Littérature scientifique sur le sujet « Civitates orbis terrarum (Braun, Georg) »

Prvi svezak velikog Atlasa koji sadrži 546 prikaza svjetskih gradova objavljen je 1572. godine u Kölnu dok je šesti, ujedno i posljednji, objavljen 1617. godine. Djelo je objavljeno pod naslovom Civitates orbis terrarum, u izdanju Georga Brauna i Franza Hogenberga. Kao inspiracija za ovo izdanje Georgu Braunu poslužila je Cosmographia Sebastiana Münstera te Theatrum orbis terrarum Abrahama Orteliusa. Teolog i svećenik Georg Braun bio je poznato ime u širokim krugovima, kako kulturnim tako i znanstvenim, što je bilo od izuzetne važnosti pri radu na izdanju ovog raskošnog djela bogato ukrašenog gravurama za čiju je izradu bio zadužen uglavnom Franz Hogenberg. Uz Hogenberga, gravure su izrađivali i Simon van den Neuwel te Georg i Jacob Hoefnagel, ali se koristio i rad drugih gravera i kartografa. Među objavljenim prikazima nalaze se i četiri hrvatska grada – Poreč, Šibenik, Kostajnica i Petrinja. U fondu Grafičke zbirke Nacionalne i sveučilišne knjižnice u Zagrebu pohranjeni su originalni grafički listovi svih navedenih hrvatskih gradova. Iako su izdvojeni iz matične publikacije u kojoj su, kao knjižna ilustracija, trebali vizualno nadopuniti tekstualni sadržaj, ti grafički listovi i kao zasebne umjetnine pružaju mnoštvo informacija o vremenu i društveno-povijesnim okolnostima u kojima su nastali.

AbstractThe present article sets out to explore the tradition and the innovative forces involved in the production of the first city atlas, Civitates orbis terrarum, a six-volume collection of town images published by Georg Braun and Franz Hogenberg between 1572 and 1617. In doing so, it considers the consequences of the rediscovery of Ptolemy’s notions of geography and chorography and traces how time-honoured ideas and new practices of describing places meet in the depiction of early modern cities. The article discusses the potential of chorography as a genre capable of representing a city while trying to convey information about its character and addresses the role of printing in the dissemination of city views. The analysis extends from classic notions and modern practices of chorography to the humanist pursuit of a global vision that can be identified in the design of the Civitates, where the metaphor of the theatre appears to extend from the material of the atlas to the book itself. The research is mostly based on social and cultural histories of cartography and cosmography which can contribute to a better understanding of the complex significance of city images in Braun and Hogenberg’s project.

En 2017 el Archivo Histórico y Municipal de Cascais decidió restaurar la más antigua imagen de la ciudad de Cascais, que corresponde a un grabado del siglo XVI y que pertenecía a la obra de Civitates Orbis Terrarum, uno de los más importantes libros sobre la vida en las ciudades de la Edad Media. La restauración de la obra fue llevada a cabo por la Cooperativa Agua de Cal Conservación y Restauración y en este trabajo se muestra las soluciones técnicas desarrolladas en la intervención de la obra. El presente artículo resulta de una existencia diminuta de publicaciones que ilustren intervenciones de conservación y restauración en obras con problemas semejantes a los verificados, por lo que se pretende compartir la intervención desarollada con los profesionales del área

