Friday, March 24, 2006

5 Centuries of Champagne Cartography

Châlons-en-Champagne - engraving 1630.
The original cartographic maps were crude endeavours carved in wood (the end of the 15th century) that were limited in the detail they could sustain and the length of time they lasted. With the development of metal engraving during the 16th and 17th centuries, better quality charts were prepared, primarily for civil and military administrators. In the 19th century, lithography allowed for low cost reproductions and maps became available to a wider section of the population beyond the elite. The pressures of industrialization and competition for land resources were a secondary reason maps became more easily available.

Plan de Mézières pour servir au projet de 1724.
Under the Ancien Régime (old feudal/royal order) engineering corps constructed fortifications for city protection and to house new armaments. Maps were drawn for planning upkeep, for use during the actual construction on the ground and copies were also held by the King in Paris. Further copies were often made for warfare chronicles and for private collections.

Carte des environs de Troyes pour servir à désigner la situation des lieux où les
chanoines réguliers de la Trinité ont leurs héritages et propriétés - 18th century.
Surviving feudal maps from the Ancien Régime which were made for the religious and civil nobility display not only land usage and hunting rights at the time, but they also allow modern geocartographers some historical insight into regional forest, water and land management.
(2 more rural land use maps below)

Les villages des Granges et de Vanlay, 1699.

Eaux et forêts de Troyes - 18th century.
Water and forestry map.

Carte générale des chemins de fer de la Champagne
et de l'Aisne publiée par Matot-Braine.
Lithograph - 1859.
Major transport routes had been built during Roman times and little in the way of upkeep or extension was undertaken until the latter half of the 18th century. An administrative department for roads and bridges was established in 1716 and a proliferation of transport maps followed. Originally these maps helped with the planning of roadworks, but inland waterways - still the major transportation route for rural products or goods from the city - became an increasingly important cartographic feature. Finally, once the major inter-regional roads were constructed during the 19th century and mapping techniques became more widely known, cartographers came to include the railways - burgeoning communication networks called for charts relating to tourism, statistical and economic themes.

Tableau d'assemblage du plan cadastral parcellaire de Germainvilliers.
Probably late 18th-early 19th century.
In 1791, following the Revolution, a huge cadastral (registration of ownership and value of lands) project was commenced across France. Precise knowledge of property size and land ownership was to assist with adminstrative procedures such as taxation. The vast cartographic enterprise that augmented the written records didn't properly begin until ~1807 and wasn't completed until ~1850.

Plan de la seigneurie des Noës. Troyes.
17th century feudal map on parchment - said to have been a sign of distinction in general cartography as most (non-marine) maps were printed on paper by that stage.

Canal de la Haute-Seine - Ville de Troyes, projet d'alignement
approuvé en 1806 Saguery, fait par l'ingénieur en chef du département
de l'Aube [plan des canaux et du port de flottage de Troyes].
Maps in relation to industrial and agricultural usage were/are within the purview of the local authorities and in this case, the map shows approved canal changes in the early 19th century.


The Champagne-Ardenne region of France is directly east of Paris. All the material above comes from Terres de Champagne-Ardenne: Cinq siècles de cartographie, a Troyes library website posted in conjunction with an exhibition they are having between April and June this year.

All the words here are mine and are a product of my own translations, deductions, reasoning, web reading and some web translations. So I recommend you sprinkle on some salt prior to digestion. This is an excellent website and I've only provided a few mouthfuls from an otherwise sumptuous meal for those of the cartohistoriological persuasion. More power to francophonic visitors.

Apart from this final map (which comes from here) I've uploaded full size files so click on the images above for a larger view. It's a mostly flash website using Zoomfiy making extraction of images/image details a bit difficult. Some of the Zoomify boxes and library stamps have been removed from the background.

Wednesday, March 22, 2006

Vladimir Gvozdariki






Illustrations © Vladimir Gvozdev at the Gvozdariki site. There are also wonderful dolls, animations and paintings at the website of this artist from Almaty, Kazakhstan Moscow. The above illustrations are not representative of his other work or at least, he demonstrates some contrasting styles let's say. Excellent stuff!
An article from 2002 - dead link and wrong artist (there is another artist named Vladimir Gvozdev who lives in Almaty, Kazakhstan).
[Updated information comes from the artist - the one from Moscow]

Tuesday, March 21, 2006

Old German Zoological Charts













The Biology Department at Humboldt University in Berlin have a sizeable collection of old zoological posters (links on the right, divided into taxonomic classes). There are no dates visible but guessing wildly I think they are from the late 19th century to early 20th century. I found the server to be a bit slow but it could just be my present connection. [via]
Previously: 19th Century Wall Charts.


