Johannes Janssonius – Wind map, 1652 Antique world maps HQ

This image is a historical wind map, likely from the 17th century, created by Johannes Janssonius. Its a circular diagram designed to illustrate wind directions and their associated names from various cultures and languages.

What I see:

• Central Compass Rose: At the very center is an ornate wind rose or compass, with detailed points indicating cardinal and intercardinal directions.
• Concentric Circles: The map is organized into several concentric circles, each representing different segments of directional information related to winds.
• Wind Names and Descriptions: Numerous labels in various languages (Latin, Dutch, Greek, Arabic, etc.) surround the compass rose, naming different winds. These names are arranged radially and circumferentially. Some radial lines extend outwards, further delineating sectors.
• Personified Winds: The most striking feature is the depiction of winds as personified figures. These are often portrayed as heads with cheeks puffed out, blowing gusts of wind in stylized streams. These figures are placed in clouds around the outer edge of the circular diagram. The figures appear to represent diverse individuals, with varying skin tones and features.
• Clouds and Decorative Elements: The personified winds are enveloped in swirling clouds. There are also decorative floral elements, particularly around one of the personified heads at the bottom.
• Title and Imprint: At the bottom left, theres a title in Latin: TABVLA ANEMOGRAPHICA PYXIS NAWTICA which translates to Wind Map of the Mariners Compass. At the bottom right, it indicates the place of publication: AMSTELODAMI Apud Ioan Ianssonium (Amsterdam, printed by Johannes Janssonius).

Subtexts:

• The Power and Mystery of the Winds: The personification of winds as powerful beings, often depicted with stern or dramatic expressions, reflects the ancient understanding of winds as formidable natural forces that could make or break sea voyages. The act of blowing signifies their active role in shaping weather and ocean currents.
• Global Interconnectedness and Knowledge: The inclusion of wind names from numerous languages highlights the burgeoning global trade and exploration of the era. Janssonius, as a cartographer and publisher, would have aimed to create comprehensive and useful tools for mariners navigating across different regions. This map suggests an awareness of and an attempt to catalogue winds relevant to a wide geographical scope.
• Cultural Diversity: The varied depictions of the blowing heads, with different racial and ethnic characteristics, can be interpreted as a visual representation of the diverse origins or influences of these winds, or perhaps a nod to the diverse peoples encountered during global voyages. It might also reflect a growing awareness of different cultures in Europe at the time.
• Navigational Science and Art: The map blends scientific detail (the precise radial divisions and naming conventions) with artistic embellishment (the personified winds and decorative elements). This reflects a common practice in early modern cartography, where maps were not just functional tools but also works of art, valued for their aesthetic as well as informational content.
• Symbolism of Breath: The act of blowing is a universal symbol of life, spirit, and force. In this context, it directly links the physical phenomenon of wind to a primal life-giving or destructive energy.

In essence, the map is a sophisticated representation of meteorological knowledge, combined with artistic flair and a reflection of the expanding world of the 17th century.