The renowned panoramic plan of Vilnius, Vilna Litvaniae metropolis, was for the first time printed in Cologne in 1581. It appeared in the third volume of Civitates orbis terrarum, an atlas of the world’s most important cities, the publication of which was initiated in 1572 by Georg Braun (1541–1622), Cologne church dean, geographer and publisher, and Franz Hogenberg (1535–1590), Flemish cartographer and engraver. The six-volume atlas was first released in Latin (1572–1617/1618), then in German (1574–1618), and finally in French (1579–1618). City images featured in this very popular atlas also were published as separate prints. The copper plates for these images were sold by Hogenberg’s heirs to the Amsterdam atlas publisher Johannes Janssonius (1588–1664), who published his own atlas in 1657. Later purchased by other cartographic publishers of Amsterdam, the plates kept being republished until completely worn out in the mid-18th century. The panoramic plan from this atlas is the earliest image of Vilnius that has reached us today. It features mid-16th-century Vilnius shown as if from a bird’s eye view – such was the tradition of depicting cities at that time. Researchers agree that this Vilnius image is not historically accurate and contains numerous errors. The creators of the plan are believed to have based their city image on an earlier work, probably by Italian cartographers, adding to it various travellers’ depictions of the then capital of the Grand Duchy. The Rare Books Department of the Wroblewski Library of the Lithuanian Academy of Sciences holds three copies of Vilna Litvaniae metropolis. They were all printed in the times of Braun and Hodenberg using the same copper plates. The earliest of them is the copy with the second part of the text in German. According to the bibliography Koeman’s Atlantes Neerlandici, it may have been printed in 1582. Previously, this copy was in possession of Petras Klimas (1891–1969), Lithuanian statesman and bibliophile. It was received by the library currently known as the Wroblewski Library of the Lithuanian Academy of Sciences together with Petras Klimas’ archive (F 191) from the former Kaunas State University in 1950. The other two copies have no provenance marks. They presumably used to belong to the Wroblewski State Library, which was active in Vilnius in the interwar period. The second copy was published between 1588 and 1593; the third, between 1616 and 1623, both have Latin text. The Wroblewski Library of the Lithuanian Academy of Sciences holds several later derivatives of this panoramic plan of Vilnius. A several-times-reduced (16×24) panoramic plan was engraved by Georg Christoph Kilian (1709–1781) circa 1740 and published by the Bodenehrs, Augsburg engravers and publishers. A lithographic image of Vilnius in an even smaller format (17.5×13.5) was included in the history of Vilnius published by Józef Ignacy Kraszewski (1812–1887) in 1840. It was created in Vilnius at the lithographic firm of Józef Ozębłowski (Oziębłowski, 1805–1878), which existed in 1833–1863. Three other plans of Vilnius deriving from the Vilnius image in the Braun-Hogenberg atlas were lithographed in the late 19th – early 20th century. One of them was redrawn at a smallish lithographic company belonging to the Vilnius City Board and active from 1877 to approximately 1915. Unlike the other derivatives, it contains not only objects copied from earlier Vilnius city images, but also new ones: the Rasos Cemetery, the Green Bridge, the Franciscan monastery, etc. – its creators attempted to bring it closer to their time. The two other Vilnius images are identical to the plan in the Braun-Hogenberg atlas. One of them was printed in Vilnius at the lithographic firm of Notel Matz, which existed from 1873 to 1938, the other, at A.Transhel’s printing house in St. Petersburg, which was active in the second half of the 19th century – the early 20th century. These plans were lithographed in the late 19th – early 20th century. They have so far been little studied and still await attention from researchers. Keywords: Braun-Hogenberg atlas; panoramic plan; Vilnius; copper engravings; lithography; Georg Bodenehr; Vilnius City Board lithography; Notel Matz; A.Transhel’s printing company.

This work is part of a research project on the processes of the formation of urban identities. It attempts to reconstruct the role that images and descriptions have played in the process, using Catania as a case study. In this article we will examine, by way of municipal history and iconography, the process of constructing a “portrait” of the city (a map/view) linked to the need to “construct” an all-encompassing view, an identity: a map-view published in Amsterdam in 1598 and included in the 5th volume of Braun and Hogenberg’s Civitates Orbis Terrarum, clearly drew on a “local” model, a map printed on behalf of the Catanian Antonio Stizzia in Rome in 1592.

Henry Reed’s “A Map of Verona” became the title piece of the only poetry collection published by this multi-talented Englishman (1946). By recalling his trip to Naples and prophesying his devotion to Verona, the poem foreshadows Reed’s lifelong passion for Italy. In “A Map of Verona,” Reed is unique among map-poets in presenting himself as the star-crossed lover of a place, whose mapped image he eroticizes into the beloved’s body. Because Reed ultimately rejects his map as illusory, the poem invites us to consider the type of map he was gazing at while composing “A Map of Verona.” This paper, the fourth in a series about the use of poetry in the teaching of geography, argues that Reed might have used the 1928 edition of Italy from the Alps to Naples, one of the popular Baedeker travel guides esteemed for their accurate maps and plans. Yet a gulf separates the Baedeker map of Verona from earlier, more romantic depictions of the city. Perhaps no image comes closer to sharing Reed’s sensibility than the complementary views of Verona displayed in Braun and Hogenberg’s magnificent Civitates Orbis Terrarum (1581).

