Few studies in medieval and Renaissance cartography focus on race, in part owing to the genealogical issues discussed above, and in part owing to the racist origins and practices of the disciple of art history that normalizes seeing whiteness as both default norm an universal ideal. Johann Joachim Winckelmann, the founder who gave the discipline its name, declared in History of the Art of Antiquity (1764), ‘A beautiful body will be all the more beautiful the whiter it is’ (2006: 192–95), and this ideology remains largely unexamined in the field. Kim discusses the lack of work on the term ‘race’ in medieval history (Kim forthcoming). The same could be said of medieval art history, with a few exceptions (e.g. Friedman 1981; Strickland 2003, 2012).