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The British Library in London
is home to a staggering
4.5 million maps.

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Mysterious and beautiful,
these rarely seen treasures are much

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more than just two dimensional
depictions of a physical world.

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Among its most quixotic,
strange and colourful treasures

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are the world's first
mass produced satirical maps,

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maps that used country boundaries
to reinforce national stereotypes.

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The form of a country,
the map of a country,

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can have an enormous emotive force.

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Visually striking, poking fun
at the high and mighty,

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at countries and their leaders,
these maps came from a time

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when nations were still
working out who they were.

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People were asking, what
does it mean to be British?

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What does it mean to be French?

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What does it mean to be
German or Italian?

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These extraordinary maps
did more than just poke fun.

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They made politics visual.

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They helped create
national identity.

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And they ushered in a modern world

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where mass media and political spin
went hand in hand.

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Europe in the 1870's
was a place of political tension.

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Countries vied with one another
for territory and influence.

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Nationalism was on the rise.

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Nationalism was a movement which
grew out of the Napoleonic wars.

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The countries which had laboured

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under Napoleonic rule
emerged from this period

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with a distinct desire to have
an identity of their own.

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And to defend that identity.

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For Britain,
it was the great era of maps.

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The Ordnance Survey was mapping the
nation in almost microscopic detail.

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While the Empire and wars in Europe
made maps indispensable

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for understanding Britain
and its place in the world.

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By that time the shapes of
Europe, in particular,

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were pretty well known.

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The 19th century had seen a huge
explosion in map availability.

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Papers were full of maps,
books were full of maps,

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atlases were getting published.

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The base of knowledge about
the shape of our lands,

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and all the rest of it,
was already there.

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One British Map maker,
Frederick Rose,

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was determined to give that
knowledge a whole new twist.

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In 1877, he made the first of the
world's mass-produced satire maps.

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They impart opinion and information
all at the same time,

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in a way that is visually
very striking and quite beautiful.

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They are very much a product
of their age.

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Rose was doing these maps
at the zenith of the British Empire.

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And it shored up the Victorian sense

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of who we are and our
place in the world.

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Entitled, A Serio-Comic Map
Of Europe For The Year 1877,

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Rose's map captures a
moment of anxiety for Europe.

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The so-called Eastern question,

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the fear of Russia,
pictured as a giant octopus.

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The map was meant to inform,
to entertain, and to shock.

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And it still does.

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We know exactly how people
responded to it visually

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because people are continuing
to respond to it visually.

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There's the case of the
Russian academic recently,

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who was incandescent with rage at
the fact that it had been reproduced

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because he felt that the use of an
octopus to portray his country

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was a monstrous distortion
of the true nature of his country.

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This map has been insulting people,
and amusing people in equal measure,

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for the last 130 years.

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The tentacles of the
Russian octopus stretch out

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over the much of the continent
with an alarming and malign reach.

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So all of it links together
in some way and, really,

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what you have are a series
of interlinked narratives,

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linking up with each
other right the way across.

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Moving over the whole
is the Russian octopus,

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with tentacles
going out in every direction.

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The idea of the octopus does seem
to be Rose's own, as far as I know.

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I've seen earlier depictions
of Russia as a bear

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or as a ravening wolf in
caricature maps like this

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going back to the Crimean War.

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But as soon as you're looking at
the detail and Rose's opinion

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of what's going on in various
countries in Europe at the time,

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you're sucked right in.

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Rose uses the physical
shape of each nation

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to create a cartoon stereotype.

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Here's a grumpy looking Ireland
with 'home rule' on her mind.

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Italy is a young woman,

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because the nation had only been
in existence for a few years.

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Germany is a fierce looking
Prussian, armed to the teeth.

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Spain, indifferent to
events in Europe, is asleep.

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But it's that grey menace of
the octopus that dominates.

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This image gave, if you like,
the opponents of Russia a focus.

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For instance, it's strangling Poland.

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Poland then formed part of Russia.

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It's in the process
of strangling Bulgaria.

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And it was, in fact,
the Russian invasion of Bulgaria

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that provoked the great crisis which
very nearly led to a First World War

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something like 30 years before
it actually occurred.

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It is such a convenient
thing because people do
recognise their own country.

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The form of a country,
the map of a country,

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can have an enormous emotive force.

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It resonates.

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It's a time of great political
upheaval and uncertainty,

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and I suppose a slight
lightness of touch

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is a good way of bringing
that home to people.

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It's not only the
octopus that's important.

