Ferguson’s 1893 Map of the Square and Stationary Earth
- ADVENTURE iDIAZ
- May 19
- 11 min read
Researched, restored, and written by ADVENTURE iDIAZ — preserving the intersection of faith and cartographic history.
Orlando Ferguson’s 1893 Flat Earth Map and Its Biblical Worldview
In 1893 the United States was humming with invention. Electric lights sparked over the Chicago World’s Fair, railroads stitched coasts together, and astronomers were charting the heavens through glass plates. Yet far from that glare, in the quiet mineral-spring town of Hot Springs, South Dakota, one man was drafting a very different universe.
Self-styled Professor Orlando Ferguson printed a map showing Earth not as a globe but as a square basin — flat, walled by ice, roofed by heaven. Part diagram, part sermon, it dared to say the Bible was the better telescope.
When we first studied this print, what struck us was its craftsmanship — the precision of a believer determined to draw truth to scale.
Who Was Orlando Ferguson? The Man Behind the Square and Stationary Earth Map
From Illinois to Hot Springs, South Dakota
Born near Du Quoin, Illinois in 1846, Ferguson headed west after the Civil War and settled in Hot Springs by 1886. He sold groceries, ran a hotel, and later managed a bathhouse beside the town’s famous springs. He called himself “Doctor” and “Professor,” titles more entrepreneurial than academic, but few locals objected.
Early Lectures and 25-Cent Pamphlets
Before the 1893 map was ever printed, Ferguson had already been touring local halls and churches with a chalkboard and a message. Newspaper accounts from Hot Springs in 1891 describe his public lectures at the Morris Opera House, where he illustrated a “Square and Stationary Earth” using hand-drawn charts. Attendees recalled that he spoke with the confidence of both teacher and preacher, blending biblical citation with geometric reasoning.
To accompany those lectures, Ferguson self-published a small book titled The Square World — a roughly 60-page
pamphlet explaining his theory in detail. Priced at 25 cents, it was advertised in local papers and could be ordered by mail directly from “Prof. Orlando Ferguson, Hot Springs, S.D.” Inside, he outlined his interpretation of Scripture, rejected the “Flying Earth Theory,” and included mathematical tables and line diagrams that attempted to quantify his flat, square model.
The pamphlet and lecture series laid the groundwork for what became his defining work: the 1893 Map of the Square and Stationary Earth. Much of the map’s visual logic — the four corners, the curved firmament, the angelic figures, and even the numbered caption boxes — can be traced to passages described in the pamphlet. In essence, the map was the culmination of years of diagramming, teaching, and refining his ideas for a broader audience.
When the map was released, Ferguson continued selling both together — the map as the visual companion, the booklet as the commentary. For a brief moment in the early 1890s, his small printing office in Hot Springs became the hub of a personal publishing effort devoted to explaining the biblical Earth. After his death in 1911, those pamphlets and maps quietly disappeared into trunks and attics until the 2011 rediscovery brought them back to light.
Historical Context: America in 1893 and the Rise of the Flat Earth Debate
Industrial Progress and Religious Revivalism
The closing decade of the 19th century was a time of astonishing transformation. Railroads laced the Great Plains, telegraph wires carried instant news, and electric lights turned darkness into novelty. Scientific journals and traveling lecturers introduced ordinary Americans to evolution, astronomy, and geology — all fields that seemed to stretch the boundaries of traditional belief.
Yet side by side with that progress ran a vibrant religious revival culture. Across the Midwest and Plains, tent meetings and prophecy conferences drew crowds hungry for reassurance that Scripture still explained the world around them. The air of discovery and the language of Revelation often collided. For many, the mechanical age had arrived too quickly — and ministers urged their congregations to hold fast to “God’s unchanging order.”
South Dakota, newly admitted as a state in 1889, sat right on that frontier of faith and modernity. Its newspapers carried stories of new telescopes and of revival preachers sometimes on the same page. It was within that tension that Orlando Ferguson found an audience willing to listen.
