FYI May 22, 2017

May 22nd is National Vanilla Pudding Day!

On this day:

1570 – The first atlas, Theatrum Orbis Terrarum, is published with 70 maps.
Theatrum Orbis Terrarum (pronounced [tʰɛˈaːtrʊm ˈɔrbɪs tɛˈrːaːrʊm], “Theatre of the World”) is considered to be the first true modern atlas. Written by Abraham Ortelius, strongly encouraged by Gillis Hooftman[2] and originally printed on May 20, 1570, in Antwerp,[3] it consisted of a collection of uniform map sheets and sustaining text bound to form a book for which copper printing plates were specifically engraved. The Ortelius atlas is sometimes referred to as the summary of sixteenth-century cartography.

The atlas contained virtually no maps from the hand of Ortelius, but 53 bundled maps of other masters, with the source as indicated. Previously, only the pooling of disparate maps were released as custom on order. The Ortelius atlas, however, dropped the maps for this all in the same style and on the same size on copper plates, logically arranged by continent, region and State. He provided the maps in addition to a descriptive comment and referrals on the reverse. As such, this was the first time that the entirety of Western European knowledge of the world was brought together in one book.

In the bibliography, the section Catalogue Auctorum, not only were the 33 cartographers mentioned, whose work in the Theatrum was recorded (at that time not yet the habit), but also the total of 87 cartographers of the 16th century that Ortelius knew. This list grew in every Latin Edition, and included no less than 183 names in 1601. Among the sources are mentioned among other things the following: for the world map the World Map (1561) by Giacomo Gastaldi, the porto Avenue of the Atlantic coast (1562) by Diego Gutierrez, the world map (1569) of Gerardus Mercator, which have 8 maps derived from the Theatrum.

For the map of Europe, wall map (1554). of the Mercator map of Scandinavia (1539) by Olaus Magnus, map of Asia was derived from his own Asia-map from 1567, which in turn was inspired by that of Gastaldi (1559). Also for the Africa map he referred to Gastaldi.

This work by Ortelius, consisted of a collection of the best maps, refined by himself, combined into one map or split across multiple, and on the same size (folios of approximately 35 x 50 cm). The naming and location coordinates were not normalized.

After the initial publication of Theatrum Orbis Terrarum, Ortelius regularly revised and expanded the atlas,[3] reissuing it in various formats until his death in 1598. From its original seventy maps and eighty-seven bibliographic references in the first edition (1570), the atlas grew through its thirty-one editions to encompass 183 references and 167 maps in 1612.

The 1573 Additamentum to the atlas is notable for containing Humphrey Llwyd’s Cambriae Typus, the first map to show Wales on its own.[4]

From the 1630s, the Blaeu family issued their work under a similar title, Theatrum orbis terrarum, sive, Atlas Novus.

All those editions had the same structure. They started with an allegorical title page, on which the five known continents, were presented by allegorical women, with Europe as the Queen. Then a command to Philip II, King of Spain and the low countries, and a poem by Adolphus Mekerchus (Adolf of Meetkercke). From 1579, the editions contain a portrait of Ortelius by Philip Galle, an introduction by Ortelius, in the Latin editions followed by a recommendation by Mercator. This is followed by the bibliography (Auctorum Catalog), an index (Index Tabularum), the cards with text on the back, starting from 1579 in the Latin editions followed by a register of place names in ancient times (Nomenclator), the treatise, the Mona Druidum insula of the Welsh scientist Humphrey Lhuyd (Humphrey Llwyd) over the Anglesey coat of arms, and finally the privilege and a colophon.

The moneyed middle class, which had much interest in knowledge and science, turned out to be very much interested in the convenient size and the pooling of knowledge. For buyers who were not strong in Latin, published at the end of 1572, in addition to three Latin, there were a Dutch, German and French 2nd Edition. This rapid success prompted the Ortelius Theatrum constantly continued to expand and improve. In 1573, he released 17 more additional maps under the title Additamentum Theatri Orbis Terrarum, which in these master works were published, bringing the total at 70 maps. By Ortelius’ death in 1598, there were twenty-five editions that appeared in seven different languages.

More on wiki:


Born on this day:

1846 – Rita Cetina Gutiérrez, Mexican poet, educator, and activist (d. 1908)
Rita Cetina Gutiérrez (22 May 1846–11 October 1908) was a Mexican teacher, poet and feminist who promoted secular education in the nineteenth century in Mérida, Yucatán. She was one of the first feminists and influenced the generation of young women who fueled the first wave of feminism in Mexico.

Rita Cetina Gutiérrez was born 22 May 1846 in Mérida, Yucatán, Mexico to Colonel Don Pedro Cetina and Jacoba Gutiérrez.[1] Cetina’s father was murdered when she was 14 and a benefactor assisted her in attaining her education.[2] She studied under two noted scholars from Cuba, Domingo Laureano Paz and Félix Ramos y Duarte, who were living in Mérida.[3]

She wrote poetry from about 1860[2] which was published in many local journals and newspapers,[4] sometimes using the pen name Cristabela. Typical themes were love, a desire for justice, education and patriotism.[3]

With the support of Gertrudis Tenorio Zavala and Cristina Farfán, on 3 May 1870 Cetina opened La Siempreviva (Everlasting), an institution consisting of Mexico’s first secular school for poor girls as well as an art college for young women. She established simultaneously a scientific and literary society and a newspaper of the same name, specifically written for ladies and young women.[1][5] Teaching at the girls school covered reading, grammar and geography, as in other girls schools of the period, but surprisingly it also included religious history, reflecting Cetina’s own faith. The curriculum of the art college included literature, drawing, reciting, music (piano) and theater.[5] In addition to publishing her own paper, Cetina was listed as an editor of the newspaper El Federalista (The Federalist).[4] She rejected the idea that women’s studies should include only domestic skills and offered a curriculum including astronomy, constitutional law, geometry,[2] geography, history, and mathematics.[3] As well as discussions on children, “the double standard”, female sexuality, love, and marriage.[2]

Seven years after founding her school, the Instituto Literario de Niñas (ILN) (Literary Institute for Girls) was created by Governor Manuel Cepeda Peraza and Cetina was asked to become its Director. She agreed because the school offered women the opportunity to have both secondary education and teacher’s training in a normal school.[5] La Siempreviva remained open operating as a private school until it merged with the ILN in 1886.[2]

Cetina’s lasting legacy and contributions to the feminist movement of Yucatán at the turn of the twentieth century, is clearly seen in some of the pupils she taught: Susana Betancourt Yucatecan representatives at the Pan-American Conference of Women in Baltimore in 1922; Elvia Carrillo Puerto elected as a Yucatán State Deputy in 1923; Raquel Dzib Cicero elected as a Yucatán State Deputy in 1923;[3] Leonarda Gómez Blanco who served as Director of Education in both Campeche and Tlaxcala[6] Beatríz Peniche Barrera elected as a Yucatán State Deputy in 1923; Gloria Mireya Rosado Yucatecan representatives at the Pan American Feminist Congress in Baltimore in 1922; Elena Torres founder of the first Montessori School in Mexico; Rosa Torre González[3] first woman elected to any office in Mexico elected to the Mérida City Council in 1922;[7] and Consuelo Zavala head of the organizing committee of the First Feminist Congress.[2]

Cetina retired in 1902 and died in Mérida on 11 October 1908.[1]

Selected works

“Deudas de corazón” (drama)
“Recuerdo, A una flor” (1863?)
“Al Partir” (1863?)
“Babilonia” (1868)
“A México” (1867)
“A Nuestro Sexo” (1870)
“Oda a los héroes de Tihosuco” (1886)



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