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You've got other little side scenes.

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For instance, one very small touch
is that the Turkish Empire

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is shown as a Turk who
lies prostrate beneath the octopus,

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and the golden watch of the Turk
is Constantinople

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which everybody thought was the main
objective of Russia's expansion.

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If you look, even in small detail
at Belgium,

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you've got the King of Belgium,
Leopold II,

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who was making a fortune
out of running the Congo
as its private fief.

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And he's there, counting his money.

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So, wherever you look at the map,

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you have references to
the current situation.

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Even if, thanks to the
mastery of the design,

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the eye is at first drawn to the
main conflict, which is Russia.

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It's really clearly
seen in the map itself that
tension was building up in Europe.

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For example, France is
checking its weapons,

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getting ready for something.

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Austria-Hungary, the big empire,

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actually you can see that Hungary

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is depicted as a man who
is really getting angry,

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he wants to get at Russia.

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Who is held back by a
young woman, Austria.

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You can actually see that everybody
is getting ready for something

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but they are not quite sure
what will come next.

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For Rose's audience, this was map
and news bulletin rolled into one.

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And the British viewer
could gain comfort

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from the stalwart figure
of John Bull.

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Resolute, solid and reliable.

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Often, when all the other characters
representing all the other countries

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are scrapping and fighting, or
kipping on the job, John Bull,

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up there in the top left corner,

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is always looking remarkable
and in full control of everything.

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On all his maps, we're always
looking terribly smug and...

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gazing benignly on the
rest of the unfortunates

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in the world, who haven't have
the good grace to be born British.

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Rose's work was revolutionary.

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He made politics
visual through maps.

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He defined national stereotypes.

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And for the first time
in Britain's history,

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he brought the world of
political satire to a mass audience.

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It was a breakthrough in
printing technology

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that made it all possible.

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We could almost call this the first
map for the masses,

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because its produced using
chroma-lithography

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which had two important features.

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First of all, it was produced
en masse, almost infinite
copies could be produced.

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Secondly, it could
be produced in colour.

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It cost virtually nothing.

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It quite literally
spread like wildfire

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and it had an enormous impact.

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In the 1870's,

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there were 250 lithographic
printers in London alone.

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Today, this Victorian warehouse
in south London

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is home to one of the last remaining
traditional printers

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in the whole of Britain.

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Using the same lithography process

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that was used to make
the Rose original,

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Megan Fishpool and Colin Gale
are printing the octopus map,

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probably the first to be printed
in over a century.

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In the years before Rose,
each colour element had to be

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laboriously drawn out and printed
from cumbersome stone plates.

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But photography
had transformed the process.

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Historically, this is right
at the cross over point

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where they started moving from stone
lithography to plate lithography.

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Plates have got the advantage.

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Obviously, they're cheaper, lighter,

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more portable and faster to print.

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What we've got here, it's the
modern day equivalent, it's
photo sensitive aluminium.

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The plate's been exposed
using ultraviolet light

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to a drawing which is
made on clear acetate.

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I'm pouring on liquid developer and
literally developing out the image.

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While the plates are being prepared

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to be printed, you mix the colour.

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There are four colours and a black
in this particular image.

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And all of the colours are
actually made by hand from scratch.

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To our 21st century eyes,
the process may look laborious,

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but in 1877 this was right at the
cutting edge of new technology.

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Basically, it evolved
the concept of quantity.

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And so, a couple of printers
working together could print

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a phenomenal amount of imagery
in very short period of time.

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This is the plate for the
main body of the octopus.

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Which is going to be printed
in a transparent grey.

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We need a separate plate
for each image, and each
colour is printed separately.

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All the pinks are printed and
all the yellows are printed,

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all the blues are printed,

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and that's the way
the image is built up.

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Five plates in total for
this particular picture.

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The new process took advantage
of two burgeoning technologies.

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One was photography, allowing
plates to be made without drawing.

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The other was chemistry.

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Lithography is very simple
chemistry.

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It's the fact that oil
and water don't mix.

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The image is greasy
and attracts ink.

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And the non-image area is kept damp
and repels the greasy ink.

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Colour printing would've been
very, very expensive,

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only open to rich people.

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This is a way of reaching
the mass market very, very
cheaply, very, very quickly.

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High volume and low cost brought
maps like Rose's to a new audience.

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It also revolutionised
the map business.

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Previously, mapmakers took
huge financial risks

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producing their costly product,
and often went bust.

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Rose's maps proved hugely popular,
and highly profitable
for his publisher G. W. Bacon.

