13 ғасырға жататын Херефорд әлем картасы

Map of the known world dating from c.1300

The Hereford Mappa Mundi (mappa mundi) is the largest medieval map still known to exist, depicting the known world. It is a religious rather than literal depiction, featuring heaven, hell and the path to salvation. The map is drawn in a form deriving from the T and O pattern, dating from c. 1300. It is displayed at Hereford Cathedral in Hereford, England. The map was created with the intent of its being appreciated as an intricate work of art rather than as a navigational tool. Sources for the information presented on the map include the Alexander tradition, medieval bestiaries and Monstrous races tradition, as well as the Bible. Although the evidence is circumstantial, modern scholarship links the map with the promotion of the cult of Thomas de Cantilupe, and with a justification of the expulsion of Jewry from England. Potentially antisemitic images include a horned Moses and a depiction of Jews worshipping the Golden Calf in the form of a Saracen devil. The map also seems to reflect very patriarchical views of women as inherently sinful, including figures such as the wife of Lot being turned into a pillar of salt for gazing at the city of Sodom. Cantilupe was known for his dislike of Jews and was regarded as misogynistic even by the standards of his own time. The map would have functioned as an object to show people visiting Cantilupe's cult, and guides would have described and helped visitors to understand the content. The idea of looking, reading and hearing the stories is mentioned on the map itself. There would not have always been single, fixed ideas attached to the images, which would be interpreted symbolically, and through juxtaposition and proximity. Text in Latin and French would help guides and international visitors to understand something of its meaning. A larger mappa mundi, the Ebstorf Map, was destroyed by Allied bombing in 1943, though photographs of it survive.

The Hereford Mappa Mundi hung, with little regard, for many years on a wall of a choir aisle in the cathedral. During the troubled times of the Commonwealth the map had been laid beneath the floor of Bishop Audley's Chantry, where it remained secreted for some time. In 1855 it was cleaned and repaired at the British Museum. During the Second World War, for safety reasons, the mappa mundi and other valuable manuscripts from Hereford Cathedral Library were kept elsewhere and returned to the collection in 1946.

In 1988, a financial crisis in the Diocese of Hereford caused the Dean and Chapter to propose selling the mappa mundi. After much controversy, large donations from the National Heritage Memorial Fund, Paul Getty and members of the public kept the map in Hereford and allowed the construction of a new library designed by Sir William Whitfield to house the map and the chained libraries of the Cathedral and of All Saints' Church. The new Library Building in the south east corner of the cathedral close opened in 1996.

The map has been interpreted from a topographical and encylopedic perspective, but more recent approaches have attempted to see the map as a work of art, that conveys meanings through symbolism and associations. Interpretations of the Hereford Mappa Mundi are difficult, because the original context and purpose are lost. However, it is known that it formed the central panel of a triptych, a drawing of which is held by the British Library. The left panel depicted the angel Gabriel, and the right the Virgin annunciate. This gives the map particular associations with the cult of the Virgin Mary, which was very prominent in Christian worship at the time, and highly developed at Hereford. There is an emerging consensus that the map played a role in promoting the cult of Thomas de Cantilupe, who was later accepted as a Saint by the Holy See. This is partly based on examination of features of the cathedral and conjecture about the original placement of the triptych. There is however disagreement about the timing of its installation, whether shortly before or somewhat after 1290. The map needs therefore to be understood as an object used within that cult, as a didactic and religious object, that would have been looked at by an international audience, some of whom would be able to read the Latin or French inscriptions. It is likely that guides, whether highly educated and literate, or less so, would help ensure those looking at the map were able to interpret the figures in the correct manner. The map itself shows some evidence that it was used this way, for instance, Hereford has nearly disappeared from it, presumably from repeated touching; and one of the map's main inscriptions refers to those who "hear, or read, or see" the "history" presented.

Dan Terkla places the map in the north transept's east wall next to de Cantilupe's shrine. Among the evidence he cites are masonry remains that can be observed at the proposed site of the triptych, including a set of eight square stone inserts, placed to block holes potentially used for wooden or stone supports (corbels) for the display. This would align with the stained glass windows above. The supports match the length of the opened triptych panels at about 3 meters wide, with a small overhang. He contends that the triptych would have fitted neatly, aligning with other features and presenting the map's key features at an appropriate height, with Jerusalem at 129 cm and the Last Judgement at 215 cm. There are however potential objections to this theory; the dimensions cited by Terkla may underestimate the size of the triptych, and in any case, it would be very unusual for a decorative object to be placed so near a shrine. Another theory from Thomas de Wesselow places the triptych on another wall on the south aisle of the choir adjacent to de Cantilupe's tomb. This wall is recorded as having metal hooks which could have acted as supports for the triptych. Aligned wooden fittings on the back of the surviving central section of the triptych give credence to this view. In either case, the map within its triptych would have formed a central focus for pilgrims seeking divine intervention from Cantilupe. The map would be expected to reflect central concerns and beliefs or teachings of Cantilupe. These would include his aversion to Jews. In Debra Strickland's view, the map reflects a post Expulsion narrative, conflating the Exodus of the Bible with the contemporary expulsion, and as outlined below, setting out why Christians should believe that Jews are deserving of such punishment.