How Frontier Faith Shaped Scientific Skepticism
The small resort town of Hot Springs, South Dakota, embodied the crossroads of that era. Health seekers came for the mineral waters, while homesteaders and itinerant preachers passed through with equal conviction. The town’s blend of optimism, experimentation, and frontier spirituality created a perfect environment for unconventional thinkers.
Ferguson’s message found common ground with those who believed Scripture offered a more coherent and trustworthy account of creation than the emerging theories of his day. His lectures didn’t merely challenge astronomy — they proposed a model that sought to reconcile observation with what the Bible already described.
To his audience, the concept of a stationary, square Earth wasn’t a retreat from reason; it was an affirmation that divine design could still be seen, measured, and explained. For many, his map stood not just as preservation of a belief system, but as visible evidence that the biblical Earth model held consistency where modern speculation often conflicted with experience.
Seen in that light, Ferguson’s 1893 map wasn’t merely a rebuttal to science; it was an expression of cultural confidence. It reminded people that their faith, their Bible, and their sense of divine design could still define the shape of the world — even as the modern age hurried in around them.
Details of the Original Map of the Square and Stationary Earth (1893)
The map’s title proclaims:
“Map of the Square and Stationary Earth … Four hundred passages in the Bible that condemn the Globe Theory … This is the Bible Map of the World.”
Lithographed in 1893 by L. H. Everts & Co., it measures about 22" x 32" (57 × 82 cm) and is preserved in the Library of Congress (Map ID 2011594831). The copy was a 2011 gift from Don Homuth, accompanied by Ferguson’s notes. Additional examples reside at the Fall River Pioneer Museum and two private collections — four known originals worldwide.
The ADVENTURE iDIAZ restorative reproduction of Ferguson's map (flat earth map) enlarges the art to 36″ × 45″, retaining every caption while restoring color balance and paper grain for modern display.
Design and Symbolism in Ferguson’s Flat Earth Map
A Structured World Surrounded by Angels
At first glance, Ferguson’s Map of the Square and Stationary Earth presents a deliberate and intricate order — a world rendered as a vast, square foundation encircled by sacred symmetry. The continents radiate outward from a central North Pole, while the world’s outer boundary forms an immense, ice-walled perimeter labeled as “Antarctica.” Around the circular ocean basin, Ferguson engraved dozens of notes explaining the motion of the sun, moon, and “vault of heaven” above.
Two elegant, curved arms extend over the center — one bearing the sun and the other the moon — demonstrating their circular passage beneath the firmament. Above them, the heavens arc upward in measured curvature, while below, the Earth remains unmoving and anchored. The map’s four corners each display a finely drawn angel holding a trumpet and the wind, a direct illustration of Revelation 7:1: “Four angels standing on the four corners of the earth, holding the four winds thereof.”
It’s a composition of balance and conviction: equal parts geometric diagram, sermon illustration, and work of devotional art. Nothing in it feels accidental — every arc and angle exists to prove that the Creator’s world was both stable and divinely measured.
Typography, Geometry, and Visual Argumentation
The border of the map reads almost like a hand-engraved manifesto. Thirty-five caption boxes, each carefully lettered, surround the central image and expound on Ferguson’s cosmological reasoning. Some refute astronomical principles, others cite specific verses to reinforce his square and stationary worldview.
In one memorable illustration, two men cling to a wildly spinning globe — a visual satire of what Ferguson called the “Flying Earth Theory.” The effect is both humorous and earnest: a printer-preacher using visual wit to make a theological point.
The typography itself carries a Victorian elegance, using condensed serifs and ornamental borders common to 19th-century lithographs. The geometric precision — radiating circles, measured crosshatching, symmetrical framing — suggests that Ferguson’s design instincts were as disciplined as his theology was literal. The result feels halfway between a celestial chart and a sacred architectural plan, inviting viewers to co
Biblical Cosmology and Theology in the Square and Stationary Earth Map
Scriptural Foundations and Ferguson’s Vision of Creation
Ferguson’s Map of the Square and Stationary Earth is, at its core, a sermon in lithographic form. Around its borders, in tiny, meticulous lettering, he referenced passages from Genesis, Psalms, Job, Isaiah, and Revelation—each chosen to affirm that the world was fixed, measurable, and divinely sustained.