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George W. Bacon was actually known

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for making maps of London
and the surroundings,

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for example, for biking trips.

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But then, on the side, he decides to
start publishing these cartoon maps.

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I think he was
a rather wily businessman

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because after the first map
of Frederick Rose
in 1877 was published,

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fairly quickly after that there
was a second edition of the map
already in the same year.

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It sort of gives us a clue that there
was business in these kinds of maps.

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I can imagine Bacon
taking the most immense pleasure

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in putting these cartoon maps
in the window of his shop

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because he liked eye-catching,
and those certainly are.

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And I think that is
what Bacon is about.

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It is about mass appeal,

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selling maps to people who didn't
even know they wanted maps.

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Satire maps were sold
on street corners,

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they appeared in newspapers,
in schools, in offices,

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in ordinary homes.

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What had once been costly,
luxury items were now
throwaway objects in a mass market.

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The modern world of map publishing
had begun.

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It's always quite
exciting as a printmaker.

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We've got all the colour layers
down now

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and until you put the final black
layer on, you don't know
what it's going to look like.

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It's always kind of a magic moment,
just peeling it off and seeing
the final result for the first time.

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There you go. Beautiful.
Spot-on register.

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Perfect.

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In the spring of 1880,

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Rose turned his sharp-edged,
satirical lens on British politics.

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It was general election time,
with the Liberals

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seeking to topple a Tory government
that many saw as corrupt,

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warmongering and dishonest.

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Uniquely, Rose produced two
satire maps, one for each party.

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The maps have lain in the
British Library's basement
for well over a century

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and were only recently rediscovered
by Peter Barber.

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Part of the fun of being a curator is
that you do have almost unrestricted
access to your collections.

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I mean,
there is nothing more exciting
than going through a file of maps

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and seeing something you've never
seen before and you're pretty sure
that nobody else has seen before.

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00:17:12,440 --> 00:17:15,360
It really is great
to find something that is really new,

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and to look at the expressions
of surprise on faces of people
who equally have never seen them.

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And, sometimes, the things
can be really, really important
because they can change perceptions.

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They can provide evidence which
previously had been lacking.

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00:17:34,440 --> 00:17:37,560
Rose's octopus maps are very
familiar and, as you can see,

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00:17:37,560 --> 00:17:39,280
he's signed his name down here,

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00:17:39,280 --> 00:17:41,520
well, under his signature,
Fred W. Rose,

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00:17:41,520 --> 00:17:44,960
we've got the "Author of the
Octopus Map of Europe".

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00:17:44,960 --> 00:17:49,160
It's absolutely lovely to see
something completely fresh
and completely new.

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00:17:49,160 --> 00:17:52,400
And I know it's been lying in
the vaults of the British Library

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00:17:52,400 --> 00:17:55,560
for the last 130 years or so,
but I'd never seen them before.

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00:17:55,560 --> 00:17:58,320
I had never even
seen these reproduced

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00:17:58,320 --> 00:18:00,240
in any publications.

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00:18:03,160 --> 00:18:07,640
In the pro-Conservative image,
Disraeli, the Prime Minister,

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00:18:07,640 --> 00:18:08,880
is a heroic figure,

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00:18:08,880 --> 00:18:12,160
stabbing his enemies
with the sword of patriotism.

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00:18:14,320 --> 00:18:18,040
In the pro-Liberal map,
Rose turns it all around.

253
00:18:18,040 --> 00:18:20,520
This time, Gladstone is the hero,

254
00:18:20,520 --> 00:18:24,160
while Disraeli is depicted
as a corrupt despot,

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00:18:24,160 --> 00:18:28,480
his subservient cabinet
kneeling at his feet.

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00:18:28,480 --> 00:18:30,200
Here you've got King Jingo,

257
00:18:30,200 --> 00:18:35,080
Benjamin Disraeli, being unseated,
but it's interesting
to see what he's being unseated by.

258
00:18:35,080 --> 00:18:38,760
And it's something which echoes right
the way down to the present time.

259
00:18:38,760 --> 00:18:40,960
You've got here "broken promises".

260
00:18:40,960 --> 00:18:43,800
You've got there
"harassed interests",

261
00:18:43,800 --> 00:18:45,560
and finally, and most important,

262
00:18:45,560 --> 00:18:48,280
"public opinion",
which is unseating him.

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00:18:48,280 --> 00:18:51,520
If you notice carefully, he's
sitting on top of the ballot box.

