Borders and power: Cary's map of the Duchies of Savoy, Milan, and the Republic of Genoa

The Map of the Duchies of Savoy, Milan, and the Republic of Genoa created in 1799 by John Cary represents a cartographic document of extraordinary value, capturing the complex political geography of northwestern Italy at the end of the eighteenth century. The work is presented as a detailed representation that encompasses a vast territory, stretching from Lake Geneva in the north to Nice in the south, and eastward to Parma, including the Duchy of Milan, the Province of Turin, and the Republic of Genoa.

The map documents a particular historical moment, prior to the Italian solidarity movement of the mid-nineteenth century, when northern Italy was still fragmented into several independent states. The overall atmosphere of the work conveys a sense of scientific precision typical of British cartography of the period, where every geographical element is represented according to standardized conventions that favor informational clarity and topographical accuracy.

The territory depicted brims with extraordinary geographic richness: from the Alpine peaks dominating the northern border to the Mediterranean coasts, from the Piedmontese plains to the Ligurian hills. Cities, rivers, lakes, and mountains are all represented with meticulous attention to detail, creating a comprehensive territorial fresco that served both commercial and administrative purposes. The road network is traced with particular care, reflecting the strategic importance of these territories as a crossroads between central Europe and the Mediterranean.

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Style

The work belongs to the British cartographic tradition of the late eighteenth century, a period of great technical and stylistic innovation in map production. John Cary (1755–1835) was a British cartographer and publisher renowned for his clean engraving and distinctive style, which influenced the entire cartographic industry. Born in Wiltshire, Cary apprenticed as an engraver in London and established his own business in 1782.

His maps opened new paths with their modern style of clarity and fine engraving. Cary’s style represents a turning point in European cartography, characterized by a perfect balance between scientific functionality and aesthetic quality. The territorial representation follows the principles of the British cartographic school, which prioritized geometric precision and the legibility of information over the Baroque decorative elements still prevalent in continental production.

The technique reflects the evolution of cartography toward increasingly rigorous standards of territorial representation. Cary apprenticed as an engraver in London before opening his own workshop on the Strand in 1783. He soon earned a reputation for his maps and globes. His methodological approach reveals the influence of the British Enlightenment, where scientific rigor merged with the artisanal tradition of copper engraving.

Color and illumination

The chromatic palette of the map is characterized by sober and natural tones that reflect the aesthetics of late eighteenth-century British cartography. Original colorations, when present, employed delicate pigments to distinguish the different political territories without compromising the legibility of topographical information. Borders between duchies are highlighted through subtle chromatic variations that respect the political dignity of each state entity represented.

Illumination does not follow painterly principles but privileges documentary clarity through a skillful use of contrasts between ink and paper. Variations in the intensity of engraved lines create natural chiaroscuro effects that guide cartographic reading without resorting to elaborate artistic devices. Luminous modulation arises from the density of information: more populated and strategically important areas show a greater concentration of graphic signs.

The paper surface, of superior quality and characteristic of British productions intended for the international market, contributes to a homogeneous luminous effect that enhances the precision of the engraving. The overall chromatic uniformity is animated only by the natural variations of the ink, which create visual depth without compromising the documentary function of the work.

Spatial organization

The spatial construction of the map follows the principles of the most advanced scientific cartographic projection of the time, where territorial representation adhered to rigorous geometric criteria derived from the best practices of British geodesy. The distribution of geographical elements reflects the real proportions of the territory with greater precision than contemporary continental cartography.

Spatial depth is constructed through a hierarchical system of representation that clearly distinguishes elements of different geographic and political importance. Major cities such as Turin, Milan, and Genoa occupy prominent visual positions, while smaller centers are represented with symbols proportionate to their administrative and economic relevance. Alpine reliefs are depicted using innovative techniques that suggest three-dimensionality without undermining topographical precision.

The spatial organization reveals a systematic approach to managing cartographic information, where each territorial area receives graphical treatment consistent with its strategic importance. The hydrographic network of the Po and its tributaries is represented with particular accuracy, reflecting the economic importance of waterways for trade and transport at the time.

Composition and framing

The composition of the map follows a rigorously functional layout that prioritizes informational completeness over decorative concerns. The framing was designed to encompass the full extent of the politically connected territories, providing a comprehensive strategic view of the area without excluding peripheral regions of commercial or military significance.

Compositional balance arises from the harmonious distribution of territorial masses, where the Alps form a natural northern frame that balances the Mediterranean openness to the south. The cartouche and scales are positioned according to conventions that do not interfere with the main territorial reading, demonstrating the technical maturity of the British cartographic school. The choice of framing reveals a deep understanding of the geopolitical dynamics of the period, encompassing territories that, though politically fragmented, formed an economic and strategic unit of primary European importance.

Technique and materials

The work was executed using copperplate engraving, a technique that had reached its highest technical perfection in late eighteenth-century London workshops. Published in 1799 in London by Cary, the map is a splendid engraving of the period. The support is high-quality paper, characteristic of British cartographic productions intended for an educated and affluent international clientele.

The process involved a complex sequence beginning with accurate topographical surveys and culminating in direct engraving on the copper plate. John Cary, an English cartographer, engraver, globe maker, and publisher, was known for his clear, high-quality maps. Each graphic sign was traced with millimetric precision, from the main lines outlining political and geographic boundaries to the typographic characters used for place names.

The printing process employed advanced techniques that ensured maximum line definition and durability of impressions. Inking of the engraved plate and pressing onto paper with specialized presses gave the work its distinctive tactile and visual quality, typical of original engravings of the period as opposed to later reproductions. Cary’s technical mastery is reflected in the superior execution quality of the map, which still retains its original clarity and precision, attesting to the excellence achieved by British cartography in depicting territories of extraordinary geographic and political complexity.