He drew heavily from verses such as “He set the earth on its foundations, so that it should never be moved” (Psalm 104:5) and “The four corners of the earth” (Revelation 7:1). These weren’t decorative citations; they were architectural supports for his worldview. To Ferguson, Scripture functioned like engineering specifications from the Creator Himself.
The map’s structure mirrors that theology: a solid square earth beneath a vaulted sky, “the firmament” dividing the waters above from the waters below. Each angle, compass line, and curve reinforces what he saw as biblical geometry—proof that the heavens were not infinite chaos but a crafted canopy. In Ferguson’s mind, to deny that order was to undermine divine authorship.
Viewed this way, the map becomes more than cartography; it is devotional scholarship translated into visual symmetry—a physical model of faith drawn with draftsman’s care.
Ferguson’s Rejection of Gravity and the “Flying Earth”
In both his pamphlet and lectures, Ferguson argued passionately against the “Flying Earth Theory,” his term for heliocentrism and planetary motion. He regarded gravity as an imagined force, unmentioned in Scripture and unnecessary to explain stability. Instead, he proposed that air pressure—a tangible, God-made medium—pressed downward upon humankind and held oceans against the earth’s rising edges.
He performed his own calculations, claiming the sun measured 30 miles in diameter and traveled roughly 3,000 miles above the earth, circling the central pole like a lamp over a great table. The moon, he believed, moved on a parallel but offset track, producing phases by relative distance rather than shadow.
Ferguson’s calculations arose from a sincere effort to reconcile observation with the written Word, not to oppose it. He measured the heavens as he understood them — translating biblical descriptions into proportion and form. His figures were not speculative curiosities but reflections of a worldview where Scripture defined the framework of creation itself. To Ferguson, mathematics and measurement were tools to reveal divine order, not to challenge it. His map stands as a testament to that conviction — a belief that truth could be drawn, studied, and honored in visible lines
Cultural Legacy and Enduring Fascination with Historical Flat Earth Maps
2011 Library of Congress Donation and Renewed Interest
In 2011, retired college instructor Don Homuth of Salem, Oregon, made a remarkable gift to the Library of Congress Geography and Map Division — a well-preserved copy of Ferguson’s 1893 Map of the Square and Stationary Earth, inherited through his wife’s family. Until that donation, only scattered references to the map existed in South Dakota archives, and its creator was little more than a footnote in local history.
When the Library cataloged the piece (Digital ID 2011594831), it included supplemental materials: a CD-ROM containing Ferguson’s obituary, typed notes from the Square World pamphlet, and correspondence documenting the map’s provenance. Curators immediately recognized its rarity, classifying it as a prime example of religious cartography — printed theology expressed through geographic form.
The story quickly gained national attention. The Atlantic published an online feature titled “The Flat Earth Map of 1893,” while South Dakota Magazine released a detailed article, “Hot Springs’ Square Thinker,” exploring Ferguson’s life and ideas. Regional outlets such as the Grand Forks Herald followed, calling it “one of the rarest American maps ever printed.”
Museums and educators soon took note. The Leventhal Map Center at the Boston Public Library included Ferguson’s work in its Bending Lines exhibition, and the Smithsonian Libraries Blog cited it in a 2018 feature on unconventional Earth models. For the first time in more than a century, Ferguson’s vision — once confined to the pews and printing presses of the 1890s — was being discussed again in classrooms, galleries, and map collections around the world.
His rediscovery reframed the map not as an oddity, but as a lens into an era when faith, observation, and craftsmanship were inseparable. The same conviction that once filled his lectures in Hot Springs was now preserved, studied, and displayed under museum glass.
Ferguson’s appeal endures because conviction has a language of its own — and he spoke it fluently through design. His map reflects a worldview grounded in Scripture, drawn with the precision of someone certain of his purpose. It stands today as both historical artifact and testimony to the enduring belief that creation was formed with intention and order.
