Interesting essay for the History of Cartography Project from Matthew Edney, on the practice of treating maps as separate from the books they were originally published in—and physically removing them from those books—and the damage that does, both to the physical objects and to our understanding of the past.
The key issue is that over many centuries, maps have routinely been removed from their original contexts without clear records being kept. These practices have been extensively countered and halted since the 1970s, however they have left a legacy that requires great effort to overcome. But that effort always pays off: resituating early maps in the original contexts of their production, circulation, and use inevitably allows for more new interpretations of their meaning and significance.
Australian author and illustrator Kathleen Jennings will teach a workshop on fantasy mapmaking in June: the focus of Map Making and World Building is “on story and art,” the mapmaking illustrative rather than cartographical, and in general it seems to be about the relationship between map and story. The workshop will take place on 19 June both in-person (at the Queensland Writers Centre in Brisbane) and via livestream; tickets range from A$35 to A$100, depending.
A History of Maps and Mapping, a short introductory online course taught by Katherine Parker as part of the London Rare Books School’s program of summer courses, “will challenge students to destabilize and broaden the traditional definition of ‘map’, and to recognize maps as socially constructed objects that are indicative of the values and biases of their makers and the cultures that created them. Students will learn how to analyse and catalogue maps for a variety of research purposes, and to discuss changes in map technology and style without recourse to a progressive narrative of scientific improvement.” Matthew Edney will supply a guest lecture. The course runs from 29 June to 2 July and costs £100 (student) or £175.
Out tomorrow from Johns Hopkins University Press, Alida C. Metcalf’s Mapping an Atlantic World, circa 1500 explores how sixteenth-century European maps conceptualized a new, Atlantic-centred world. From the publisher: “Metcalf explains why Renaissance cosmographers first incorporated sailing charts into their maps and began to reject classical models for mapping the world. Combined with the new placement of the Atlantic, the visual imagery on Atlantic maps—which featured decorative compass roses, animals, landscapes, and native peoples—communicated the accessibility of distant places with valuable commodities. Even though individual maps became outdated quickly, Metcalf reveals, new mapmakers copied their imagery, which then repeated on map after map. Individual maps might fall out of date, be lost, discarded, or forgotten, but their geographic and visual design promoted a new way of seeing the world, with an interconnected Atlantic World at its center.” [WMS]
Speaking of his ancestor’s legacy, great-grandson, John Eric Bartholomew, told the Evening News that the fact John George Bartholomew is recognised as the man credited with being the first to put the name Antarctica on the map remains a great source of pride.
Little known is that, in 1886, Bartholomew had a brief flirtation with considering the name “Antipodea” for oceanographer John Murray’s map depicting the continent, before settling for Antarctica.
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.”
“Mapping a Better Tomorrow” is a 30-minute film produced in 1971 to explain the work of the U.S. Army Topographic Command (TOPOCOM). After explaining maps from first principles, it covers the state of the art in terms of cartography, computer mapping, photogrammetry and surveying circa 1971, including the production of topographic maps, maps of the Moon and maps of, erm, southeast Asia. Since U.S. government publications are public domain, it’s available in several locations, including the Internet Archive (above), DailyMotion and Vimeo.
As with other volumes of the project, it’s a massive piece of work: two physical volumes and nearly two thousand pages. Edited by Matthew H. Edney and Mary Spondberg Pedley and featuring the work of more than 200 contributors, this book “offers a comprehensive overview of the cartographic practices of Europeans, Russians, and the Ottomans, both at home and in overseas territories, from 1650 to 1800.”
I say “nominally” because, Edney reports, “the entire print run of the book is being held at the printers in Manitoba until the pandemic recedes and there is someone at the press warehouse to receive the shipment and get the hard copies into everyone’s hands. So, please be patient.” The ebook version is in preparation.
While quite expensive to purchase, each volume is made available for free download on the History of Cartography project website 24 months after publication. Volumes one through three and six are available now; check back for volume four in the spring of 2022.
A large relief model of the Grand Canyon, created by Edwin Howell in 1875, has resided in the University of Wisconsin–Madison’s Science Hall since 1980. The History of Cartography project’s offices are also in Science Hall. Lindsey Buscher, an editor on that project, wanted to include a photo of the relief model in the forthcoming fifth volume (which covers the 19th century), but the model was in too rough a state to be photographed. So they hired a professional conservator to restore the model: the results can be seen above. Now not only will the model’s photo be in the book, it’ll be on the cover. [Tom Patterson]
Britain had the Ordnance Survey, France the Cassini family. Japan had Inō Tadataka (伊能 忠敬, 1745-1818), who over a series of expeditions in the early 19th century conducted a systematic survey of Japan using modern techniques. Writing for Nippon.com, Inō’s biographer, Hoshino Yoshihisa, writes a long introduction to Inō’s life and work that is well worth the read. [Tony Campbell]
For more on the history of Japanese cartography, see Cartographic Japan, a collection of academic essays edited by Kären Wigen, Sugimoto Fumiko and Cary Karacas that was published by the University of Chicago Press in 2016.
Despite the imminent shutdown of Yahoo Groups, and the lamented demise of MapHist in 2012, discussion lists are still a thing, it seems: H-Net, that venerable purveyor of academic discussion lists since I was in academia, has, with the collaboration of the International Society for the History of the Map, launchedH-Maps, “an international digital forum in the historical study of the making, circulation, use and preservation of maps from the ancient to the contemporary period.” Scholarly in focus, to be sure.
Tony Campbell lists other discussion lists related to map history here.
Matthew H. Edney’s Cartography: The Ideal and Its History (University of Chicago Press, April) is a full-throated jeremiad against the concept of cartography itself—the ideal of cartography, which after 237 densely argued pages Edney says “is quite simply indefensible.” Or as the subtitle to the first chapter states: “There is no such thing as cartography, and this is a book about it.”
On the surface this is a startling argument to make, particularly for Edney, who holds two roles that are very much about cartography and its history: he’s the Osher Professor in the History of Cartography at the University of Southern Maine (where, among other things, he’s affiliated with the Osher Map Library) and the current director of the History of Cartography Project. With this book, Edney is essentially undermining the foundations of his own profession.
In How to Draw a Map (HarperCollins UK, September), father and son cartographers Alexander and Malcolm Swanston provide “a fascinating meditation on the centuries-old art of map-making, from the first astronomical maps to the sophisticated GPS guides of today.” In other words, title not to be taken literally: as you can tell from the online excerpt available here, it’s a potted history of mapmaking—a familiar genre around these parts. [Amazon, Apple Books]