Rhine Panoramas

Or A Bridge Too Many

 

My initial interest in maps of the Rhine was sparked by an IMCoS[1] member on an International Symposium. As we made our way down the Rhine on a beautiful sunny morning Kitty L was holding a long, folding map of the river in her hands. It transpired that she had one of the late nineteenth-century leporello [folding single sheet] maps of the Rhine from Mainz to Cologne, complete with views illustrating the course of the river. Today the concertina—style leporello is taken for granted but at the time that the Rhine was becoming popular as a tourist attraction it was still unknown. [2]

Probably the first to write an illustrated work about the river Rhine in guide-book form was the Dutch engraver, publisher and printseller, Hendrik de Leth, whose Deeze Gezichten langs den Rhyn was published in Amsterdam in 1767 by F.W. Grebe. This work contained 14 views of the stretch between Arnhem and Andernach[3]. Another early work was Mahlerische Reise am Nieder-Rhein, published in Nürnberg between 1784—89 by C. Weigel and A.G. Schneider and originally issued in three parts with six views each. These were quickly followed by books, one by John Gardnor, Views taken on and near the river Rhine, published in London, 1788, by W. Ellis and J. Walter with 32 views, and Joseph Gregor Lang's Reise auf dem Rhein, Koblenz 1789/1790, This latter work, published by the Himmelsche Buchhandlung, not only contained two title vignettes but also a map in two sections: the river from Mainz to Andernach; and from Andernach to Düsseldorf, both engraved by H. Cöntgen and each 250 x 350 mm (139 pages) and also issued in French as late as 1808.

Fig 1. A Map of the Rhine from Düsseldorf to Mainz or Mayence from John Carr's A Tour Through Holland. The river from Mainz to Andernach above; and from Andernach to Düsseldorf below.

 During the period 1793-1795 illustrated guide books appeared in a variety of languages such as Thomas Cogan's The Rhine published in London by J. Johnson, 1794. This appeared in two volumes with 18 views and a map by Condor. Also, Aurelio de' Giorgi Bertöla's Viaggio sul Reno published in Rimini, 1795, by Albertini with six views and a map, and two books in Dutch, Beknopte Beschrijving van den Rhijnstroom, published in Amsterdam, 1794, by A.B. Saakes with 22 views and a map of Schafhausen to Aarnhem, and Reis Langs den Rhin, published by F. Bohn, Haarlem 1793-98, in five parts with 12 views and three maps.

By the time Sir John Carr wrote his A Tour through Holland along the right and left banks of the Rhine, recording his travels in the summer and autumn of 1806, the Rhine trip was a popular route for accomplishing the famous Grand Tour. His work was typical of the time; a record of his journey copiously illustrated with 21 engraved views taken from drawings he had made and accompanied by a map of the course of the river.

 

Fig. 2. Panorama des Rheins und seine nächsten Umgebungen von Mainz bis Cöln engraved by F. W. Delkeskamp and published by Friedrich Wilmans. Place names are in the margins, a view of Cologne (i.e. Cöln or Köln) added at the top and one pontoon-style bridge at Köln.

 However, the father of the folding Rhine panorama was Friedrich Wilhelm Delkeskamp (possibly working together with Heinrich Keller, see below). Delkeskamp (1794-1872) finished his studies at the Royal Academy in Berlin and worked as a copper engraver and painter of landscapes. One of his best-known cartographic works was a relief map of central Switzerland known as the Adlerflycht panorama. He moved to Frankfurt am Main where he worked with the publisher Friedrich Wilmans before setting up his own business[4]. It was Wilmans who published the Panorama des Rheins und seine nächsten Umgebungen von Mainz bis CöIn[5]  which was 'Drawn according to nature and engraved by F. W. Delkeskamp' and which appeared in June 1825.

This became the prototype for a long series of panoramas and a development which he and his publishing house would lead until the late 1850s. Delkeskamp's panorama covered the classic route from Mainz to Köln. The map was made up of seven sheets glued together and in order to be able to handle it better the sheets were folded as a leporello. The copper engraving on seven plates has a size of 2340 x 230 mm when unfolded.

Even if Delkeskamp is considered as the father of the leporello, he owed the idea to another: the original Rhine panorama is ascribed to Elisabeth von Adlerflycht. In 1822 a panorama on one sheet (50 x 70 cm) appeared, drawn by her, and showing Das Rheinthal von der Miindung von der Nahe bis zur Mündung der Mosel. This was a lithograph of the Rhine from Rüdesheim (below) to Coblenz (top) with Bingen centrally at the bottom. The sheet bears the signature of the artist, Elisabeth v. A. (bottom left), and that of the printer, Lithogr. V. Keller (bottom right).