264
00:18:51,520 --> 00:18:55,160
It's a marvellous allegory
of the electoral process,

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00:18:55,160 --> 00:18:57,080
very, very well portrayed.

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00:18:58,760 --> 00:19:03,560
The burning issues of
the election have an
eerily contemporary ring to them.

267
00:19:03,560 --> 00:19:07,320
Britain was fighting
a prolonged war in Afghanistan.

268
00:19:07,320 --> 00:19:12,040
And the national debt was at
its highest in living memory.

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00:19:12,040 --> 00:19:16,440
You have the comment that Gladstone,
who's depicted as a Highlander,

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00:19:16,440 --> 00:19:18,760
has taken on some clothes
and some arms,

271
00:19:18,760 --> 00:19:21,520
which he has taken
from the stiffening corpses

272
00:19:21,520 --> 00:19:23,720
of English soldiers in Afghanistan.

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00:19:23,720 --> 00:19:27,240
We have the references
to public expenditure.

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00:19:27,240 --> 00:19:31,320
And also to the general economic
state of the country

275
00:19:31,320 --> 00:19:35,000
because you do get this mention
of public debt de profundis.

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00:19:35,000 --> 00:19:38,520
And at the moment, if that isn't
a key question, nothing is.

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00:19:40,320 --> 00:19:43,080
It's a marvellous way of
dramatising issues

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00:19:43,080 --> 00:19:46,600
which are matters of debate,
and dramatising them in a way,

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00:19:46,600 --> 00:19:51,080
with a clarity which
a verbal debate or a written debate

280
00:19:51,080 --> 00:19:53,680
can't really bring to the fore.

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00:20:00,640 --> 00:20:03,640
Rose's legacy lives on today,

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00:20:03,640 --> 00:20:07,240
in the work of graphic artists
like Peter Brookes,

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00:20:07,240 --> 00:20:10,360
political cartoonist at The Times.

284
00:20:10,360 --> 00:20:15,080
Political cartoons are
odd things anyway, to be honest.

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00:20:15,080 --> 00:20:16,960
A political cartoon to me,

286
00:20:16,960 --> 00:20:18,760
a definition of it,

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00:20:18,760 --> 00:20:22,200
is kneeing somebody in the groin
with a smile, if you like.

288
00:20:24,560 --> 00:20:29,600
There are so many instances of things
that other people have done

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00:20:29,600 --> 00:20:33,600
that lodge in your subconscious.
You're aware of them.

290
00:20:33,600 --> 00:20:40,920
You like them. You like what
Rose does because it's within your
professional territory, so to speak.

291
00:20:40,920 --> 00:20:43,600
It's the same sort of thing
as you do.

292
00:20:50,280 --> 00:20:57,040
You have to be able to
recognise symbols,

293
00:20:57,040 --> 00:21:00,080
which your general reader
can be familiar with.

294
00:21:00,080 --> 00:21:05,200
And maps, if anything, are symbols.

295
00:21:05,200 --> 00:21:09,080
Before Rose,
there were people producing maps,

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00:21:09,080 --> 00:21:13,080
political commentary through maps,
like Gillray.

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00:21:13,080 --> 00:21:19,400
And a particular one I love which
is George III and the Bum-Boats,

298
00:21:19,400 --> 00:21:23,200
where George III is defecating
the fleet against the French.

299
00:21:23,200 --> 00:21:29,480
A wonderful image. So wonderfully
scatological, so vulgar,

300
00:21:29,480 --> 00:21:32,880
it makes you laugh
just because it is, you know!

301
00:21:32,880 --> 00:21:37,560
It appeals to my
ribald sense of humour, if you like.

302
00:21:37,560 --> 00:21:43,000
And you laugh, but the point behind
it, when you're fighting France,

303
00:21:43,000 --> 00:21:45,240
is obviously serious as well.

304
00:21:47,880 --> 00:21:51,680
Peter Brookes' own work
owes much to Gillray and Rose,

305
00:21:51,680 --> 00:21:55,680
a mark of the abiding
political power of the satire map.

306
00:21:57,200 --> 00:22:03,320
This Spectator cover, again
uses that familiar shape of Britain.

307
00:22:03,320 --> 00:22:08,400
And the article was about,
as you can read there,

308
00:22:08,400 --> 00:22:10,680
"Yobland, Our Yobland."

309
00:22:10,680 --> 00:22:13,400
The idea of Wales being the 2 hands,

310
00:22:13,400 --> 00:22:17,320
Norfolk's his bum, obviously,
and his trainers,

311
00:22:17,320 --> 00:22:21,880
you can manage to make the outline
of the West Country.

