31 August 2022
The new Roy Military Survey Gazetteer
The British Library and National Library of Scotland are pleased to announce the availability of a new gazetteer which allows all the names on the Roy Military Survey Maps of Scotland (1747-55, British Library Maps CC.5.a.441) to be searched and browsed. Through the hard work of a team of volunteers over the last six months, all 33,523 names on the Roy Map have been recorded. The transcription workflow has also recorded related or nearby names from the Ordnance Survey 1st edition mapping from a century later in order to help searching and provide additional context for the Roy names. The results are of huge value for local and family historians, placename researchers, as well as all those interested in the landscape of 18th century Scotland. As well as being able to find any name on the map, it is also possible to now generate distribution maps of particular name elements, or dynamically view all of the names in a particular area. The Gazetteer can also be downloaded in accessible formats for onward use and research.
The Roy Military Survey Map is surely one of the most significant and attractive maps of Scotland. It was a distillation of military intelligence, planned in the wake of the defeat of the Jacobites at Culloden in 1746, and surveyed at the same time as the brutal ‘pacification’ of the Highlands. The English military commanders in Scotland during the Jacobite Rebellion of the ‘45 had been 'greatly embarrassed for want of a proper Survey of the Country' and something needed to be done about it. The decision to place the Survey in the hands of a young civilian from a small village near Carluke, William Roy - who had no military surveying experience, and who was then in his early 20s - was a surprising one, even if it turned out to be an inspired and successful decision. Over the next eight years, until the mid 1750s, the whole of the Scottish mainland was surveyed at the detailed scale of one inch to a thousand yards, or about 1:36,000. For many parts of the Scottish Highlands, it is the most detailed and informative map that survives for the entire 18th century, and for all areas, the only standard topographic map prior to the Ordnance Survey mapping in the 19th century. As part of the King George III Topographical Collections, it has always been a treasured item within the British Library’s holdings, and fortunately more recent digital technologies have allowed its wider availability online, as well as transcription projects like this.
Our project to record all of the names on the Roy Map was based on the long interest in the map from those hunting for the existence and location of particular places, especially for local and family history purposes. Place name researchers have also regularly examined the Roy Map as a key documentary source for the 18th century. Many of the textual entries on the map allow other types of research too, confirming the location of things like mills, kirks, castles and estate grounds. Many significant elements of the pre-Improvement landscape - such as the smaller kirk towns and cottar towns, as well as things like moors and commonties - are clearly shown too. But libraries lack the manpower for major gazetteer recording projects, and although machine-learning and artificial intelligence continue to make strides, we felt that the only way to achieve our objective at present was by gathering a volunteer group as part of a crowdsourcing project.
In January 2022 we asked for volunteers to help with three new map transcription projects, and were thrilled (and relieved!) to find over 650 people signed up to take part. We were able to create the interfaces for recording the names using the open-source web-mapping software behind the NLS maps website, and this was helpful, as we continued to change and update these interfaces in response to feedback. We also set up an online discussion forum for participants, which has been very heavily used - 142 members, and over 210 posts over a 5 month period. Successive phases of the project revised and checked the initial names, and their related Ordnance Survey names, so that all of the names were reviewed and edited several times over. The success of the project owes itself very much to these volunteers, who have not only put in several months of hard work, but also continued to suggest changes as we went along to improve the results. As with all website projects, we also have the ability to keep revising and correcting names in response to feedback - the Gazetteer will become ever more perfect over time! Although we have just now launched the Gazetteer, some minor revision work is still ongoing, and we are happy to receive suggestions and corrections from the wider community.
Would William Roy have approved? We certainly hope so - as the “father” of what became the Ordnance Survey, he would have fully understood the value of national initiatives to gather geographic and topographic information. He would surely have delighted in the detailed scrutiny which his ‘magnificent military sketch’ was still getting, over 250 years after its original creation. That said, he might feel puzzled and worried about all the tartan, now very visibly on sale only a stone’s throw from where his Military Survey was drawn in Edinburgh Castle!
View the results of the Roy Military Survey Gazetteer Project:
- Roy Gazetteer information page
- Search all the Roy Names with a map
- Browse all the Roy Names as a list
By Christopher Fleet,
Map Curator, National Library of Scotland.
31 March 2021
Maps on the British Library's Online Gallery: update
The British Library’s ‘Online Gallery’ was first created in 2004, and over the years a number of galleries containing thousands of maps have been added to it, from the earliest Ordnance Survey maps to Tudor mapping. Each map has its own page with a full description and cataloguing information, a downloadable image, and a larger – though not downloadable - ‘Zoomify’ image.
However, at the end of last year, Adobe ceased to support Flash player and Zoomify became inoperable. For anyone who likes to zoom into a map (about 100% of people who use maps), this is an issue. This is what we’ve done to solve the problem. Firstly, we’ve removed the Zoomify links from the map pages in order to avoid confusion (you can still download a -full-size’ though under 1 MB image for your own use).