Von Adlerflycht (1775-1846) was an amateur artist from Frankfurt who made a trip along the Rhine in 1811 and sometime later made a colourful drawing of the river landscape between Bingen and Coblenz[6]. Her artistic presentation, whereby the river with a 45⁰ bend was shown in one straight line seen from the birds-eye view together with its depiction of relief, was completely new for that time. There are no views and text directions take up the available space between map and border but there are scenes of water nymphs in three corners and Father Rhine at bottom right

In 1822 Johann Friedrich Cotta, a publisher of Stuttgart, was the first person to have one of the panoramas printed. It was a work by Heinrich Keller (1778-1862), a well-known Swiss artist and cartographer. However, it was Delkeskamp's panorama which caught the imagination of successive publishers and became a popular tourist accoutrement. It was published separately and occasionally included in guide books like Tombleson's Views of the Rhine published in London by W. Tombleson & Co., and edited by W.G. Fearnside. In addition to the panorama this contained 68 plates, and a title page vignette (262 pages). 

Fig 3. Das Rheinthal von der Mündung von der Nahe bis zur Mündung der Mosel by Elisabeth von Adlerflycht. This was the inspiration for subsequent panoramas of the Rhine. (Author´s Collection.)

 The next improvement was the introduction of views along the route and again Delkeskamp was at the forefront of this development. He published his Neues Panorama des Rheins und seiner nächsten Umgebungen von Mainz bis Cöln. It was printed by F. Hack, after engraving on to steel by Johann Wolfgang Igler under the guidance of Georg Heinrich Carl Deucker by Borniger and Collin. Deucker was mainly responsible for the engraving of the panorama. This is a superb engraved view of the Rhine from Köln (top) to Mainz with 58 extra views alongside the river. The whole map stretches to 2810 mm in length and was accompanied by a booklet which was often updated with the page numbers increased from 16 to 24[7]. This panorama was first published in 1837, with a second identical impression in 1839. Later examples appeared in 1850 (see Fig. 4), 1855 with 59 views, and in 1862 with 61 views. The size of the engraved area is 2720 x 260 mm (with river 235 mm at some points) with all other available space occupied by views.

 

Fig. 4. A later edition of Delkeskamp´s Neues Panorama des Rheins und seiner nächsten Umgebungen von Mainz bis Cöln. Note the bridge over the Mosel north of the town of Coblenz and the pontoon-style Rhine bridge. 

The engravers of these panoramas became increasingly specialised: J. W. Igler engraved the title; F. Hack, the printer, was responsible for names and Deucker was mainly responsible for the engraving of the panorama. Deucker was born on June 23, 1801 at Niederzündorf (now a suburb of Cologne - Köln-Porz-Zündorf) but later moved to Frankfurt. He became a copper engraver after studying at academies in Munich and Milan. In 1830 he returned to Frankfurt and concentrated on steel engraving. He died in Frankfurt on December 2, 1863[8].

Two years after the advent of the Rhine panorama, regular steamboat passage along the river was inaugurated (from 1827). Many of the early travellers on these steamers were British, including a multitude of artists who subsequently had their works engraved in steel (a technique patented in London only a year earlier and which would soon become popular). The fact that these visitors could use the Rhine route as part of their Grand Tour to Italy was a further factor in its popularity. These coinciding factors led to more sales of views and maps of the river. The leporello format was then copied by a wide variety of publishers such as Ravenstein who produced three separate maps showing the Rhine[9]. Also Renard, whose Panorama des Rheins von Köln bis Mainz has an attractive vignette scene of a fisherman with nets after a picture by C. Stanfield (Sattler). This has an engraved view of the Rhine from Köln (bottom) to Mainz with 21 engraved panels both left and right and a central engraving of Mainz at the top; an early lithograph on three plates unfolding to 1000 x 215 mm and with 43 separate illustrations[10].

The maps which accompanied the guide books did not show any fixed bridges and the railway only began its progress through the land in the 1840s. The panoramas mentioned show only three bridges - there is one bridge at Köln, one at Mainz and another at Koblenz. All are represented as Schiffsbrücke meaning a chain of pontoons formed from small boats serving as a 'swing bridge'. In von Adelflycht's map only the bridge over the Mosel on the west Rhine bank is shown as well as the primitive pontoon-style boat-bridge at Koblenz.

