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Gastaldi was associated with Giovanni Battista Ramusio, secretary to the senate of the Venetian Republic (by then a formidable trading power and a hub where geographical science was flourishing), and he served as its official cosmographer.  The map is contained within the third volume of Ramusio's Navigationi et Viaggi [Navigations and Travels] (1556) published as part of a series of complementary mapping which was then one of the most comprehensive to be produced before Abraham Ortelius' seminal atlas of 1570.  In its preface, Ramusio recorded how he was 'exhorted' to include new mapping of the New World in the Ptolomaic style 'but including whatever has become known up to the present, namely the coasts added in navigators' charts by Spanish pilots and captains.'  The popular impact of the publication to a receptive travel literature readership was such that it was translated into other languages and necessitated reprints. The map reflects the discoveries of Jacques Cartier's voyages and those of Giovanni di Verrazano who was seeking a passage to Asia on behalf of Francis I of France. It has been suggested that by integrating information from both Cartier and Verrazano the map compounds original distortions and errors.  &#13;
&#13;
Similarly to Rotz, the map also represents the Grand Banks of Newfoundland as an elongated arcing band (but comprised of irregularly sketched dashes and minute circles to indicate a sandy texture) and includes a quadrilateral rendering of 'Isola della rena' - Island of Sand - Sable Island's precursor. Also the fragmented group of islands south of Labrador confirmed the prevailing concept of Newfoundland as an archipelago but the island named 'Baccalaos' is noticeably elongated compared to Reinel's and Rotz's versions. Apart from the physical geography, the map is replete with illustrations that depict cultural and political dimension, attesting to a landscape and seascape of dynamism and vitality, in which fishing features very strongly.&#13;
&#13;
Among the fish related vignettes are a fish appearing to have been hooked on a line (handlining) from an unmasted two man crewed boat with another two man crewed boat using a rod (see figure 3b); a pair of fish hanging to dry from a bar suspended between two trees (see figure 3c); examples of gill-netting and sail-assisted drift netting (see figure 3d); and, various individual depictions of other fish and other marine life surfacing the water (as well as mythical creatures). A number of vessels are illustrated that are variably sized, crewed, masted, with sails either furled or unfurled. The political dimension is inferred from the Portuguese quinas escutcheon on in the upper right corner of the map with it also appearing on an unfurled sail nearby as well as a pair of ships in both lower corners of the map having sails adorned with French fleur-de-lys. &#13;
&#13;
The map would have served as an enticing prospectus for enterprise as well as invoking a frontier spirit. It depicts bountiful fish resources while also finding recourse for imaginative creativity to include winged mythical beings occupying the northern fringe of Newfoundland labelled the 'Island of Demons' [Isola de Demoni] as well as the mystery of a large blank tract 'Parte Incognita'. The vignettes of fishing (each positioned inshore from the Grand Banks) alongside the map's representation of the submerged physical maritime topography acted to reinforce the reputation of the Grand Banks' rich fishing grounds given its wide dissemination in contrast to the limited readership the Rotz Atlas manuscript would have had. Such mapping was also indicative of Italian influence in exploration (Verrazano was an Italian serving the French monarch) as well as cartographical expertise blending with French enterprise. Following Gastaldi's prolific output, which was based on an assiduous aggregation of knowledge, a succession of cartographers would have been influenced throughout Europe.&#13;
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        <description>The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.</description>
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          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
            <elementTextContainer>
              <elementText elementTextId="58">
                <text>Carte geographiqve de la Novvelle Franse faictte par le Sievr de Champlain Saint Tongois Cappitaine Ordinaire povr le Roy en la Marine</text>
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          <element elementId="49">
            <name>Subject</name>
            <description>The topic of the resource</description>
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              <elementText elementTextId="59">
                <text>Map of New France by Samuel de Champlain</text>
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          <element elementId="41">
            <name>Description</name>
            <description>An account of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="60">
                <text>Champlain's detailed map of 1613 was produced at a time when France was markedly intensifying its commercial interests as well as seeking the North West Passage to Asia.  The map's utility as a navigational tool is explicit in the presence of a compass rose and rhumb lines that reflected Champlain's detail in recording his own first-hand experiences. Indeed, the inscriptions in the upper corners of the maps describe how the map was made for sailors who used French compasses uncorrected for magnetic deviation.   Champlain's rationale was explained by the sailing times that could be lost by ignoring such potential errors with further advice that ships' compasses should be adjusted once the Grand Banks were reached.  Notably, the map adopts the new convention of consolidating Newfoundland (but still heavily indented) into a single triangular form. &#13;