For the more heavily used galleries, we’re happy to say that the maps are available – and downloadable - from Wikimedia Commons.
For the Ordnance Surveyor Drawings, the still-active Zoomify link will redirect you straight to the same map on Wikimedia.
The Goad fire insurance maps are all there also.
Only 2,500 George III Topographical Collection maps and views were on the Online Gallery, but you can now enjoy 18,000 of them on Flickr, with even more on the way (you can link through to these images via our catalogue Explore the British Library).
And don’t forget that all of the Online Gallery maps are also available on our Georeferencer (have a go at Georeferencing a few).
Have a look at this and this blog post to discover where else you can discover British Library maps online for free.
For the other galleries such as the Crace Collection of maps of London, we are working to find a way of getting the larger images to you (you can still download smaller images from the existing pages). In due course also, these maps will all make their way onto the Library’s Universal Viewer.
Thanks again for using the Library’s online map resources. And if you get the chance, do drop us a message about the interesting things you’re doing with them.
25 November 2020
King's Topographical Collection: curator's pick
In October we released 18,000 digital images of early maps and views from the Topographical Collection of George III. View the collection on Flickr Commons, and access images via the maps and views' catalogue records on Explore. Here's my choice of five compelling maps from the collection.
1. Plan of Manila, 1739.
This is the only recorded example of this 1739 edition of the 1717 town plan of Manila in the Philippines. Manila was, and is, a key international centre of trade, and the map was actually produced in the town (in a tiny vignette we can see a copy being presented by the Spanish governor of the Philippines to King Philip V of Spain). There’s probably no better image of a bustling commercial site, proof that a town is not just about its architecture and layout, but its people and processes too. This map has additional resonance, because Manila was besieged and looted by the British in 1762, and annotations in the map’s bottom right refer to aspects of the battle. Could it be George himself annotating the map according to reports he had received of the battle?
D. Antonio Fernandez de Roxas, TOPOGRAPHIA DE LA CIUDAD DE MANILA : CAPITAL de las yslas Philipinas
Manila: Hipoloto Ximenez, [around 1739].
2. Map and survey of Plymouth Harbour, 1780
This is the map that reminds me most of the strong links between mathematics and art in maps. It’s a large and serious military drawing, officially commissioned and with an accompanying report, of a key strategic naval installation and site of British maritime strength and power. It was drawn up as part of the earliest mapping activities for what would become the Ordnance Survey a few years later, enacted in response to the threat of invasion from Napoleonic France. So why is it so stunningly and mesmerizingly beautiful? It’s a question that should infuriate everyone who sees maps purely as cold communicators of facts and 'data.'
Matthew Dixon, Colonel, surveyor.
‘A General Plan with a Project for the Defence of the Arsenals of Plymouth, / By Lieut: Colonel Dixon Chief Engineer of the Plymouth Division. Revised and corrected by Geo. Beck Jan. 1780.’
3. Aquatint view of Kingston-upon-Thames, 1813
Thomas Horner, Kingston upon Thames. 1813
Is it a map or is it a view? What is that ominous large shadow looming in, Holbein-like, from stage left? Who cares! This is an intriguing and brilliantly composed aquatint print showing a collection of views of picturesque Kingston-upon-Thames. From above, in profile, from a distance away, it’s a multi-faceted image that invites us to dissolve our perception of the differences between vistas and to see them as a combined and rounded description of a place. Cartographic cubism! As Horner himself wrote, ‘…the whole, blended into one design by a picturesque fore-ground, forms a faithful view of the parish.’ It’s a joyous visual experience, with a few intrigues and little jokes (note the bungling surveyor- stonemasons in the foreground) thrown in for good measure.
4. India, 1619
This is a portentous map - the earliest British printed map of part of India. It marks the beginning of British cartographic involvement in India that would reach new levels of science-led imperial control through mapping by 1900. The Roe-Baffin map was produced following the earliest English trade mission to the Mughal empire. It has a stellar cast: Sir Thomas Roe, the diplomat who headed up the embassy. William Baffin, the navigator who went on to attempt to locate the North West Passage (Baffin Island is named after him). Reynold Elstrack, one of the earliest native English engravers.
The map was one of very few English-produced maps to provide a model for later Dutch atlas maps by Blaeu, Janssonius and others. English mapmakers were more often the copycats. The engraving of a Mughal seal has been expertly assessed by the British Library’s Dr Annabel Gallop.
William Baffin, 1584-1622, cartographer. A Description of East India conteyninge th'Empire of the Great Mogoll. / William Baffin deliniauit, et excudebat. ; Renold Elstrack sculp.
[London] : Are to be Sold in Pauls Church yarde. by Thomas Sterne Globemaker., 
5. The United States of America, 1782
This is a map with a story and a reminder of the power – and paranoia – that can be associated with maps. John Mitchell’s map of ‘the dominions of North America’ is a tremendous cartographic achievement in its level of description of this vast area. Yes, standing on the shoulders of earlier maps, but adding a vast quantity of descriptive notes and even including naming Native American nations (who were nevertheless ignored in what followed).
