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                <text>Map layer 2 - Trees &amp; Forests</text>
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                <text>	Containing patches of trees to represent forests, this layer is interesting because it shows potential areas to be navigated around, used as possible protection, or used to acquire building resources. As depicted in the multi-perspectival illustrations, fortifications and colonial construction used timber.</text>
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                <text>Map layer 3 - Animals</text>
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                <text>Containing small illustrations of creatures, this layer is interesting because it reflects another type of commodity for use as a trade resource: fur. Here we see bears, foxes, beavers, etc. To me, it can also depict a level of artistic play that the cartographer seemed to represent and embody.</text>
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                <text>Map layer 4 - Fortifications and Colonies</text>
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                <text>Containing areas of settlement, this layer is fascinating because when isolated, it more clearly suggests purposes behind the accumulated locations. These reasons may include aesthetic preferences or for strategic (military or for trade) uses.  </text>
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                <text>Elevation</text>
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                <text>Elevation above sea level is marked by shading in four degrees, with darker colors indicating areas of higher elevation.</text>
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                <text>National, regional, and district borders</text>
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                <text>National and regional (oblast') borders, as well as borders lower-level divisions (okrugi, Ukrainian okruhy) are marked with colored lines offset by complimentary shading.</text>
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                <text>Major cities and towns are marked with large pink stars; major rivers are marked in blue and labeled.</text>
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                <text>Railways and flight routes are marked with pencil; railways are marked with hatched lines and flight paths are marked with dotted lines.</text>
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                <text>Color Washes</text>
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                <text>This layer contains a wash of three distinct colors: bright red for free states, dark blue-gray for slave states, and green for territories that were, as the map’s title calls it, “open to slavery or freedom by the repeal of the Missouri Compromise” of 1854. This layer encapsulates what I find to be the central object of the map as a whole, which is to use abstraction to convey a political message. The color washes appear to have been applied by a distracted artist rather than a fastidious cartographer. For instance, the colors spill over lines liberally—Long Island Sound or the loose splashes over Nantucket and Martha’s Vineyard provide good examples. There is almost the sense that the cartographer accidentally spilled buckets of paint over the map. This looseness plays into how the abstract colors represent political ideology rather than distinct geographic features. In conveying that political message, the mapmakers made distinct choices in color choice. Coloring the slave states a dark blue-gray gives the impression that the slave power is as a storm cloud that darkens and encroaches upon the innocent, natural greenness of the unclaimed territories. This dark coloring of slavery also has the effect of connoting immorality, especially in contrast to the bright, chipper cherry red of the free states. Moreover, the dark blue has the effect of making it extremely difficult to discern the natural features, like rivers, in the slave states—a fact that I learned the hard way in my tracing. I contend that this obfuscation of natural features is intentional; the mapmakers seek to prove in obscuring the rivers and mountains that slavery is unnatural and counter to the ideals of the land that the red and green colors highlight so much more clearly and favorably.</text>
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        <name>Analytical Tag: Kansas Nebraska Act</name>
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                <text>State and Territory Names</text>
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                <text>One of the things I noticed in exploring this map is that although state boundary lines are almost indiscernible, state and territory place names hold an outsize importance in the visual hierarchy. The text for state and territory names is in an imposing, block letter font and all capitals and seems unusually large and bold. This boldness creates an imposing quality that leaves obvious fingerprints of an obstreperous intervention into the natural space of rivers and colors. I argue that this mechanical, intrusive quality is an intentional attempt to show how man-made political divisions are at odds with the natural landscape of rivers. To put it broadly, I see a conflict between the natural and man-made features of the map. I see the overbearing text size and the preeminence of rivers as the two primary visual layers at the forefront of this confrontation. It seems to me that the there is a parallel between the incongruent juxtaposition of natural and man-made features in the map itself and a broader conflict that was going on in the 1850s to claim the territories as either slave or free. Indeed, the clunky visual picture created by the place name fonts stands in stark contrast to the cleanness and order of the Missouri Compromise negative space, which smoothly sleuths across the territories. I argue that this visual confrontation mirrors the map-maker’s opposition to the Kansas-Nebraska Act of 1854, especially in contrast to the order and stability that the Missouri Compromise ensured, at least according to Republicans at the time. After all, opposition to the Kansas-Nebraska Act precipitated the formation of the Republican Party, and this map was produced as a piece of pro-Republican election propaganda for the 1856 presidential election.</text>
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