WHILE HIS CLASSMATES REMAINED AT CAMBRIDGE DURING THE SUMMER of 1790 to prepare for final examinations, Wordsworth was not to be found within the precincts of his university. Instead, he was traveling by boat and foot through Europe and the Alps with his friend Robert Jones. "Nature," Wordsworth explains in The Prelude, was "sovereign in my heart, / And mighty forms seizing a youthful Fancy / Had given a charter to irregular hopes." (1) After landing in Calais on the eve of the anniversary of the fall of the Bastille, the college friends journeyed over 2,000 miles through France, Switzerland, Italy, and Germany. (2) Much of what we know about Wordsworth and Jones's 179o tour of the continent comes from a letter Wordsworth wrote to his sister during the trip and from the account he gives in The Prelude, Book 6, over seven-hundred lines of blank verse composed primarily in 18o4 and revised periodically throughout his life. (3) From these and other sources, biographers and critics have substantially reconstructed the Alpine portion of the tour, motivated by the powerful yet enigmatic account of the crossing of the Simplon Pass. (4) Introduced as an event of "deep and genuine sadness" (6.492), but interrupted by a rejoicing paean to the human Imagination, the Simplon crossing has long captivated scholars, and criticism of the episode has come to define generations of Romantic scholarship. (5) Despite the scholarly fascination with the crossing of the Pass, relatively little attention has been paid to one of the most fundamental and at the same time richest contexts informing both the event and its reinscription in The Prelude--cartography. And yet the letter to Dorothy composed over ten September days of that 179o tour provides a clue to cartography's significance for Wordsworth, from his very outset. Maps, the letter shows, were vital figures in Wordsworth's literary representation of his European tour. They were vital, I shall argue, not just in the 1790s when he wrote to Dorothy, but also, in a more complex and conflicted way, in 18o4 when he again put the tour on paper. Maps, as figures in Wordsworth's verse--and as representational pages that themselves bear figures on their surfaces-shed light on Wordsworth's rendering of journeying on the two-dimensional pages of The Prelude. Maps, both as artifacts produced by a cultural practice (cartography) with scientific, touristic, and military functions, and as figures in written discourse--letters, journals, and poems--had multiple effects on Wordsworth's representations of his journey. Few critics, however, have investigated their importance. In his Prelude annotations, Raymond Havens only provides the sparest of maps of France and Switzerland traced by a student from an undated London Times Atlas (first edition, 1895) (6) Similarly, in separate works Max Wildi and Donald Hayden reproduce modern-day sketch-maps and photographs of the region in order to plot the tour and to situate the pivotal missed-turn at the Pass: "One would like to know which were the three unforgettable hours [of Wordsworth's 'walk among the Alps']," Wildi claims. "Where did Wordsworth spend them? What was it that impressed him so deeply that he returned to this experience again and again as to one of those 'spots of time' in connection with which the deepest revelations were vouchsafed to him?" (7) Assuming the significance of geo-temporal fact to the Simplon episode, these studies neglect to regard the map as an historical representational form in its own right--a form conditioned by particular representational imperatives and dilemmas--and as an object shaped by historically specific practices. Thus they leave unquestioned the relevance of the visual language of maps to Wordsworth's charting of his poetic and affective development in Book 6. Even Michael Wiley's cartographically informed reading of the Simplon episode omits local maps in its pursuit of an analogy between Wordsworth's "blanking" of the landscape in the apostrophe to the imagination and the lingering blank spaces on African and West-English maps of the period (signifying the limits of cartographers' geographic knowledge). …