On another level, this late edition of the map is a piece of history, being the copy used by the British delegation at the 1782 Treaty of Paris where the terms of the peace following Britain’s defeat at the hands of the United States were established. The map has been marked up in red to show the lines of the new border the British would be happy with. But at the conference they realised that they didn’t have to cede quite as much as they had drawn. The map suggests that Upper Canada (much of modern-day Ontario) was also available to the USA. So later the British government ordered the British Museum to lock the map away so that nobody, particularly no inquisitive Americans, might see it and demand any more.
It was hidden from view until the early 20th century.
John Mitchell, 1711-1768, cartograph.er. A MAP of the BRITISH COLONIES in North America…
[London] : Publish'd by the Author Feb.ry 13.th 1755 according to Act of Parliament : Printed for Jefferys & Faden Geographers to the KING at the corner of S.t Martins Lane Charing Cross London, [about 1775, with annotations to 1782].
13 October 2020
The K.Top: 18,000 digitised maps and views released
Today we release 18,000 digital images of historic maps, views and texts from the Topographical Collection of King George III into the public domain.
The collection has been digitised as part of a seven-year project to catalogue, conserve and digitise the collection which was presented to the Nation in 1823 by King George IV. This is the first of two planned image releases.
The images are made available on the image sharing site Flickr, which links to fully searchable catalogue records on Explore the British Library.
For the first time, anybody who wishes to can remotely view, search, research and enjoy one of the world’s richest and most varied public collections of the history of place.
The idea of remote or virtual travelling is a particularly common one today thanks to the seamless interfaces of online map viewer that simulate the idea of airborne travel and evoke the excitement of discovery. However, the idea of virtual travel has a long history, and is well illustrated by the travel-averse king who resided in his palaces and viewed the world through his collection of maps and views. This is the Google Earth of the late 18th century and the journeys it can take you on are no less informative, intriguing, and instructive of the many facets of past eras.
What is K.Top?
The King’s Topographical Collection (K.Top) is one part of the Geographical Collection of King George III (the other parts are the Maritime and Military collections). The nucleus of the collection was assembled from 1660, but added to considerably after 1760 by the king’s librarians and agents. The collection was presented to the British Museum (from 1973 British Library) as a distinct part of the King's Library in 1823,. For more on the history of the collection see this post by Felicity Myrone.
What is in it?
It’s probably easier to list what isn’t in this collection. It totals around 40,000 printed and manuscript maps, views, charts, texts, architectural plans, prints, atlases and ephemera. The collection is arranged geographically, with around 40% dedicated to the British Isles, one third covering the Europe of the Grand Tour, and 10% for British areas of influence such as North America, the West Indies and India.
What themes does it include?
Too many to mention, but here’s a sample: landscape, tourism, antiquarianism, architecture, rural life, fine art, agriculture, medieval and church studies, urban planning and development, industrialisation – canals and transport, military history, the history of collecting, the history of cartography, the Grand Tour, royal palaces and stately homes, science and invention, the history of exploration, American Independence.
As a product of the 16th-19th centuries, the collection is also associated with imperialism, and the role of maps in facilitating imperialist activities both practically and ideologically. We hope that the release of this material will facilitate research and greater understanding of these aspects of the past.
How can I access it?
18,000 images are available via the file-sharing site Flickr, which you can find here https://www.flickr.com/photos/britishlibrary/albums/72157716220271206
Images from the collection are also tagged George III Topographical Collection https://www.flickr.com/photos/tags/georgeiiitopographicalcollection
There are links to full Marc cataloguing records on Explore the British Library. To view a digital image from the catalogue record on Explore, select 'I Want This' and then 'View Online Digital Item.'
How about georeferencing?
Glad you asked. For those of you who like a challenge, we have made all of the maps from this release available on our Georeferencer Tool. See how you get on with geolocating the maps. Some will be easier than others.
What can I do with the images?
You are free to study, enjoy, download and remix these images as you see fit. When doing so, please bear in mind any potential cultural or other sensitivities associated with them. Importantly, we’d really like to know what you are doing with the images so please let us know @BLMaps or by emailing [email protected], we’d love to hear from you.
Who do we have to thank?