Frequently Asked Questions about Orlando Ferguson and His 1893 Flat Earth Map
Did Orlando Ferguson create any other maps or visual works besides the Square and Stationary Earth Map?
While this 1893 map is his only known large-format cartographic piece, Ferguson also produced diagrams and lecture illustrations for his Square World pamphlet. Several smaller sketches—now lost—were reportedly shown at public talks in Hot Springs and mailed to churches throughout the Dakotas. His writings suggest he viewed the 1893 lithograph as a definitive “Bible Map,” intended to consolidate his prior work into a single teaching aid.
How did Ferguson’s ideas compare to earlier biblical cosmologies, such as those of Cosmas Indicopleustes or medieval mapmakers?
Ferguson’s worldview drew on the same general tradition as Cosmas Indicopleustes (6th century), who described the world as a tabernacle-shaped plane beneath heaven’s canopy. But Ferguson reinterpreted that vision through 19th-century precision—square geometry, labeled coordinates, and printed proofs rather than manuscript art. His map marks one of the final known attempts to translate biblical cosmology into scientific diagramming within the modern printing age.
What role did L.H. Everts & Co. play in producing the map?
L.H. Everts & Co. was a respected Chicago-based lithographic and atlas firm known for county and township maps. By commissioning them, Ferguson ensured his design met the technical quality of contemporary geographic prints. The company’s involvement also explains the map’s crisp lettering and high plate detail—features unusual for privately funded religious works of the time.
Are there handwritten notes or annotations on surviving originals?
Yes. The Library of Congress copy includes faint pencil marks and a small ink correction near one caption box, believed to be Ferguson’s own editorial adjustments before the final press run. These marginal notes—minor spelling changes and verse clarifications—offer rare insight into his editing process and confirm that he personally supervised production rather than outsourcing it entirely.
How was Ferguson’s map rediscovered and authenticated in modern times?
In 2011, retired professor Don Homuth of Salem, Oregon donated his family’s copy to the Library of Congress. Curators cross-referenced the piece with local Hot Springs newspaper ads, the original L.H. Everts print register, and Ferguson’s 1890s pamphlet references to confirm authenticity. The donation drew national press attention and renewed scholarly interest in 19th-century American “alternative cosmologies.”
Why Buy Our Ferguson’s 1893 Map of the Square and Stationary Earth
Owning an ADVENTURE iDIAZ reproduction of Orlando Ferguson’s Map of the Square and Stationary Earth is more than just adding a wall print — it’s preserving a conversation between faith, art, and early American design. Every print we produce honors the integrity of Ferguson’s original work while meeting the standards of today’s collectors and educators.
Built for Display and Discovery
Each map is printed on tear- and water-resistant polypropylene, ensuring decades of life whether it’s framed behind glass or used as a teaching piece in classrooms. The 36″ × 45″ size reveals details invisible in smaller reproductions — from the angelic figures in each corner to the precise lettering around its border.
Ready to Frame for Any Setting
With its timeless palette and balanced proportions, the map complements almost any environment. Whether you display it in a home office, library, classroom, or gallery, it brings instant warmth and intellectual intrigue. It’s shipped rolled and ready to frame — a simple way to elevate your space with history.
Remarkable Beauty, Historical Value
Few pieces blend artistry and theology so harmoniously. The sepia tones, measured geometry, and ornate typography make it both conversation piece and artifact. Because this edition is faithfully remastered from the Library of Congress original, each print carries genuine historical value and curatorial authenticity.
A Collector’s Piece with Purpose
We view Ferguson’s map not merely as an artifact, but as enduring evidence that Scripture still offers a framework for understanding creation — a world intentionally formed and beautifully measured by its Maker.
Own a Piece of Biblical and Cartographic History
Bring home a piece of history and faith — the 1893 Map of the Square and Stationary Earth by Orlando Ferguson. More than art, it’s a statement of craftsmanship and conviction — a map that dares to see the world as divinely designed and beautifully ordered.
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