Not all panoramas followed the same format, however. A. H. Payne produced an unusual panorama in 1844 which was engraved from original drawings in 60 views on 20 steel plates (each 300 x 200 mm). This was titled Payne's Panorama of the Rhine. Exhibiting in one continued view, both banks of the river, from Mayence to Coblentz, the Siebengebirge and Cologne and presented a number of strips, three to a page, each 270 x 38 mm. It was published in London by Brain and Payne. The view is the bank of the river as seen from a boat in the middle or from the opposite bank.

Another of the more successful producers of Rhine panoramas (based on the number of surviving copies) was the publishing house of David Kapp. His Der Rhein von Mainz bis Cöln. Neues Taschen-Panorama mit anhängenden Texte with imprint: Verlag von D Kapp in Mainz Zu haben in: allen Buchhandlungen (D Kapp publishing house in Mainz and available in all bookshops) and printer's signature: J Gottsleben's Buchdruckerei in Mainz. Typical for panoramas of the period 1840 to 1870, the map was presented folding into paper boards with the title in German, French and English. The map itself has no title and the view of the Rhine has place names alongside the river and not specifically placed in margins. The complete length is 1730 mm. Early editions show the fixed bridge at Köln which was originally named the Dombrücke (Cathedral Bridge). Completed in 1859, it was the first fixed bridge over the Rhine. A second steel-built bridge at Mainz, the Eisenbahnbrücke, was designed by Gerber in 1864 and there is now a fixed bridge, the Pfaffendorferbrücke, 1862-1864, at Coblenz (Koblenz). The railway can be seen along the riverbank at Mainz (later it would be diverted around the city) and there are railways left and right of the river as far as Koblenz, then along the west bank to Bonn.

 

Fig 5. Payne's Panorama of the Rhine. Exhibiting in one continued view, both banks of the river, from Mayence to Coblentz, the Slebengebirg and Cologne.

 

The map is accompanied by a 24-page booklet in German[11], Der Rhein und seine Umgebungen nebst einer Karte des Rheinlaufes von Schaffause bis zur Nordsee which literally describes the course of the Rhine from Schafhausen near Basel to the North Sea at Katwyk op Zee. Also, a poem by M. Claudius, Rheinweinlied, opposite page 1[12]. David Kapp's New Panorama of the Rhine von Mentz to Cologne, although decorated with side illustrations (as opposed to the edition noted above) does not seem to have been so successful but is more attractive.

The next developments were the introduction of photolithography and colour as well as real photographs. About this time a number of different publishing firms appeared in this flourishing market, such as the Dresdner Kunstanstalt Aktieng, Philip Frey & Co., of Frankfurt am Main, Wilhelm Schlitz of Eisenach, A. Henry of Bonn, Michael Foppen, also of Bonn, Carl Garte of Leipzig, Hoursch and Bechstedt, Karl Rudiger Bremer of Köln or the Kunstverlag Lautz in Darmstadt (later Mertz and Lautz) as well as a number of anonymous ones. From about 1880 until the end of the century colour printing was introduced, usually one colour, as well as the glazing of paper which would protect the map and give better presentation. About 1890 the illustrations bordering the river scene are increasingly being printed in colour and by approximately 1895 the illustrations are now real photographs. The number of bridges also increased.

 

 

Fig. 6. David Kapp's New Panorama of the Rhine von Mentz to Cologne. Note the bridge at Köln which is the Dombrücke, the first fixed bridge across the Rhine, built in 1859. 

Initially lithographic printers made reproductions which might be in black and white but were sometimes in a sepia tone or, occasionally, as in the case of Philip Frey, in a blue colour. Frey's Neuestes Rhein Panorama von Ph. Frey & Co in Frankfurt a. M. appeared in several versions and in varying sizes. Initially in black and white in attractive covers it was often reprinted. One earlier printing has an attractive sepia photolithographic view of the Rhine from Coeln [Köln] at the top to Mainz, with 42 illustrations both left and right of buildings and sights including the Gutenberg Monument in Mainz. There was a sixteen-page booklet pasted in, Der Rheinstrom, with text in German followed by text in French and English. Although the last date in the text is 1863 (referring to Köln cathedral) the map is probably as late as 1875.