So very many people. Here goes:
Generous trusts and individuals including the American Trust for the British Library, Art Scholars Charitable Trust, Blue Rubicon, Viscountess Boyd Charitable Trust, Christies Education, Coles Medlock Charitable Foundation, Cornwall Heritage Trust, Cumberland and Westmorland Antiquarian and Archaeological Society, Daniel Crouch Rare Books, Dunard Fund, The Eccles Centre for American Studies, Englefield Charitable Trust, Edward and Dorothy Cadbury Trust, Hadfield Trust, John R Murray Charitable Trust, Ken Biggs Charitable Trust, Samuel H Kress Foundation, Langtree Trust, London Historians Ltd, London Topographical Society, Maunby Investment Management Ltd , PH Charitable Trust, Peck Stacpoole Foundation, Pitt Rivers Charitable Trust, Reed Foundation, Sylvia Ioannou Foundation, Swire Charitable Trust, Swinton Charitable Trust, Trefoil Trust, Turtleton Charitable Trust, Cyrus Alai, Caroline and Peter Batchelor, Michael Buehler, Tom Boyd, Richard H Brown, Claire Gapper, William B Ginsberg, Jaime Gonzalez, Martin Halusa, Jerome S Handler, Peter Holland, Tina Holland, Arthur Holzheimer, J Michael Horgan, John Leighfield, Norman Leventhal, Sri Prakash Lohia, Tom and Hilary Lynch, Lynda Partridge, Robert E Pierce, Carolyn Ritchie, David Rumsey, J T Touchton, Tony and Maureen Wheeler, Peter A Woodsford and others who wish to remain anonymous.
Dedicated project staff Felicity Myrone, Hugh Brown, Alex Ault, Mercedes Ceron, Kate Marshall, Magdalena Kowalczuk, Oliver Flory, Grant Lewis, Rebecca Whiteley, Marianne Yule, Sileas Wood, Tom Drysdale, Tamara Tubb, Fred Smith, Jeremy Brown and Emily Roy.
Also very dedicated British Library colleagues Louise Ashton, Filipe Bento, Kate Birch, Michele Burton, April Carlucci, Alan Danskin, Silvia Dobrovich, Adrian Edwards, Roger Gavin, Tony Grant, Karl Harris, Mahendra Mahey, Scot McKendrick, Victoria Morris, Magdalena Peszko, Gethin Rees, Sandra Tuppen, Mia Ridge and Joanna Wells.
And finally, none of this would have been possible without the efforts of Peter Barber, Head of British Library Map Collections until his retirement in 2015, in promoting the research value, relevance and importance of the King’s Topographical Collection to existing and new audiences.
17 July 2020
Maps and photography: a brief history, part 3
This final chapter discusses a number of cartographic innovations from the middle of the twentieth century onwards that exploited the ability of photographs to capture data - from developments in aerial photogrammetry, through multispectral satellite mapping and surveillance imagery, to the digital map platforms of today.
Technical innovations that had begun during the Second World War soon extended into the civilian sphere with the widespread adoption of aerial photogrammetry by national mapping agencies worldwide – a development that arguably had a greater impact than any other on mapping practices of the twentieth century. New radar surveying techniques allowed air photographs to be pinpointed on the ground more accurately, more economically and over far greater areas than before, bringing vast regions of inaccessible terrain within the mapmaker’s scope for the first time.
Between the 1950s and the 1980s, the whole of the Soviet Union was mapped in this way, resulting in over 300,000 sheets at a scale of 1:25,000. During the same period, the British Directorate of Overseas Surveys also covered over 2.5 million square miles of land, mostly over former British colonies and administrations that had no mapping capability of their own. The image below shows an isolated settlement and nearby areas of subsistence agriculture in eastern Nigeria. Maps made from such images contributed to state economic and social planning initiatives.
Aerial photograph of Nanguru, Nigeria, 1974. Image courtesy National Collection of Aerial Photography.
Mapping vast, sometimes featureless, inland regions led to some eccentric examples of cartography. The following detail is taken from one Australian map sheet that covers more than 2,750 square kilometers of the Great Sandy Desert. Each square is one kilometre on the side. Of the total 3,062 sheets in the series covering the whole country, only half were printed – this sheet was selected for print on account of a single track that meanders briefly along the bottom edge, before diverting back to the adjacent sheet beneath.
Detail of Australia 1:100,000 topographic survey, Weenoo Sheet 3256, 1972. BL Maps 90050.(125.).
Widespread use of air photographs also led to security concerns. As part of the British reconstruction effort after the war, the RAF covered the whole of Great Britain with aerial photography in order to assess bomb damage. Between 1945 and 1951 the Ordnance Survey published the photography as OS Mosaics, large-scale rectified photomaps of towns, cities and some rural areas.
After many images had already been published, it was feared that foreign states might benefit from the level of detail of sensitive sites that was revealed. Further editions of the same sites were therefore over-painted before publication in order to remove or disguise these features. The military airfield shown in the image below has been replaced by a fictitious pattern of fields and country lanes in the later version beneath. In 1954 OS Mosaics were removed from sale entirely.
Air photo mosaics of Britain, sheet 26/32 NE, 1946 (above), 1950 (below). BL Maps O.S.M. Image courtesy Lie of the Land, pub The British Library, 2001.
An alternative and innovative approach to photomapping was taken in Sweden. From as early as 1935, aerial photography was incorporated into the Ekonomisk Karta land use series. The large-scale photographs provided a base layer onto which topographic, cadastral and land use symbols and colours were added.