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The map also serves to depict regional flora and fauna as well as illustrate indigenous peoples. Of the various marine life distinguished are cod (a 'molue' placed beyond the southern reaches of 'le Grand ban'), dogfish, bullfish, bass, garpike, sturgeon, horseshoe crab, and salmon (positioned by Newfoundland's south-western inshore fisheries) as well as marine mammals such as the sea-lion and the whale. The sea is implied to be as much as bounteous an asset as the land (although the act of fishing is absent) and with individual ships (rendered differently in size, orientation, and even shown firing artillery) also punctuating the map, there is little by way of empty space. The focal point of the cod fishery in the Grand Banks is rendered in a fine stipple with localised spraying waters indicating the navigational hazard of the Virgin Rocks - 'les miqueles rochers' - off Newfoundland's southern tip. The map significantly broke from previous conventions that the Grand Banks were uniform in shape or breadth and that even within the Grand Bank itself there was variable depth. Indeed, four individual banks are distinguished ('ban neuf', 'bangeureaux', 'ban au vert', and 'le Grand ban' with smaller areas stippled near 'banguereaux' in addition to the accurately crescent shaped 'ille de sable' complete with lighthouse indicating that it was not only a potential hazard for local fishermen but also for voyagers on direct routes between Europe and North America. &#13;
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Champlain's map provides no indicator of settlement on Newfoundland (contrary to Nova Scotia and rest of the North American coastline) but permanent English settlement would have been at a very embryonic stage at this time even if Champlain was aware of it. Greater clarity and scale are provided throughout than earlier maps as exemplified in its depiction of 'ille de bacallos' near Newfoundland's westernmost point. Champlain also authored an account describing his experiences that place his Grand Banks cartography in further perspective.  He explains how its shape came to be drawn from the 'innumerable soundings' of 'all former seamen'  whereby a soundinglead was prepared at timed intervals to ascertain that 'when he is on the [Grand] Bank he will find 45, 40, 35 and 30 fathoms, a little more or less according to latitude…'. For further confirmation an 'infinite number of birds' followed the fishing vessels to scavenge fish entrails returned to the sea.  The very knowledge of the Grand Banks not only transcended its utility as a fisheries resource but also in Champlain's opinion was 'the cause of so many vessels not being lost, as they would be if it were not there, since it enables the seaman to correct his reckoning.'  Champlain's cartographical portrait hinted at how the Newfoundland fisheries were more expansive (to the south and further offshore) and could be more precisely delimited than predecessors had suggested.  &#13;
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          <element elementId="39">
            <name>Creator</name>
            <description>An entity primarily responsible for making the resource</description>
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              <elementText elementTextId="61">
                <text>Samuel de Champlain</text>
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          <element elementId="48">
            <name>Source</name>
            <description>A related resource from which the described resource is derived</description>
            <elementTextContainer>
              <elementText elementTextId="62">
                <text>unzipped from John Carter Brown Library - http://jcb.lunaimaging.com/luna/servlet/detail/JCBMAPS~1~1~4960~115900199:Carte-geographiqve-de-la-Novvelle-F?sort=normalized_date%2Cfile_name%2Csource_author%2Csource_title&amp;qvq=q:champlain;sort:normalized_date%2Cfile_name%2Csource_author%2Csource_title;lc:JCBMAPS~1~1&amp;mi=4&amp;trs=36#</text>
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            </elementTextContainer>
          </element>
          <element elementId="45">
            <name>Publisher</name>
            <description>An entity responsible for making the resource available</description>
            <elementTextContainer>
              <elementText elementTextId="63">
                <text>Trinity College Dublin</text>
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          <element elementId="40">
            <name>Date</name>
            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
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              <elementText elementTextId="64">
                <text>1612, Paris</text>
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            </elementTextContainer>
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          <element elementId="37">
            <name>Contributor</name>
            <description>An entity responsible for making contributions to the resource</description>
            <elementTextContainer>
              <elementText elementTextId="65">
                <text>Dr Kieran Rankin</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="47">
            <name>Rights</name>
            <description>Information about rights held in and over the resource</description>
            <elementTextContainer>
              <elementText elementTextId="66">
                <text>Creative Commons</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="46">
            <name>Relation</name>
            <description>A related resource</description>
            <elementTextContainer>
              <elementText elementTextId="67">
                <text>John Carter Brown Library</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="44">
            <name>Language</name>
            <description>A language of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="68">
                <text>English</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="51">
            <name>Type</name>
            <description>The nature or genre of the resource</description>
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              <elementText elementTextId="69">
                <text>Map</text>
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            </elementTextContainer>
          </element>
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