312
00:22:21,880 --> 00:22:26,800
The only thing I think
is wrong about it

313
00:22:26,800 --> 00:22:30,360
is that Ireland really doesn't have
a great deal to do with that.

314
00:22:30,360 --> 00:22:34,960
But to make it work,
as a yob kicking an old lady,

315
00:22:34,960 --> 00:22:41,080
I'm afraid Ireland was used
for that purpose.

316
00:22:42,760 --> 00:22:46,240
Well, I drew this for The Times
immediately after

317
00:22:46,240 --> 00:22:49,040
the Continuity IRA
murdered a policeman,

318
00:22:49,040 --> 00:22:53,720
having previously murdered
two British soldiers

319
00:22:53,720 --> 00:22:56,120
a short while before that.

320
00:22:56,120 --> 00:23:01,000
And the idea was to show
the Good Friday Agreement

321
00:23:01,000 --> 00:23:04,520
being shot to ribbons, basically.

322
00:23:04,520 --> 00:23:09,840
The outline of Ireland, it's
a familiar image to people, you hope.

323
00:23:09,840 --> 00:23:12,920
And the shape is what does it.

324
00:23:12,920 --> 00:23:15,960
And then putting bullet-holes
in with it as well,

325
00:23:15,960 --> 00:23:18,560
and the burn marks round it.

326
00:23:18,560 --> 00:23:20,680
To make up the idea.

327
00:23:23,760 --> 00:23:28,200
You may think, "Well, because
they've been around for a long time,

328
00:23:28,200 --> 00:23:31,320
"what possible sort of...

329
00:23:31,320 --> 00:23:35,560
"enjoyment can come out of
trotting out the same old stuff?"

330
00:23:35,560 --> 00:23:37,320
But it's not the same old stuff.

331
00:23:37,320 --> 00:23:41,440
First of all, the political situation
is always different, by definition.

332
00:23:41,440 --> 00:23:44,280
And you're using
the constant shape of something

333
00:23:44,280 --> 00:23:46,240
which people are familiar with.

334
00:23:46,240 --> 00:23:49,000
That makes it
a different challenge, I think.

335
00:23:53,440 --> 00:23:57,960
Political crisis is also the subject
of Rose's last satire map.

336
00:23:57,960 --> 00:23:59,200
Made in 1899,

337
00:23:59,200 --> 00:24:05,680
Angling In Troubled Waters
depicts growing tensions in Europe.

338
00:24:05,680 --> 00:24:08,080
In 1914, those tensions erupted

339
00:24:08,080 --> 00:24:11,160
into the bloodiest conflict
the world had ever seen.

340
00:24:13,280 --> 00:24:18,120
With war, satire maps took on a more
savage tone than Rose had ever used.

341
00:24:19,240 --> 00:24:21,760
But his legacy shines through.

342
00:24:21,760 --> 00:24:25,160
Here's the octopus,
his great creation,

343
00:24:25,160 --> 00:24:29,880
at the heart of a brooding
anti-German French map of 1917.

344
00:24:32,200 --> 00:24:37,080
This vicious Russian satire map
used the "hunger spider"

345
00:24:37,080 --> 00:24:40,040
to show the invidious influence
of Russia's churches

346
00:24:40,040 --> 00:24:41,640
on the flagging revolution.

347
00:24:44,440 --> 00:24:48,040
And this map
brings the story full circle.

348
00:24:48,040 --> 00:24:49,320
Made in 1941,

349
00:24:49,320 --> 00:24:54,880
the fascists of Vichy France
savagely turned Rose's octopus idea

350
00:24:54,880 --> 00:24:56,960
against Britain itself.

351
00:25:02,520 --> 00:25:06,720
Well, this is an Axis cartoon

352
00:25:06,720 --> 00:25:09,600
attacking British policy
throughout the world

353
00:25:09,600 --> 00:25:11,360
during the Second World War.

354
00:25:11,360 --> 00:25:14,560
And it does so
by resurrecting the octopus

355
00:25:14,560 --> 00:25:18,280
that had been first seen
nearly 70 years earlier.

356
00:25:18,280 --> 00:25:20,240
And in this particular case,

357
00:25:20,240 --> 00:25:23,920
the octopus has been turned
into Winston Churchill.

358
00:25:26,040 --> 00:25:29,200
The tentacles of the British octopus

359
00:25:29,200 --> 00:25:35,400
are shown being cut in places which
have had resonances for the French.