Detail of Ekonomisk Karta Över Sverige, Sheet 20K7D, 1959. BL Maps 35290.(48.). Image courtesy Lantmäteriet.
Stereo pairs of air photographs could be made into three-dimensional ‘anaglyph’ images, which were viewed through coloured glasses. Examples of these were created for military planning purposes during the Second World War, such as a German series from 1944 showing the Istrian coastline (held at BL Maps Y.3842.). After the war, the French national mapping agency published a number of anaglyphs in a Relief Form Atlas of 1956. The purpose of the atlas was to teach readers to understand the mapping of a wide variety of landscapes by showing three-dimensional views alongside maps of the same location. The following image of the volcanic cone atop Mount Karthala in the Comoros is striking when viewed through a pair of red and blue 3D glasses.
Anaglyph image and map of complex crater, Comoros, 1949, in Relief Form Atlas, pub IGN, 1956. BL Maps Ref. 912 1956.
Images taken from aeroplanes were soon joined by those taken from satellites, after the launch of Sputnik by the Soviet Union in 1957 sparked the Space Race between themselves and the USA. The speed of technological developments over this period is encapsulated in the three images following. This annotated photograph taken from a military aeroplane in 1936 captures the curvature of the Earth for the first time, and shows the highest point then reached by man.
The first photograph ever made showing the division between the troposhere and the stratosphere and also the actual curvature of the earth, National Geographic Society, 1936. BL Maps Y.84. Image courtesy Beinecke Rare Book & Manuscript Library.
Only two decades later an unmanned Russian spacecraft, Luna 3, took the first pictures of the far side of the moon as it orbited in 1959. The images were transmitted back to Earth by radio link and published in Moscow the following year in the Atlas of the Far Side of the Moon.
Atlas obratnoi storony luny [Atlas of the Far Side of the Moon], pub Akademia NAUK SSSR, 1960. BL Maps 29.b.68.
Within the next ten years man too had travelled round the moon. American astronaut William Anders took this iconic photograph, which looks back at the Earth as it rises above the lunar surface – an image of the world that had previously been possible only in the imagination.
Earthrise, 1968. Image © NASA.
Both the Soviet Union and the USA launched military reconnaissance satellites during the early 1960s that were capable of creating high resolution imagery for intelligence and mapping purposes. Civilian satellites followed, perhaps the most successful of which was Landsat, launched by the USA in 1972.
Multispectral satellite imagery became an essential feature of land survey and resource management, leading to a proliferation of thematic maps, and a new category of mapping under the title satellite image maps. The ease with which satellite imagery could track changes over time in the environment also brought new insights to many areas of study, including urbanisation, de-forestation, analysis of weather systems, and ocean dynamics.
Upper Chesapeake Bay satellite image map, second experimental edition, USGS, 1972. BL Maps X.2987. Image courtesy Library of Congress.
Nowadays aerial photographs and satellite images are ubiquitous in digital mapping products that have become a common feature of everyday life. 2001 saw the launch of Google Earth, an application in which satellite imagery and aerial photography are draped over digital terrain models to provide interactive three-dimensional map views.
Screenshot showing the Island of Stromboli, Google Earth, 2020.
In other applications, maps and photographs are now interchangeable - users can choose between map or satellite viewing modes.
Screenshots taken from Google Maps, 2020.
Google Street View, launched in 2007, integrates terrestrial photography and cartography to create a model of the world from a horizontal viewpoint – a mode of representation with antecedents in artworks of former times. In the early 1900s, Eugène Atget started to make images of the older parts of Paris with the intention to record streets and buildings that risked being torn down and re-developed. By 1920 he was able to write, ‘This enormous artistic and documentary collection is now complete. I may say that I have in my possession all of Old Paris’.
Cabaret ‘Au Port-Salut’ by Eugène Atget, 1903. Image courtesy Bibliotèque historique de la Ville de Paris.
Half a century later, American artist Ed Ruscha created an artwork entitled Every Building on the Sunset Strip by fixing a camera onto the back of his truck and driving up and down as it took pictures on a timer. His intention was to recreate the experience of moving through the landscape.
Every Building on the Sunset Strip by Ed Ruscha, 1966. Image courtesy National Gallery of Australia.
Google Street View now also employs cameras fixed to cars, or strapped to pedestrians’ backs, to create strips of 360-degree images stitched together. The artistry and focus on aesthetic have been lost in these pictures made by machines, but those qualities have been replaced by functionality. Google’s georeferenced, navigable imagery allows users to search and interact with a vast database of (mainly business) information. The corner building shown below, tagged so that one can choose to see the menu or make a booking at the restaurant within, is the same as that in the Atget photograph from 100 years before.
Screenshot taken from Google Street View, 2020.
