by Shirley K. Bennett

Maps published in the Low Countries in the seventeenth century are known to be important sources of information for modern geographers researching land discoveries and voyages of the period. It is less well appreciated that these maps are also valuable resources for art historians interested in the graphic arts. A profusion of decorative motifs added to the maps transformed them from utilitarian objects into works that were and are appreciated for their aesthetic qualities.

The appearance of extensively decorated maps in seventeenth-century Netherlands is not surprising, considering that this period has been called both the "Golden Age of Art" and the "Golden Age of Cartography."[1] Interest in cartography went hand in hand with the discovery of new lands and the importance of sea trade in the Dutch economy. The high rate of literacy and rising prosperity in the Dutch middle class created a market for maps that were both functional and decorative. The maps produced were in many forms: large wall maps, maps to be bound into atlases and Bibles, and maps to be sold to connoisseurs, who catalogued them as part of their print collections.

Irrespective of their purpose, these engraved maps were often elaborately and beautifully decorated. Resplendent watercolor was frequently added to enhance their value. On many maps, the pictorial art was of such abundance and elegance that it dominated the work. Land and sea areas were adorned with ships, mermaids or sea monsters. Cartouches that enclosed pertinent information were imaginatively ornamented. Borders of decorative prints adorned many of the larger maps. These borders might depict favorite landmarks, historical events or allegorical themes relevant to the city or country portrayed. On maps destined for Bibles, the visual presentation of biblical stories reminded the viewer of his Christian duties, and also facilitated an understanding of biblical texts.

Despite the extensive attention paid to the cartographic aspects of seventeenth-century Dutch maps, the focus has rarely been upon their importance as works of art. In particular, very little research has been done to determine the artists responsible for the decoration.[2] Little or no documentation exists. In most instances the decorative elements were not signed, with the result that it is only possible to identify the artist by comparing images on the maps to drawings or individually published prints with firm attributions. Once a connection is made between an image on a map and a print or drawing, the question arises as to whether the work was done expressly for the map or whether the map print was copied from an existing work by the artist.

Previous publications have shown that some acclaimed seventeenth-century Dutch painters contributed designs for map ornamentation. E. Schaar noted in 1956 that a set of allegorical drawings by the celebrated painter Nicolaes Berchem were used as designs for decorative vignettes on maps published by Nicolaes Visscher.[3] In 1974 a print on a 1605 Willem Blaeu map was connected to a drawing attributed to David Vinckboons.[4]

1. Petrus Plancius, Tabula Geographica, in qua Paradisus. ... Published by Jan Evertsz. Cloppenborch. Signed by the engraver, Baptista Doetecum. Copperplate engraving with watercolor, 29 x 49.4 cm. Bound with a Bible in The Hague, Koninklijke Bibliotheek