Matthew Edney
Series 2 Episode 3
Riches and Rivalries: The Evolution of European Cartography with Matthew Edney
Series 2 Episode 3
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Welcome to What’s Your Map? In this episode, Matthew Edney, Osher Professor at the University of Southern Maine and Director of The History of Cartography Project, takes Jerry to 16th century Amsterdam, where silver from the New World is flowing copiously, and maps have been elevated from the scientific designs to sumptuous works of art.
Joan Blaeu’s vibrant 1662 world map shows the world in twin hemispheres, surrounded by celestial Roman gods, the four seasons, beasts and birds. It is the centrepiece of his family’s master work: the Atlas Maior, or Grand Atlas. Comprising 11 or 12 volumes, over 4,600 pages and 594 maps, this atlas illustrates the high point of Dutch cartographic publishing.
But what motivated the Blaeu family to make such an atlas? Who were their competitors? And why do people make maps at all? Matthew and Jerry discuss this evolution of European cartography in the early Modern period, against the backdrop of the ‘discovery’ of the New World, and the sheer consumerism that came with it.
Matthew also touches on the different theories around map-making in contemporary times; and why cartography “needs to die”. We hear about his work as the director and co-editor of The History of Cartography Project, and the lack of diversity in the field of cartography.
To zoom in to a high-definition image of the map during the podcast, click on the image below:
This is the "New and Most Accurate Map of the Entire World” by Dutch cartographer and publisher, Joan Blaeu (1596-1673). It derives from Blaeu’s monumental eleven-volume Atlas Maior, published in Amsterdam, 1662.
This splendid double-hemisphere world map is the first to feature in the atlas. It shows the 'New World' (the Americas) in the west; and Europe, Africa and Asia in the east. The map includes cartographical oddities such as California as an Island, the unknown coastline of the Pacific North West, an unusual depiction of Japan, and an emerging vision of 'Hollandia Nova' (Australia). Surrounding the map are embellished borders featuring allegories of the Cosmos and its earthly effects, the four seasons.
Open the image below to explore some of the features included on this map:
This upper border depicts Greek / Roman Gods representing the planets. They are cleverly situated in concentric rings amongst the clouds to put their physical position in relation to Earth and order within the Cosmos into context. Either side of this dramatic scene, an Astronomer and a Geographer.
By publishing this feature on the map, Blaeu became one of the first mapmakers to embrace and promote Nicolaus Copernicus' then-radical theory; the Earth was no longer the centre of the Universe!
Drag to compare
This fundamental shift from belief that the Earth was at the centre of the Universe (known as the 'geocentric model'), to the understanding that the Sun was in fact at the centre of the Universe (the 'heliocentric model'), is based on polymath Nicolaus Copernicus's theory published in "De Revolutionibus Orbium Coelestium" (1543).
Both solar system models shown in the comparison above derive from Andreas Cellarius' Star Atlas, "Harmonia Macrocosmica", published by Jan Jansson, 1661.
You can find out more about Geocentric and Heliocentric solar system models in the Glossary pages.
Map of Scotland, from Blaeu's "Atlas Maior"
In the 17th century, Dutch publishers began to create impressive wall maps and opulent atlases, driven by the increasing demand of their wealthy patrons. The Atlas Maior was a product of commercial competition between the leading publishing houses in Amsterdam; the Blaeus and the Hondius Family (and their successors, the Janssons).
In order to out-compete the sheer amount of work his competitors were able to publish, Blaeu issued an additional volume in the Atlas Maior, focusing on maps of Scotland, based on the work of 16th century antiquary, Timothy Pont (c1565–c1615).
Blaeu obtained a further edge over his rivals when he was appointed the official Cartographer to the Dutch East India Company (VOC) - a highly prestigious position. This allowed Blaeu's firm to draw directly on maps returning from the Dutch voyages, and continually supply the latest iterations to VOC Captains. Blaeu's commercial publishing business hugely benefitted from this privileged access.
The period between 1580 to 1670 is known to scholars and collectors as the 'Dutch Golden Age of Cartography' and noted for its grand and highly decorative maps. During this time, the Dutch nation flourished in the fields of exploration, science, and art, often as a result of the colonisation and exploitation of other countries.
By the 1680s, emerging cartographers such as Frederick de Wit and Nicolas Visscher took over as market leaders, streamlining atlases to just contain maps to satisfy demand. Moving into the 18th century, "carto-mania" had exploded; triggering the mass-consumption of maps as works of contemporary knowledge - however it would not be until the mid-19th century that maps were collected as objects of antiquity. By the 20th century, maps had become much more scientifically accurate, but far less artistic. There was a desire to collect and examine old maps as symbols of progress and equally as works of art, and this is where the study of the history of cartography comes to the fore...
J. B. Harley. Image source: The History of Cartography Project
If you have ever glanced at historical mapping reference works, the likelihood is that you have already come across the name; J. B. Harley.
J[ohn] Brian Harley (1932-1991) was a geographer, cartographer, and historian specialising in maps and mapmaking at the Universities of Birmingham, Exeter, Liverpool, and Wisconsin–Milwaukee. He was a co-founder of The History of Cartography Project alongside David Woodward (1942-2024). Their profound contribution to our understanding of historical mapmaking and geography through the Project has often been the starting point for many cartography academics and enthusiasts.
The seminal History of Cartography Project is a internationally acclaimed research, editorial, and publishing venture, focusing on the history of maps and mapmaking from ancient times through to the 20th century. This prolific work exists in 6 volumes, the majority of which are available to download on the Project's website for free, or to purchase as printed tomes. This award winning series is edited by a team of international scholars in the arts, sciences, and humanities, including Professor Matthew Edney and is published by the University of Chicago Press.
Jerry and Matthew joke that there are similarities between the expansion of Blaeu’s Atlas Maior and ambitious The History of Cartography Project... The final volume, the fifth in the series of 6, focuses on the 19th Century, is due for completion in 2027.
About Matthew Edney
Matthew Edney is the Osher Professor in the History of Cartography at the University of Southern Maine.
Edney moved to the University of Southern Maine as faculty scholar in the Osher Map Library and Smith Center for Cartographic Education in 1995, and became Osher Professor in the History of Cartography in 2007.
He is also the director of the History of Cartography Project at the University of Wisconsin–Madison. He worked with Mary Pedley as an editor of Cartography in the European Enlightenment, volume 4 of The History of Cartography. In 2005 he became the director of the Project, after the death of his graduate advisor, David Woodward. He persuaded the University of Chicago Press to publish the next three volumes of The History of Cartography in full colour and place the published the Project volumes online for free public access.
Since moving to Maine, Edney has studied the mapping of colonial New England and North America, including John Mitchell's 1755 map of North America that is often called "the most important map in American history."
He maintains a blog, Mapping as Process, where he discusses the study of mapping processes: production, circulation, and consumption.
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