The Aprutium by Barent Langenes stands among the most refined cartographic testimonies of Abruzzo between the late 16th and early 17th centuries. This small copperplate engraving depicts the Abruzzese region facing the Gulf of Venice, first published in the Caert-Thresoor in 1598 and later republished by Petrus Bertius in his Tabularum Geographicarum starting in 1600. The map presents the territory with a Latin nomenclature that reflects the geographical knowledge of the time, offering a representation that combines scientific rigor with the artistic sensibility typical of Dutch cartography of the period.

The cartographic document stands out for its ability to condense a considerable amount of geographic and topographic information into a small space. The Apennine mountains are rendered through a graphic stylization that highlights their dominant presence in the Abruzzese landscape, while the Adriatic coast is delineated with particular attention to port details and the shoreline’s morphological features. The urban depiction includes the main settlements of the period, providing a comprehensive picture of demographic distribution and the strategic importance of different population centers.

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Style

Barent Langenes worked as a Dutch publisher and engraver straddling the 16th and 17th centuries, establishing his activity in Middleburg, the Netherlands. His stylistic approach reflects the canons of Northern European Renaissance cartography, characterized by a particular focus on practical functionality combined with a cultivated aesthetic elegance. The map belongs to the Caert-Thresoor, a pocket atlas that set new standards for minor atlases of the day, representing a perfect balance between commercial accessibility and artistic quality.

The adopted graphic style falls within the Dutch cartographic tradition of the era, which favored informational clarity without sacrificing decorative elements. The influence of the Flemish school is evident in the precision of the hatching and the care for detail, while the methodological approach mirrors the advances of Renaissance scientific geography. The representation follows established models of European cartography of the time, with particular reference to the conventions set by the great masters such as Mercator and Ortelius.

Color and lighting

The map’s color palette is based on the natural tones of copperplate engraving, where the absence of added colors enhances the purity of the graphic line. The work shows some brown discolorations typical of paper aging, which lend the document a special charm and attest to its historical authenticity. The contrast between engraved areas and those left blank creates a play of light and shadow that effectively defines the territory’s morphology.

The map’s virtual lighting follows established stylistic conventions, with mountainous areas rendered through denser hatching that simulates the natural shading of reliefs. Plains and coastal areas, by contrast, retain greater brightness, creating a visual hierarchy that facilitates reading of the document. This technique makes it possible to distinguish at a glance the different geographical features of Abruzzo, from the Apennine peaks to the coastal stretches of the Adriatic.

Space management

The spatial layout of the map reveals notable mastery in organizing geographic information within the reduced format of the pocket atlas. Measuring 85 × 125 mm, the map succeeds in containing a complete representation of Abruzzo, demonstrating the engraver’s technical skill in efficiently synthesizing the available cartographic data. The perspective is that typical of Renaissance cartography, with a plan view that allows for an objective depiction of the territory.

The distribution of elements in the space follows criteria of functionality and legibility, with place names strategically positioned so as not to interfere with the understanding of the land’s morphology. Depth is conveyed by the traditional technique of mountain shading, creating an effective three-dimensional effect despite the bidimensional support. The Adriatic Sea is represented by parallel lines that clearly indicate its extent and presence.

Composition and framing

The composition of the Aprutium reveals a balanced structure that optimizes the use of available space. The geographic framing includes the entire Abruzzese territory, from the highest Apennine peaks to the Adriatic coast, offering a complete and functional view of the region. The compositional center is occupied by the central mountain masses, which serve as a visual and geographic reference point for the reader’s orientation.

The presence of latitude graduations along the map’s right edge, added in a second version, demonstrates the document’s technical evolution and the growing attention to scientific precision. Textual elements are distributed harmoniously, avoiding overlaps that could compromise legibility. The chosen framing maintains a proportional relationship among the different geographic zones, without excessively privileging any particular area of the territory depicted.

Technique and materials

The map is executed using the copperplate engraving technique by Petrus Kaerius (Pieter van den Keere), one of the most skilled engravers of the period. This technique allowed for line precision and fine detail superior to other methods of the time. The paper support, typical of publications of that era, has preserved its main characteristics over time, while showing the natural signs of aging.

The execution method reflects the high quality standards of Dutch cartographic production of the period. The work belongs to the Caert Thresoor, first published in 1599 by Cornelis Claesz in Amsterdam, with subsequent editions culminating in a total of twelve appearances between 1598 and 1650. The engraving technique showcases the variety of marks used to differentiate geographic elements: from parallel hatching for the sea to curved lines to render mountain profiles, and carefully engraved letterforms for toponyms.

The technical quality of the execution is evident in its ability to maintain legibility despite the small size—an essential feature for an atlas intended for practical use and commercial circulation. The durability of copperplate engraving made the work’s numerous reprints possible, ensuring the dissemination of this precious cartographic document, which stands as a fundamental testament to the geographical knowledge of Abruzzo between the 16th and 17th centuries.