The production of the map is likely to have involved the patronage of up to four men, Thomas de Cantilupe, Richard of Haldingham, Richard de Bello and Richard Swinefield, the Bishop of Worcester after Cantilupe. Richard of Haldingham, who died in 1278, may have been a senior relative of de Bello, and appears to be credited on the map as the designer (who "made and laid it out"). Richard de Bello's career from the later 1280 and 90s is linked to Swinefield's patronage in Lincoln, where Swinefield was briefly treasurer. Finally, of course, in creating the map for the Cantilupe cult, it was a sign of Swinefield's gratitude to his benefactor. However, these possible links remain speculative, and it is equally possible that Richard of Haldingham and Swinefield knew each other directly, even assuming that the Haldingham that died in 1278 was the original drafter identified on the map. There is possible evidence of female patronage contributing to the map's production, in the single well dressed, arisocratic female figure among the elect drawn on the top left handside of the map, and in the drawing of the modestly dressed and therefore piously presented handmaiden offering the Virgin Mary a crown. It was long believed that the mappa mundi was created, not in Hereford, but in Lincoln because the city of Lincoln was drawn in considerable detail and was represented by a cathedral (accurately) located on a hill near a river. Hereford, on the other hand, was represented only by a cathedral, a seeming afterthought drawn by a different hand when compared with other features of the map. However, more recent research on the origin of the wood in the frame suggests it may in fact have been created in or around Hereford.

Strickland has attempted to interpret the map's images of medieval Jewry and associated bible stories to understand what it may have been trying to convey about Jews and Judaism. She notes that this was a particular concern in England, where the Jews were expelled in 1290, and also of Hereford catherdral and its leadership, who had been in conflict with the local Jewish population. The Exodus cycle is particularly prominent, indicating unusual significance, as it is not found on other similar medieval religious maps. Some of the images are clearly derogatory and anti semitic. For instance, within the Exodus cycle, a prominent scene depicts the worship of the Golden Calf. However, the Golden Calf is depicted as a devil defacating coins onto its altar. The devil is labelled "Mahu(n)", a name for imaginary idols believed to be worshipped by Muslims, building an association with figures elsewhere on the map negatively representing Saracens. The scene also depicts Christian crosses as present on the altar. This arguably moves the image into a depiction of host desecration, but at a minimum places the Jews in a position of mocking Christians. The four men labelled "Judaei" worshipping the devil hold a blank scroll, a symbol used to denote the association of Jews with scrolls containing the Word of God, yet in the view of Christians, having an inability to understand and accept it. Overall, the Golden Calf scene, by labelling Israelites as "Jews", associating them with the mockery of Christians and with conceptions of Muslims or Saracens of the period through the "Mahun" figure, connects the Exodus story with contemporary Jews. The Moses figure can also be interpreted negatively. He is depicted with yellow horns, near red coloured seas and as already noted, is close to another devil. The red and yellow colour combination is well known from other derogatory depictions of Jews, and can be read as reinforcing negative stereotypes of Jews. A coffin with a Christian cross placed next to Moses may represent Joseph's bones being taken back to Israel, but could also represent the contemporary death of the Old Law, God's rejection of the Jews, and the replacement of the Mosaic law by the Christian message. It may recall Jesus' comparison in Matthew 23.27 of the scribes and Pharisees to whitened tombs. Lastly, Moses is placed in proximity to dragons patrolling the entrance to hell, through a diagonal alignment. and the "entire visual field is enframed, patrolled, and occupied by males". There are however some twenty figures that represent women, of which the most important represents the Virgin Mary, positioned at the top of the map at the Last Judgement, where she bears her breasts in an act of supplication. Other figures include a handmaiden presenting Mary with a crown, and a siren near Jerusalem bearing a mirror. The wife of Lot gazes towards Sodom and Gomorrah, and Noah's wife stands beside him. The four women are positioned around the Tower of Babel, a symbol of the sin of pride, viewed in the Christian morality of the time as the root of all evil, and also the sin most closely associated with women. There are also a prominent female Epiphagus and Psylli, and a further twenty other non human females. Great Britain is drawn at the northwestern border (bottom left, 22 and 23). Curiously, the labels for Africa and Europe are reversed, with Europe scribed in red and gold as "Africa" and vice versa. The long river on the far right is the River Nile (12), and the T shape is established by the Mediterranean Sea (19 21 25) and the rivers Don (13) and Nile (16). It is the earliest known map to depict the mythical St Brendan's Isle, which then appeared on many other maps. including Martin Behaim's Erdapfel of 1492.