The perceived realism of digital maps and photographs makes them particularly persuasive. However, two posts reproduced from Twitter, below, document conflicting facts about the shooting down of an American drone by Iranian forces in June 2019. The first, published by US Central Command, shows the drone flying through international, not Iranian, airspace when it was hit, while the second image, posted the following day by the Foreign Minister of Iran, shows the drone in a different location, within Iranian airspace.
Screenshot of Image posted by US Central Command on Twitter, 2019.
Image posted by Foreign Minister of Iran on Twitter, 2019.
This incident reminds us that the latest generation of maps and images remains as susceptible as any before to manipulation or exploitation.
Today more than ever, maps and photographs go hand-in-hand in our ceaseless attempts to capture, model, and mould the world around us.
16 June 2020
Runnymede - a history in maps
Magna Carta, one of the world’s most significant legal documents, was 805 years old yesterday. The charter, which addressed the feud between the crown and rebel barons, was signed by King John on 15 June 1215 in the Thames meadow of Runnymede near Windsor.
Today this meadow is known as the ‘birthplace of modern democracy’ and steeped in history and significance. Yet the historic site of Runnymede makes only a limited appearance in historic maps. The issue is partly, of course, one of scale; it's not easy to show something as small as a single field in a map of Britain, or even a county map. But even then, important sites will find their way onto maps if they are significant enough.
So what happened to Runnymede? It doesn’t appear on the Matthew Paris itinerary map of Britain produced only 35 years after the event. It doesn’t appear in any 16th or early 17th century printed county maps, and it is particularly strange for Runnymede not to appear in John Speed’s 1611-12 county map of Berkshire. Speed wasn’t so much a mapmaker as a historian and antiquarian following in the footsteps of his mentor William Camden in unearthing Britain’s early history. Speed’s atlas The Theatre of the Empire of Great Britaine was stuffed full of historical images and references, but there is no mention of Runnymede on the map or in the text. (Speed's sources included manuscripts in the Library of Robert Cotton, now part of the British Library, which would acquire two of the four surviving copies of Magna Carta shortly after Speed’s death in 1629).
The absence of Runnymede from Speed's map certainly doesn’t mean that Magna Carta was not important in the 17th century. On the contrary, the charter was extremely prominent, used and interpreted in public life. This may be the key to why Speed didn’t mention it: because it was wielded by opponents of Speed’s patron, King James I, as proof against the divine right of monarchs. The issue of divine right would ultimately lead to the execution of James's son Charles I in 1649.
The continuing significance of Magna Carta did not transfer to its place of signing, which continued to be absent from 18th century maps such as the compendious Berkshire map from Bowen and Kitchin’s Large English Atlas from the late 1740s.
However, the establishment of a minimum ideal scale for maps - one inch to the mile - as set by the Society of Arts and their competition aimed at encouraging high quality county maps from 1759, provided the necessary level of detail for Runnymede to appear. It appears on Lindley and Crossley's large map of Surrey of 1793. And in the 2 inch to the mile drawing of 1811 by one of the early Ordnance Surveyors, Runny Meade is marked, as is Magna Charter Island. They are described with typical OS dryness, in the same way as every other island and meadow.
It was only in the early 20th century that Runnymede acquired a distinct identity, when the requirement for a site-specific memorial to Magna Carta emerged. The National Trust acquired it in 1929, and from around that time it began to appear on maps which explicitly referenced its significance. It appeared particularly in pictorial maps and tourist maps, following the rise of mass tourism in Britain and from the United States. Runnymede became, like the surviving copies of the original charter, emblematic of keenly held 20th century principles of democracy and liberty.
There is certainly nothing unusual in Runnymede only acquiring significance many centuries after the event that made it significant occurred, just as there is nothing unusual in the principles contained in Magna Carta being modified to provide historical reassurance for successive eras. History is constantly being rewritten in order to fit the circumstances of the present. Objects such as charters, maps, even buildings and statues, are focal points for this shifting sea of history that doesn’t flow around them, but carries them along with it.
09 June 2020
Maps and photography: a brief history, part 1
Since the invention of photography in the late 1830s, the camera’s ability to record and document its surroundings has made it a natural partner of the mapmaker. From the beginning, photographers recorded landscapes in the manner of artists’ topographical views, providing ‘scientific’ perspectives to complement the view from the map. Subsequently, photographs became integral to the mapmaking process – by capturing data that is incorporated into maps, or by transformation into maps themselves. Cameras also recorded the methods, tools and people employed in making maps; and in the world of art, photographers showed the influence of cartography’s ordered aesthetic.
A Crossing of the Single Track Sandau-Schonhausen Railway Line and the Main Berlin-Hannover Line, by Robert Petschow, in Das Land der Deutschen, 1933. BL General Reference Collection J/X.802/4246.
With the help of items held in the British Library collection, this first of three articles provides a brief introduction to the varied uses of photography in and around mapping up to the 1930s.
