Tag: cartouches

New Books on Early Modern Maps

Published on by Jonathan Crowe

Three books that have come out or are coming out this year that deal with maps of early modern Europe:

Navigations: The Portuguese Discoveries and the Renaissance by Malyn Newitt (Reaktion, 24 Apr). “Navigations re-examines the Portuguese voyages of discovery by placing them in their medieval and Renaissance settings. It shows how these voyages grew out of a crusading ethos, as well as long-distance trade with Asia and Africa and developments in map-making and ship design. The slave trade, the diaspora of the Sephardic Jews and the intercontinental spread of plants and animals gave these voyages long-term global significance.” £25/$40. Amazon (Canada, UK), Bookshop.

Here Begins the Dark Sea: Venice, a Medieval Monk, and the Creation of the Most Accurate Map of the World by Meredith F. Small (Pegasus, 6 Jun). A book about the famous Fra Mauro map. “Acclaimed anthropologist Meredith F. Small reveals how Fra Mauro’s mappamundi made cartography into a science rather than a practice based on religion and ancient myths.” $29. Amazon (Canada, UK), Bookshop.

Frames that Speak: Cartouches on Early Modern Maps by Chet Van Duzer (Brill, 25 May ebook, 19 Jul print). I’ve been following Van Duzer’s work on horror vacui, the lack of empty spaces on maps, for some time (1, 2); that work seems to be taken up by at least the first chapter on this new book on cartouches, which is available for free as an open-access download. “This lavishly illustrated book is the first systematic exploration of cartographic cartouches, the decorated frames that surround the title, or other text or imagery, on historic maps. It addresses the history of their development, the sources cartographers used in creating them, and the political, economic, historical, and philosophical messages their symbols convey. Cartouches are the most visually appealing parts of maps, and also spaces where the cartographer uses decoration to express his or her interests—so they are key to interpreting maps. The book discusses thirty-three cartouches in detail, which range from 1569 to 1821, and were chosen for the richness of their imagery.” $144. Amazon (Canada, UK), Bookshop.

More: Map Books of 2023.

‘With Savage Pictures Fill Their Gaps’: Chet Van Duzer on Horror Vacui

Published on by Jonathan Crowe

Chet Van Duzer’s presentation about the lack of empty spaces on old maps—horror vacui—at the November 2017 meeting of the New York Map Society has now been uploaded to YouTube.

As I’ve said before, the subject of empty spaces on maps is of considerable interest to my own research on fantasy maps: fantasy maps tend to be full of empty spaces not germane to the story, whereas real-world maps were covered in cartouches, sea monsters, and ribbons of text. As a result I’m very interested in what Van Duzer has to say about the subject, and have been looking for something exactly like this recorded talk for some time.

I wasn’t disappointed. Van Duzer lays out, with some particularly over the top examples, how empty spaces on maps were consumed (his term) by text, ships, sea monsters and other embellishments that were designed for that very purpose. Some of those embellishments were absolutely enormous, others curiously redundant: a single map does not need four identical scales or a dozen or more compass roses, for example. “Everything we’re seeing here was a choice on the part of the cartographer,” he says at one point; “all this information could be disposed differently.”

Previously: Horror Vacui: The Fear of Blank Spaces.

Horror Vacui: The Fear of Blank Spaces

Published on by Jonathan Crowe
Olaus Magnus, Carta Marina, 1539. Detail. James Ford Bell Library.

In an article I published in 2013, I argued that one key difference between fantasy maps and the real-world medieval and early modern maps they purport to imitate is blank spaces: fantasy maps are full of blank spaces (that which is not in the story is not on the map), whereas real-world maps were covered in cartouches, sea monsters, inset illustrations and other embellishments. One of my sources for that article was a book by Chet Van Duzer: Sea Monsters on Medieval and Renaissance Maps (reviewed here).

Recently Van Duzer has been giving talks on the very subject of the lack of empty spaces on old maps. Which, as you can imagine, is very relevant to my interests. In October he spoke on the subject at the Barry Lawrence Ruderman Conference on Cartography, and earlier this month he gave a similar talk at the New York Map Society. Here’s the abstract from the Ruderman Conference:

Historians of cartography occasionally refer to cartographers’ horror vacui, that is, their fear or hesitancy to leave spaces blank on maps that might be filled with decorations. Some scholars have denied that this impulse was a factor in the design of maps, but the question has never been examined carefully. In this talk I will undertake such an examination, showing that horror vacui was indeed an important factor in the design of maps, at least for some cartographers, from the sixteenth to the early eighteenth century. Some of the factors that motivated cartographers’ concern about empty spaces will also be examined, as will maps by cartographers who evidently did not experience this fear. In the eighteenth and nineteenth centuries maps began to be thought of as more purely scientific instruments, cartographic decoration declined generally, and cartographers managed to restrain their concern about spaces lacking decoration in the interest of presenting their work as modern and professional.​

But since I couldn’t make it to those events, all I had was that tantalizing abstract. (Publish something!) Fortunately, we now have a little more: Greg Miller has written a piece about Van Duzer’s research over on the National Geographic All Over the Map blog.

Review: The Art of the Map

Published on by Jonathan Crowe

In The Art of the Map: An Illustrated History of Map Elements and Embellishments, retired history professor Dennis Reinhartz explores the design elements at the margins of western maps from the sixteenth to the nineteenth centuries. It is both a lavishly illustrated book and a close interrogation of the design elements used by western cartographers during the period in question.

From compass roses to cartouches, to sea monsters in the oceans and people and animals in the margins, these elements were used to fill up the otherwise empty corners of a map (of which there were many in this period), set the tone for the map, or otherwise provide information. Most of these elements are gone today (most: National Geographic still makes use of insets and commentaries). Even most fantasy maps, which ape in many ways the maps of this period, may have little more than a cartouche and a compass rose, and are spare in comparison to their historical kin.

Reinhartz organizes his book by elements: ships, sea monsters, plants, animals and people all get their own chapter. With what seems to be a rather small sample of maps, he often returns to the same, familiar maps to discuss a different element. But because The Art of the Map spans more than 300 years, we are not looking at a specific style or usage: the differences between a 16th-century portolan chart and a 19th-century bird’s-eye map of a city are quite substantial.

This book does not make a specific, scholarly argument about these map elements; it’s an appreciation of them, illuminating their essential character by repetitive example. But its intense examination of antique maps’ marginal elements may well open your eyes to, and appreciate, parts of the map that, as present-day readers with present-day map-reading habits, you may well have glossed over.

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