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A large database of more than 400 existing historical atlases released after 1950 was created as a result of an extensive analytic research within the preparation of cartographic works on the Czech Historical Atlas. The database was published in the form of a web application that allows the user to reveal and analyse associated information about historical atlases across interactive dashboards. To improve the information value of the database, the authors decided to arrange further possibilities of data excerption with the use of specialized data visualization methods that may reveal additional information and new phenomena which are not clearly visible from the database itself. The performed analyses supplement the paper in the form of diagrams and charts and present the data from various perspectives with the focus on similarities and differences between the cartographic and the thematic content of the historical atlases in the publishing countries, the changes in the thematic focus of the atlases or changes in the use of methods of thematic cartography in atlas works over time. The authors also deal with relations between the thematic focus of the atlas and the applied methods of thematic cartography. All analyses are performed on the sample of 88 atlas works. [ABSTRACT FROM AUTHOR]

A number of anatomists working in the period 1700–1840 used expensive illustrated books to depict their greatest scientific work, establish priority of discovery for posterity, and enlist patrons. These anatomists drew on the grand traditions of anatomical illustration and asserted their right to a place within that history. But with artists mediating the expression of anatomists' vision, it was important that an anatomist assert his control over the illustrations commemorating his expertise. Anatomists used stylistic signatures to signal that a work was their own. Very different styles of illustration in the works of different anatomists, therefore, were made easily recognizable, and sometimes a single artist adopted notably different styles for different anatomists who employed him. Style became a marker of authorship, identifiable with the anatomist, even when he employed an artist to do the drawing and engraving, and it was also an important method of appealing to patrons. [ABSTRACT FROM AUTHOR]

Eisenstein's account of the connection between scientific progress and printing does not apply well to map publication and knowledge of geography. Most of the celebrated figures in map design and publishing in the 16th century were fundamentally copyists and collectors of others' works. In Renaissance Europe, geographers did not strive to be original, but relied on others' measures, adding their own information to extant maps whenever this was possible. They also made maps in multiple genres, and used geographical works not simply as practical tools for trade and politics, but as evidence for Creation and demonstrations of human dominion. Printed atlases displayed the array of map forms, provided exemplars of good work, and made visible points of translation across different genres of geographical representation. In this context, copying and collection were helpful rather than detrimental to knowledge. [ABSTRACT FROM AUTHOR]

Kevin Kilburn reports on the discovery of a long-forgotten star atlas at Chatsworth House. [ABSTRACT FROM AUTHOR]

This is an abbreviated version of the full table, which can be downloaded at [ABSTRACT FROM AUTHOR]