The six essays are: From Mental Matrix to Mappamundi; The Mapping Impulse in Dutch Art; Maps as Metaphors; Mural Map Cycles of the Italian Renaissance; Color in Cartography: A Historical Survey; The Sources and Development of Cartographic Ornamentation in the Netherlands; and The Manuscript, Engraved, and Typographic Traditions of Map Lettering. Collectors and dealers will find much of interest. I personally enjoyed a discussion of Vermeer's Art of Painting, which features a wall map known from one surviving copy. The map appears in another painting as well. The fact that more examples are in paintings than there are surviving copies illustrates the high mortality of the large wall maps. Elsewhere, we learn that the distinctive cartouches on Ortelius' maps were copied from engraved ornament books. Some of his ships were copied from an engraving at one time attributed to Bruegel the Elder. It was also amusing to read how Braun and Hogenberg supposedly decorated their maps with costumed figures to prevent tgeir use for military purposes by the iconophobic Moslem Turks! The essay on map lettering is much more interesting than it may sound. Dealers and collectors will find much of relevance and interest. Highly recommended.
David C. Jolly, 1988
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