360
00:25:35,400 --> 00:25:38,640
There was an allied attempt to
seize Dakar in west Africa,

361
00:25:38,640 --> 00:25:39,800
it didn't succeed.

362
00:25:39,800 --> 00:25:42,280
There's a cut tentacle.

363
00:25:42,280 --> 00:25:45,320
There's an attempt by the British
to seize a French fleet

364
00:25:45,320 --> 00:25:46,840
at Mers El-Kebir.

365
00:25:46,840 --> 00:25:49,160
There's another tentacle that's cut.

366
00:25:49,160 --> 00:25:50,560
The French caption reads,

367
00:25:50,560 --> 00:25:55,160
"Confiance ses amputations se
poursuivent methodiquement,"

368
00:25:55,160 --> 00:25:57,400
which means,

369
00:25:57,400 --> 00:26:02,280
"Have confidence,
the amputations of its tentacles

370
00:26:02,280 --> 00:26:05,240
"are being pursued
in a methodical manner."

371
00:26:05,240 --> 00:26:07,560
In other words,
"You don't need to worry,

372
00:26:07,560 --> 00:26:09,640
"soon there'll be no tentacles left

373
00:26:09,640 --> 00:26:12,720
"and the octopus will be reduced

374
00:26:12,720 --> 00:26:16,320
"to a dying mass of fish
in Great Britain."

375
00:26:17,840 --> 00:26:21,080
The image is crude and vicious.

376
00:26:21,080 --> 00:26:24,080
All the subtlety and humour
of Rose is gone.

377
00:26:24,960 --> 00:26:27,360
This is the ultimate satire map,

378
00:26:27,360 --> 00:26:32,120
from a time when politics had
become a matter of life and death.

379
00:26:32,120 --> 00:26:37,040
We're used to regarding Churchill

380
00:26:37,040 --> 00:26:39,160
as a positively good thing

381
00:26:39,160 --> 00:26:41,680
and I think it'll come as a shock
to many people

382
00:26:41,680 --> 00:26:43,440
to be reminded of the time when,

383
00:26:43,440 --> 00:26:47,680
in many parts of the world,
Churchill was regarded

384
00:26:47,680 --> 00:26:50,480
as the embodiment
of everything that was evil.

385
00:26:57,600 --> 00:27:01,520
Because the incidental detail
has been omitted,

386
00:27:01,520 --> 00:27:04,560
you also omit a lot of the humour.

387
00:27:04,560 --> 00:27:07,760
This is a very, very stark, unwitty,

388
00:27:07,760 --> 00:27:10,240
attack on Winston Churchill

389
00:27:10,240 --> 00:27:15,000
which is not intended
to provoke any happy chuckles.

390
00:27:16,520 --> 00:27:21,400
It does show just how powerful
a map image can be.

391
00:27:21,400 --> 00:27:24,840
And in a way which, I think,
nowadays, people will understand

392
00:27:24,840 --> 00:27:27,880
because the rendering
of the map is modern,

393
00:27:27,880 --> 00:27:32,600
it represents the Rose idea

394
00:27:32,600 --> 00:27:37,960
reduced to its most negative essence.

395
00:27:42,200 --> 00:27:45,000
The satire map
has made an extraordinary journey

396
00:27:45,000 --> 00:27:47,240
over a tumultuous
century-and-a-half.

397
00:27:49,080 --> 00:27:52,720
Rose's world
of Victorian technology,

398
00:27:52,720 --> 00:27:56,920
of John Bull and Empire,
may seem far-distant.

399
00:27:56,920 --> 00:27:58,200
But by combining maps,

400
00:27:58,200 --> 00:28:03,080
mass media and political spin
for the first time,

401
00:28:03,080 --> 00:28:05,400
he left an enduring legacy.

402
00:28:05,400 --> 00:28:09,160
One that testifies
both to his own genius,

403
00:28:09,160 --> 00:28:14,720
and to the extraordinary power,
depth and beauty of maps themselves.

404
00:28:20,840 --> 00:28:23,200
To explore the new world
of digital mapping

405
00:28:23,200 --> 00:28:27,080
and to find out more about the
British Library Map Exhibition,

406
00:28:27,080 --> 00:28:28,200
go to..

407
00:28:42,120 --> 00:28:45,160
Subtitles by Red Bee Media Ltd

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00:28:45,160 --> 00:28:48,200
E-mail subtitling@bbc.co.uk