On December 6, we hosted From The Vault: Unconventional Maps.

When reading maps, we expect map makers to use standard conventions, especially in regard to map projection or composition, orientation, scale, and symbols. But what about those times when a map maker does things a bit differently than expected? What is the story the map maker is trying to tell?

In this From the Vault collections showing, each map highlights a variety of unconventional cartographic styles spanning the history of the printed map.

New Internationalist Publications, The World Turned Upside Down (2005)

Oriented with South at the top, this “upside-down” world map presents a disconcerting image, but clearly conveys a message that unconventional world views can be meaningful. Prepared for an organization that reports on global poverty and inequality, the map helps to teach “people to see the world from a broader, more inclusive perspective.”

Traditional, north-oriented world maps emphasize Europe and North America, implying that other continents are less important. This contrary perspective places Africa and South America in the center, emphasizing that the southern hemisphere’s countries are equally important.

Joseph F.W. Des Barres, A View of Boston (1779)

Viewing Boston from the ocean was not a novel concept originated by 19th century bird’s eye view artists. This Revolutionary War era landscape scene, published with a collection of nautical charts, depicted Boston Harbor as it would have appeared to approaching ships.

While not technically a map or chart, coastal and headland views were also considered navigational aids. Such graphic images assisted ship captains in identifying prominent landmarks as they entered the harbor. Clearly visible on Boston’s late 18th century skyline are numerous church spires and a flag on Beacon Hill.

Franklin Leavitt, Leavitt’s map with views of the White Mountains (1871)

Combining folk art with a schematic tourist map, this unusual map views the White Mountains from the northwest. In the center, the mountains were drawn in landscape format surrounded by curious vignettes including “Old Crawford Killing a Bear” and “Harry Crawford Killing a Lynx”. Along the top are a railroad map and views of waterfalls, while symbolic images of hotels, stage coaches, and trains alert readers to the region’s tourist amenities.

Leavitt, a laborer, mountain guide, and self-taught mapmaker, created this pictorial map. Reflecting his regional bias, he located Lancaster, his hometown, and the Connecticut River in the center foreground.

Christiaan van Adrichem, Jerusalem, et suburbia eius, sicut tempore Christi floruit cum locis, in quibus Christus passus est: que religiose a Christianis obseruata, etiam num venerationi habent [1584-1588]

Illustrations of ships and monsters adorn many early maps, often filling the empty spaces of unexplored territories. However, this map of Jerusalem published in the late 16th century used pictorial elements as symbols to help convey the map’s message.

Compiled by a Dutch theologian, this historical map reportedly recreates Jerusalem at the time of Christ. Many buildings were depicted as 16th century European structures, with their facades placed adjacent to the streets rather than drawn in perspective. In addition, there are 270 numbered and captioned scenes, showing sites or events mentioned in the Old and New Testaments.

Ernest Dudley Chase, The United States as Viewed by California (very unofficial) (1940)

Recognized for his whimsical pictorial maps, Chase created this highly distorted map of the United States as perceived by Californians. One-third the size of the rest of the country, the state is perpetually drenched by the sun. A bustling California is also depicted as a cornucopia of plenty, teaming with industry, agriculture, recreational activity, and natural wonders.

The rest of the county is overshadowed by a dark cloud and a vast, depressing spider web. Other states are distorted or are omitted entirely. However, Chase’s native New England retains its shape and receives some sunlight for half of the year.

John F. Waite, Uncle Sam’s Family Tree (1900)

Created as an advertisement for Arbuckles, a wholesale grocer, the territorial growth of the United States is compared to an orchard tree. Printed on the backhand side of a United States map, this unusual graphic is essentially a geographical timeline, charting the chronological growth of the nation.

In representing the United States, the cartographer uses a tree that sits in “the great American garden” and is tended by “Uncle Sam”, a common national personification of the federal government of the United States. The roots symbolize the original thirteen colonies, while subsequent “grafts” and branches represent other states and occupied territories added by war, purchase, and annexation.

Gerard Valck, Novus Planiglobii Terrestris per Utrumque Polum Conspectus [1695?]

While most double hemisphere maps display the world divided into eastern and western hemispheres, a more unusual portrayal uses the northern and southern hemispheres. Gerard Valck’s ornately decorated map exemplifies a polar-oriented projection.

The two spheres, adorned with ships and a symmetrical arrangement of compass roses, are set against an artistic backdrop highlighting the Genesis story of creation. At the top is a dramatic presentation of the sun, moon, and stars emerging from clouds of darkness. Other vignettes depict Adam and Eve leaving the Garden of Eden, and Noah selecting pairs of animals for the ark.