Doodles, Drafts and Designs

Evans Dual-purpose Streamlined Auto-Railers
Detroit, Michigan, 1930s

Automatic compound bevel wheel cutting machine
1883 ink on linen

Patent drawing of Maidenform brassiere, 1938
William Rosenthal and Charles M. Sachs, Maidenform Co., New York, New York
printed ink on paper. No wonder they're so complicated to remove!

Farrell-Cheek Steel Co., Finest Steel Circular Products for Industry
Sandusky, Ohio, 1940s

Cross-compound pumping machine,
Holly Manufacturing Company,
Lockport, New York 1897 ink on linen

Doodles, Drafts & Designs - Industrial Drawings from the Smithsonian.

Monday, March 20, 2006

The Rubáiyát of Elihu Vedder

Oh, come with old Khayyam, and leave the Wise
To talk; one thing is certain, that Life flies;
One thing is certain, and the Rest is Lies;
The Flower that once has blown for ever dies.








Elihu Vedder 1836-1923 trained as a painter in New York, France and Italy and returned to USA during the civil war. He carved out a meagre existence as an illustrator and befriended Walt Whitman and Herman Melville.

He went back to Italy following the war and concentrated on symbolist oil painting, preferring female nudes in mystical or unreal situations, as a generalization. He had modest success with this genre work.

Between 1883 and 1884 Vedder produced 54 'accompaniments' - refusing to call them illustrations - for an english version of the 12th century Persian epic poem, The Rubáiyát of Omar Khayyám. It had been first introduced to the english speaking world in the 1850s through a translation by Edward Fitzgerald. The poem deals with the subjects of mortality and a person's fragility and destiny, and advocates for simple enjoyment of life.

Omar Khayyám had been a mathematician, astronomer and sufi mystic. Vedder himself was influenced by other mystics such as William Blake and WB Yeats. Vedder's Rubáiyát was lauded as a landmark artistic book and the first print run sold out in 6 days.
"With his Academic and yet "visionary" style, Vedder was the ideal artist to interpret the Rubáiyát; he reconciled the critics who called for accurate depiction of observed reality with those who argued for feeling and emotion over objective form."
I must admit that I was in 2 minds as to whether I would post this or not. As an impressionable teenager I found the poetry compelling and its mysterious origins enticing. So it holds a special place in my own reading history. But it was a little like seeing the movie after reading the book when I discovered Vedder's interpretation of the great work - usually a less than impressive situation.

I do like the illustrations but perhaps not to the same extent as the original audience. Nor would I concur with the hyperbole I saw in passing from USA Today where Vedder's illustrative work is "held by many to be one of the greatest artistic treatments of a literary work". I appreciate the detail and devotion but the classical stylizing with mystical imagery seems a little incongruous to me, at times. However, it made me think and reminded me of a favourite book from long ago, so it has been successful on a couple of levels. The page layout and imagery very much reminds me of Blake's poetry etchings.

Sunday, March 19, 2006

Splendor Solis








The illustrated alchemical work, Splendor Solis 'The Splendor of the Sun' is a famous 16th century vellum manuscript with 22 ornately illuminated paintings, together with less memorable text. It is said to have been produced by Salomon Trismosin who was supposedly the tutor of Paracelsus.

There are ~20 extant versions, the earliest of which is held by a museum in Berlin. Adam McLean tells us that the allegorical emblems featured relate to birth/death themes and transformation of animals into the King and Queen, with the flasks representing the planets. An early 17th century French copy is well known as La Toyson d'or.

Although all the plates are at the Levity site, larger and better quality versions have been posted (they are all copies from a single source - the British Library's 1582 copy) by Hermetics [single large image per page], Chrysopée [full sized images, all on a single page] and Gnostic Media -which have thumbnail views over 2 pages.
Wikipedia have quoted Adam McLean verbatim without reference and also don't provide a citation for stating that Albrecht Dürer and Hans Holbein were sources for the images (what they say is ambiguous really). So I wouldn't be relying on this account.

 
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