The main railway line follows the bank of the river below Bonn (i.e., south of the town) and there are two bridges at Koblenz (the Horchenheimer railway bridge was not built until 1879). Only one pontoon-style bridge is visible at Mainz. The map area is approx. 120 x 1460 mm within the border (i.e., full length but 10 mm margins left and right)[13].

The same map appeared a few years later as Neuestes Taschen Rhein-Panorama von Mainz bis Köln nach speziellen topographischen Aufnahmen ausgeführt von Ph. Frey & Co's Kunstinstitut in Frankfurt a. M. This edition folds into plain publisher's printed card boards with no title on the reverse. 

Fig 7. Two examples of Frey's Neuestes Rhein Panorama. Note the new railway bridge (with train) on the later map (below).

 

Again, the map has no title but is now printed as a blue photolithographic view. There is a 24-page booklet pasted in, Der Rheinstrom, with 1876 as the last date in the text (p. 14). However, this edition also has a branch from the main rail line and a bridge south of Bonn complete with a steam train crossing over the Rhine. The railway line on the right bank of the Rhine from (opposite) Bonn to Koblenz is added.

 

Fig 8. Three particularly attractive covers, typical of the period 1880-1900. 

Carl Garte's panorama was also produced in the early days of colour printing. His Panorama vom Rhein - Cöln bis Mainz has an attractive cover: gold title on ochre boards decorated with a floral border. The map has a title on ribbons almost framing the city plan of Cologne. This is a sepia photo-gravure map panorama within a border with 71 framed scenes left (36) and right (35) of the river folding out to 1740 mm. No scene panels appear at the top and bottom. The imprint centrally below the map is Lith Kunstanstalt von Carl Garte, Leipzig.

Later editions included a 33-page descriptive text written in three languages by Dr F Lahnek — Der Rhein von Cöln bis Mainz[14]. The lower bridge at Mainz now looks like a normal arched bridge and the last panel has an illustration of the Theater in Mainz replacing a view of the bridge in the earlier state. There is an extra view — that of Hotel Petersberg near Königswinter. The area of the map is 1730 x 150 mm, but the complete length is 2635 mm, the extra length being taken up with nine views of the Niederwald Nationaldenkmal (Niederwald National Monument) which was built in 1878 to commemorate the victory over the French and two scenes of Köln and Mainz.

A rather unusual Rhein-Panorama von Köln bis Mainz was possibly made especially for the company Spielwarenhaus Puppenkönig in Köln and bound in attractive red boards with a decorative bouquet of vine leaves surrounding the central title illustration of the Niederwald Denkmal.

On the reverse it has Spielwaren Ausstellung – von P.H. Virnich - Hoflieferant - Köln Hohestrasse 132 gegenüber der Passage - Spielwarenhaus Puppenkönig. The toy shop (Spielwarenhaus) King of Dolls (Puppenkönig) possibly commissioned the Dresdner Kunstanstalt, Aktieng., to print the map for them. 

Fig 9. Carl Garte's Panorama vom Rhein - Cöln bis Mainz. Title and first panel showing the illustrations, now in colour, and Köln cathedral completed. 

Again the map has no title. The panorama landscape is in plain brown sepia tones, the river is blue but now there are real photographic views alongside the river (27 right plus a table of widths and depths just above bottom panel and 35 views to the left). A panel at the top shows Köln from the Deutz bank. The length of the river panorama is 2165 mm and it is printed in sepia[15]. There are now three bridges at Koblenz (with the Horchenheimer railway bridge built 1879), two at Köln and a second bridge at Mainz and the railway winds around the back of the town. This panorama has the line and projected bridge at Bonn (passing south of town) with train and Trajekt, indicating that the line was projected but not yet built.

The publishing company (Verlag) of Karl Rud. Bremer was very active at the end of the century. Their publications often have a code identifying the age of the map, e.g. 109 8 or 1/109. Map 109 8 is the Rheinlauf von Mainz bis Köln - Gebirgszüge in Relief Manier (mountainous view with relief presentation). The imprint is: Verlag v. Karl Rud. Bremer, Köln. This is a printed coloured view of the river Rhine, expanded to fill the page with no extra illustrations to the right and left. The area of the map is 1770 x 205 mm. This has the bridge at Bonn but also 'Trajekt' south of the city. The inclusion of this 'Trajekt' bridge is surprising — it was never built! A bridge at Bonn was finally built in 1898, but crossed over the river from the town and not south of the city.