In 1855 photographer and army officer Linnaeus Tripe was included amongst the members of a diplomatic mission sent from the Government of India to Upper Burma. Here he fulfilled instructions to record the country and the people of the region by making over 200 architectural studies and landscape views. Many of his photographs appeared in the official published account of the mission (BL General Reference Collection 2354.h.7.), where they accompanied sketches, watercolours and maps to form an important record of the region that was little known by outsiders at the time.
No. 107. Rangoon. Shwe Dagon Pagoda, by Linnaeus Tripe, 1855. BL Photo 61/1(107).
In the same period, photographers were employed for the first time by the British Ordnance Survey. Colonel Sir Henry James, Superintendent of the OS, introduced photography into the process of map production in 1855, and encouraged a role for photography in the recording of objects of antiquity, which he saw as integral to the wider work of survey and mapping. In 1864 he ordered the Survey of Jerusalem, where surveyor-photographer James McDonald of the Royal Engineers made 87 photographs showing various views of the Holy City. The images were published in their own separate volume of the official report (BL Maps 30.e.19.).
West entrance to the Church of the Holy Sepulchre, Jerusalem, by James McDonald, 1864. BL AdF72/27947 (27b).
The first recorded photographs taken from the air also date from this early period. In 1858 French photographer Nadar took pictures of Paris from a hot air balloon tethered near the Arc de Triomphe. Oblique views obtained in this way from balloons or from cameras tethered to kites were sometimes labelled to identify streets and landmarks, arguably making these the earliest photomaps, but of higher value to cartographers were images taken from cameras that pointed vertically down to earth. Cecil Victor Shadbolt made the first such photograph of the UK still in existence, from a hot air balloon over Stamford Hill, London on 29 May 1882.
An aerial view showing Stonebridge Road, Stamford Hill, and Seven Sisters Curve, part of the Tottenham and Hampstead Junction Railway, taken from 2000ft, by Cecil Victor Shadbolt, 1882. Image courtesy Historic England Archive.
The British Library holds another of Shadbolt’s aerial photographs, made in 1884 over Blackheath (BL Maps C.44.d.49.).
By the turn of the twentieth century, rockets were also employed to carry cameras into the air. Even pigeons were fitted with miniature cameras, a technique first demonstrated in 1907. Soon after, aeroplanes joined this list, offering a more stable and controlled platform for airborne cameras.
Pigeon with German miniature camera, during the First World War. Wikipedia.
After the outbreak of the First World War, these methods were used for reconnaissance purposes, gathering intelligence about enemy trenches or build-ups of troops and artillery, and became of major importance in the planning of engagements. Mosaics of overlapping images were put together to cover entire trench systems.
Map. No. 5522. Air photo mosaic sheet 36 I 26. Image courtesy Imperial War Museum. © IWM Q 47658.
The need to revise and re-draw maps led to the development of systematic aerial survey techniques. During the course of the war, the major combatant nations employed a variety of methods - optical techniques involved projecting aerial photographs onto existing maps and tracing points from one to the other, while graphical methods allowed points to be plotted from perspective grids that were drawn onto and correlated between the images and the existing maps.
The high value placed on the contribution of aerial survey to the war effort is indicated by the sheer volume of images made - in the first nine months of 1918, British forces alone took over five million aerial photographs. They could be processed and delivered in under one hour from the time the pictures were taken.
Reserve Army Front: vertical of Thiepval village, and German front-line and support trenches, while undergoing bombardment by British artillery. Image courtesy Imperial War Museum. © IWM Q 63740.
Attempts were also made to transfer to vertical imagery a set of techniques previously developed for horizontal imagery – terrestrial photogrammetry, as it was known, utilised overlapping pairs of horizontal views taken from the ground in combination with stereoplotting devices to recreate and plot the landscape. However, the trials met with little success, as inconsistencies in the angles of the vertical images could not be eliminated.
Terrestrial photogrammetry continued to be used and developed after the war. The glass plates shown below carry overlapping negative images taken by British surveyors during the Iraq-Turkish Boundary Survey of 1927, and were made with a photo-theodolite, in which a camera was inserted into the surveying instrument.
Glass plates made by the Iraq-Turkish Boundary Commission using the Wild photo-theodolite, 1927. BL shelfmark not yet allocated.
Despite the high costs associated with aerial survey, the technique brought with it significant advantages over traditional land-based methods. The images below, made by the Anglo-Italian Somaliland Boundary Commission in 1929, demonstrate its use in mapping large areas of inaccessible terrain. However, aerial surveys supplemented, rather than replaced land parties, who still surveyed control points onto which the imagery was to be fixed. In this early example they even constructed marks on the ground to guide the flights taking photographs above.
Vertical aerial photographs made by the Anglo-Italian Boundary Commission, 1929. BL WOMAT/ADD/87/1/7.
The image above demonstrates the complexities involved in identifying and interpreting features from the air. The following British War Office lecture slide from around the same era provides guidance in the art of black and white aerial photo interpretation.
