Nicolaes Visscher I (1618–1679) and his son Nicolaes Visscher II (1649–1702) were two of the most renowned Dutch cartographers of the Golden Age of Dutch cartography. As key members of the Visscher family - a dynasty of influential mapmakers - they significantly shaped the development of cartographic science and artistry in the 17th century. Their works are celebrated for their exceptional accuracy, detailed engraving, and artistic embellishments that blended geographic precision with cultural and historical narratives.
Nicolaes Visscher I: Cartographic Pioneer
Nicolaes Visscher I was born in Amsterdam, a city that emerged as a hub of cartographic innovation during the 17th century. He trained under his father, Claes Janszoon Visscher, founder of the great Visscher cartographic dynasty. Trained as a draughtsman and engraver, the elder Visscher turned to publishing early in his career, founding his own business which became one of the largest and best known of its day, based initially on the buying and reprinting of engravings from the plates. In addition to this enterprise, he was a talented artist whose works are to be found in many major museums. His son Nicolaes I was also a gifted artist whose portrait of the renowned Dutch artist Abraham Bloemaert hangs today in the Metropolitan Museum of Art and his grandson Nicolaes II was so artistically gifted as to have created some of the most beautiful wall maps ever published, for King Charles II of England in the late 17th century.
Nicolaes I inherited the family business in 1652, during the so-called Dutch Golden Age, that period when Dutch exploration and colonization, when the Netherlands became a leading maritime and economic power in Europe. The term is also used to referred to the Dutch preeminence in cartography, a period when Dutch cartographers dominated the European map trade. Accession to this elevated position was due to a number of factors, including the great wealth resulting from Dutch exploration and the concomitant ever-expanding trade. As the increased wealth impacted the Dutch middle class, their desire for finery, cultural goods and material possessions grew, along with their curiosity about newly discovered, exotic lands. Maps and atlases became required symbols of their status which could be proudly displayed on the walls of their homes.
This proved a great incentive for publishers and map makers to increase production of maps and atlases. Knowledgeable cartographers and highly skilled engravers were employed, and lavishly decorated, coloured maps and atlases could be made to order. The end result of these undertakings were accurate maps as works of art, with cartography of the era becoming and remaining even today among the best loved and most collected.
Dutch paintings of the era often include maps on the walls of interior scenes. One of the greatest paintings by Johannes Vermeer, entitled The Art of Painting, includes a large map in the background which has been attributed by many academics to Nicolaes I due to the discovery of a map in the Bibliothèque Nationale de France, which is an almost perfect match to the map in Vermeer’s painting.
Nicolaes I was born at an ideal time in an ideal setting for developing his talents. Among his most important works is his map Orbis Terrarum Nova Et Accuratissima Tabula (1658). This map exemplifies the rich artistic and scientific traditions of Dutch cartography. Featuring two hemispheres, it presented the world with remarkable geographic accuracy for its time, incorporating recent discoveries such as the explorations of Abel Tasman in Australia and New Zealand. The map is adorned with allegorical figures representing the continents, elaborate cartouches, and maritime motifs, reflecting the era’s fascination with blending science and aesthetics.
Another landmark work is his map of the Low Countries, Germania Inferior (1650) (see title page below). This map is notable not only for its geographic detail but also for its political implications, as it captured the contested territories during the Eighty Years' War. Nicolaes Visscher I’s meticulous work set a standard for subsequent generations, ensuring the maps were both functional for navigation and visually captivating.
In addition to crafting excellent, beautiful maps, Nicolaes Visscher I advanced the field of cartography by refining techniques in engraving and coloring. His use of copperplate engraving allowed for unparalleled detail, while his application of hand-colored, elegant embellishments made his maps highly sought after by collectors and scholars alike. By prioritizing accuracy and artistic excellence, Nicolaes I contributed to the transition of cartography from its historic methodology to a scientific discipline.
Nicolaes Visscher II: Expanding the Legacy
Nicolaes Visscher II, the son of Nicolaes Visscher I, carried forward the family tradition with remarkable skill and innovation. Born in Amsterdam in 1649, he grew up immersed in the Visscher workshop, gaining a profound understanding of cartographic techniques and geographical science. Upon his father’s death in 1679, Nicolaes II assumed control of the business, further enhancing the Visscher reputation for excellence.
One of Nicolaes II’s most celebrated contributions is his atlas, Atlas Minor (1690). This work consolidated the achievements of earlier cartographers while incorporating new geographical information. The atlas is remarkable for its breadth, covering regions across Europe, Asia, Africa, and the Americas. Nicolaes II’s ability to synthesize vast amounts of data into a cohesive and accessible format underscores his mastery of cartographic science.
Beyond his maps, Nicolaes II made notable contributions to the dissemination of cartographic knowledge. He expanded the Visscher publishing house's network, ensuring that Dutch maps reached an intrnational audience. His collaborations with other prominent cartographers, such as Frederick de Wit and Hugo Allard, fostered a culture of intellectual exchange that enriched the field in general. A number of his beautiful maps feature vignettes of local features and people as borders much in the style of cartographer John Speed but depicting topographical scenes rather than indigenous peoples in their native costumes or attire, thus supplying information not provided by the maps themselves.
Through their meticulous craftsmanship and dedication to innovation, Nicolaes Visscher I and II established an enduring legacy. Their work not only defined the apex of Dutch cartography but also laid the groundwork for future generations of mapmakers to integrate science, art, and exploration into a unified vision of the world.