Fig 10. Typical depiction of the "Trajekt" bridge below Bonn circa 1880.

This map must have been produced around this time, either just after the construction or only shortly before but in the firm knowledge that it would be built. The 'ghost' bridge did not disappear immediately so plans must still have been in someone's drawer!

A later edition (1/109) Der Rhein Album mit Panorama contains a 32-page booklet with title page and 30 photographic views. The map has a slightly different imprint (below Mainz): Verlag v. Karl Rud. Bremer & Co., Köln a. Rh. Above this a panel referring to Kilometerzahlen which have been added to the map at 5km intervals along the river. There are also extra names: Peters Aue (Mainz); Reitburg's Aue (Wiesbaden); Eltville Aue redrawn and named; extra ferry included at Bingen, Caub St Goar etc.

Another copy of Rheinlauf von Köln bis Mainz was produced in cheap brown paper covers and a simple art nouveau design around the title by the H Siebenhar Verlag. The map is printed in black and white and has been cut into two sections with the north half of the Rhine on one side, the south section of the Rhine is on the reverse (approximate area of map 915 x 160 mm on each side). The extra names are still present but all railway lines and bridges have been removed! Imprints below the map: D.R.G.M. and Gesetzlich geschützt (copyright protection). Genehmigt vom Generalkommando (approved by army command) and Verlag H Siebenhar, Köln. It would appear that this edition, printed on cheap paper was issued during the First World War and all important military objectives, e.g., Feste Franz (a fortress) north of Coblenz, and all bridges, have been removed.

Fig 11. Two plans by Bremer from before and during WWI. Note absence of bridges in lower example.

 

Notes and Sources of Illustrations

All illustrations are from the author´s private collection.

For a more comprehensive overview of Rhine leporello maps see the author´s dedicated website: http://kitthemaps-rhine-panoramas.blogspot.com/

click here

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[1] IMCoS is the International Map Collectors Society – although there are many map groups this is currently the only international group of map collectors. Find out more about their activities at https://www.imcos.org/.

[2] The author would like to hear from any other Rhine panorama collectors with a view to sharing information. All illustrations are from the author's former collection with the exception of Fig.3, which is taken from Flüsse im Herzen Europas. This catalogue accompanied the exhibition of the same name held at Bonn-Bad Godesberg from 9.9.93-31.10.93, which IMCoS was privileged to attend.

[3] The leading work on Rhine illustrations is Michael Schmitt's Die Illustrierten Rhein-Beschreibungen 1996 Böhlau Verlag, Köln Weimar and Wien.

[4] See Flüsse im Herzen Europas. Catalogue number R49.

[5] Cologne is variously written as Cöln, Coeln and signifies half of the city which became Köln (Cologne) when it amalgamated with Deutz on the other side of the river.

[6] See Flüsse im Herzen Europas from which this information is taken. Von Adlerflycht's view is catalogue number R46 and is Kart. 28064 of the Kartenabteilung der Staatsbibliothek zu Berlin.

[7] See Flüsse im Herzen Europas, catalogue number R5().  Full title has Aufs neue nach der Natur gezeichnet und mit den interessantesten architektonischen und geschichtlichen Denkmälern als Randbilder geziert in Frankfurt am Main – A new drawing according tot he landscape with interesting architectural and historical monuments as margin illustrations produced in Frankfurt.

[8] Alfred Sattler; Rheinpanoramen Reisehilfen und Souvenirs. A catalogue to accompany the exhibition of the same name, held as part of the 10th Antiquariat's Fair in Cologne in September 1995. Pages 30-33.

[9] See Sattler E15 and Flüsse im Herzen Europas R60 and R61. Interestingly Ernest George Ravenstein moved to Britain and produced maps, including an important one for George Philip.

[10] Sattler, Rheinpanoramen El 1 and 8A.

[11] It is sometimes possible to date the map from the booklet. Later booklets have more pages, they may be dated on title page or there may be a date in the text (although texts were used for a long period before updating).

[12] The copy in the author's possession has a booklet with imprint: Mainz. 1867. Verlag von D Kapp. Printer's signature on final page: Druck von J Gottsleben in Mainz. See Sattler, Rheinpanoramen N 54.

[13] Sattler, Rheinpanoramen H20, H21 / 9A-9D.

[14] Last date in text of author's copy is 1880. See Sattler, Rheinpanoramen H25 and 16A.

[15] Sattler, Rheinpanoramen 14D.