Detail of Air Photographs, General Idea of Relative Depth of Tone, glass lantern lecture slide from the British War Office, c.1930. BL shelfmark not yet allocated.
The aesthetic of aerial photography soon spread into wider culture, and was taken up by European artists such as Robert Petschow and Laszlo Moholy-Nagy with an art movement called New Photography. The patterned and grid-like images represented their ideas around the influence of mechanisation on society at the time, and held out the hope of finding a new, ‘objective’ way of viewing the world.
Parking Lot in Chicago, by Laszlo Moholy-Nagy, 1938. Image courtesy National Gallery of Victoria, Melbourne.
The next article will continue this story through the Second World War...
05 May 2020
Crystal Palace Marvel
The Eiffel Tower, Seattle’s Space Needle and the Atomium in Brussels – these instantly recognisable landmarks are must-see iconic attractions. Whilst original and daring in style, they also have something else in common - they are all architectural structures specifically designed for the Expo World Trade Fairs and maps relating to the first World’s Fair can be found within the British Library’s collections.
It all started nearly 170 years ago when The Great Exhibition of the Works of Industry of All Nations, was opened in London on 1 May 1851 by Queen Victoria. And what a spectacle it was! In the months following the grand opening ceremony over six million visitors marvelled over the spectacular show. The exhibition was housed in a gigantic glass and cast iron structure constructed to Sir Joseph Paxton’s design. The largest covered glass structure built at the time it was quickly dubbed the Crystal Palace and immediately became one of London’s major landmarks featuring in numerous maps and plans.
Map of London with view of the Crystal Palace in Hyde Park inserted within the title panel as a central feature. Maps Crace Port. 7.263
The idea of organising an international event to celebrate the achievements of modern industrial technology received wide support from prominent patrons including Prince Albert (Queen Victoria’s husband) who was appointed as President of the Royal Commission for the Exhibition of 1851 specifically formed to manage the preparations. The Commission chose Hyde Park in central London as a suitable site for the exhibition.
Map showing the land in central London purchased for the Exhibition. Maps Crace Port. 10.15
The event was recognised as an opportunity to showcase Britain’s industrialisation and modern technological advancements to an international audience. The exhibition’s building was actually one of the most spectacular exhibits. Paxton’s ingenious design used prefabricated components of glass and cast iron which were assembled on site. It not only met the criteria for a temporary, simple and inexpensive building but by taking advantage of natural light it also cut down the cost of maintenance. It offered incredible flexibility and even incorporated parkland features within. Rather than cutting them down Paxton enclosed all the full grown trees from the allotted land and made them the main feature of the central exhibition hall highlighting the enormous dimensions of the building. The hall also featured a stunning eight meter tall crystal fountain. Total floor space covered an area of nearly 13 football pitches (ca. 990,000 ft2 or 92,000 m2) with exhibition spaces on the ground floor and galleries providing over ten miles of display capacity.
Souvenir illustrated guide map showing the Crystal Palace location in Hyde Park in relation to other London landmarks. Maps Crace Port. 7.267
The exhibits included a wide variety of scientific and technological innovations as well as cultural objects. Over 100,000 items from every corner of the world were on display including Johnston’s Geological and Physical Globe, the first physical globe which won awards for the content and the stand (whose carved figures represented the four continents). Among the exhibits there were hydraulic presses, steam engines, microscopes, barometers, stuffed animals, French tapestries and furniture, even the priceless Koh-i-Noor diamond sent from India.
The Crystal Palace Game. By S. Evans. London, [1855?] Educational game published to commemorate the reopening of the Crystal Palace on its new site. Maps 28.bb.7
The Great Exhibition was incredibly successful and made a profit way above expectations. This enabled the Commission to acquire land in South Kensington and aided the establishment of the world renowned London museums.
After the closing of the Exhibition in October 1851 the structure was dismantled and rebuilt in an enlarged form on a site in south London. The reconstruction was documented by a photographer Philip Henry Delamotte, his work provides a glimpse to what the Crystal Palace looked like.
Photograph of the Crystal Palace by Philip Henry Delamotte. 1855. Tab.442.a.5
The Crystal Palace soon became a hub for cultural events, exhibitions and concerts. The venue was seen as a place of culture and learning, it contained series of themed courts on the history of fine art, and the surrounding grounds even featured life-sized sculptures of dinosaurs and extinct animals by Benjamin Waterhouse Hawkins. The residential area surrounding the new site was renamed Crystal Palace and two railway stations serving the site were opened.
Detail showing layout on the new site in Sydenham with carefully designed grounds and the Crystal Palace railway station. Ordnance Plan of the Crystal Palace and its Environs, Southampton, 1864. Maps 5380.(4.)
The Crystal Palace was destroyed by fire on 30 November 1936 and never rebuilt, nevertheless the Paxton’s design established an architectural style employed in later international fairs and exhibitions and started a long history of World Fairs.
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