mounting. 

The source of these posters and prints is an archive of over 27,000 vintage images along with the historical information on each. All files are optimized and stored digitally and are ready for reproduction in a variety of sizes The print process is closely monitored to ensure the best quality wall art and decor.

Crafted on top-notch semi-matte paper, our posters boast vibrant colors and durability. Made with meticulous attention to quality, these prints guarantee a stunning visual impact and are perfect for long-lasting displays. Elevate your space with our commitment to premium materials. 

Our canvas prints, gallery-wrapped and unframed, are ready to elegantly adorn your space. The image seamlessly extends around the stretched canvas, adding depth to the artwork. Mounted securely on a robust wood frame, our high-quality canvas ensures maximum stability and tautness for a striking display.

Experience exquisite color accuracy and a smooth, acid-free surface ideal for framing with giclee printing. Revel in the beauty of your prints, ensuring a perfect blend of vibrant hues. Elevate your artwork with the impeccable quality of giclee, enhancing both visual appeal and longevity.