AbstractIn the Vleeshuis museum in Antwerp is a painting which is signed and dated G.COINGNET.FEC.1583 (note 1 and fig. 1). It allegedly represents 'Queen Dido, giving orders for Carthage to be built.' However, in the painting an architect is presenting the putative queen with a construction drawing (fig. 2) which bears the inscription PORTA DE LA GOLETA. La Goletta was a fortress built by Charles v to keep Tunis under Spanish control when he took possession of the city in 1535. In the 1560s, to cope with the threat of renewed Turkish attacks, La Goletta was substantially reinforced. Work was also begun on a new fort ('Nova arx') between Tunis and La Goletta. However, the Turks finally took both fortresses and the city itself in 1574. The conquest of 1574 is depicted and described in Civitates orbis terrarum by Braun and Hogenberg (note 7 and fig. 3). The authors suggest that the 'Nova arx' was modelled on the fortress of Antwerp. This edifice was built in 1568-69 by the Duke of Alva to subdue Antwerp, but after the initial success of the uprising against Spanish domination it was taken by the rebels and integrated in the city's fortifications. This was the situation in 1583, when Coignet painted his picture. The role assigned to the Antwerp guild of bricklayers and stone-masons in the painting is so prominent, that it is safe to assume that it was commissioned by the guild. In all probability it represents an anti-Spanish political programme. A further indication is provided by the drawing which is being presented to the queen; it bears a strong resemblance to the plan of Hadrian's port in ancient Ostia (note 11 and fig. 4). In Civitates orbis terrarum we read that the Turks, after their conquest of Tunis, razed the city's fortifications to the ground, replacing them by a naval port to make things as awkward as possible for the Catholic enemy. There is thus an obvious connection between La Goletta and a port of Antiquity; in that connection the role of the Turks also emerges. During the Dutch revolt against Spanish domination there was often talk of making overtures to the Turks, who, although not noted for their gentle disposition, were far more tolerant in matters of religion than the Hapsburgs. Indeed, one of the slogans of the revolt was 'sooner Turkish than popish'. There is also evidence of actual contacts between Antwerp and Constantinople during this period. The specific reference to La Goletta thus clearly indicates the intention of the painting: in analogy with the Turkish conquest of 1574, the Antwerp building trade guild assigned to Dido a new, allegorical role: that of ordering the conversion of a fortress erected by the enemy into a fortified port for the purpose of vexing the emperor of the Roman, c.q. the Roman-catholic realm. The link with the hated fortress which Alva had built for Antwerp is evident. There is little likelihood that plans were actually made to provide Antwerp with such a port; the painting probably had a propagandistic function. In 1585 the Duke of Parma definitively took the city for the king of Spain, and the fortress was separated from the fortifications again in order to quell any fresh uprisings. The fortress was pulled down in 1884; today the Museum of Fine Arts stands on the site.

<p><strong>Abstract.</strong> Three-dimensional images of the area were begun to create in the middle ages. The discoveries of new territories had led to the necessity of their mapping. On the perspective-panoramic maps of that time cities and fortresses were often depicted as they could be seen by an approaching traveler, usually from the most impressive side, from "bird's eye view". Cartographic images were performed manually, by the method of engraving on wood or on copper.</p><p> One of the first panoramic maps of Belarusian cities was a cartographic image of the city of Grodno, presented in The Large Atlas of Cities called "Civitates Orbis Terrarum" ("Cities of the world"). The Atlas was published by the cartographer Georg Braun and engraver of maps Franz Hogenberg in Cologne in 1572–1617. The main method of presentation of the cities in it was a picture.</p><p> A significant contribution to the development of cartography in Belarus was made by cartographer, artist, engraver and printer, the creator of the map of The Grand Duchy of Lithuania (1613) Tomasz Makowski. For many years Makowski were traveling all over the country and thoroughly studying its features as a topographer, historian, artist and geographer. He examined and sketched the most outstanding objects, as evidenced by his panoramic images of some cities. In particular, he created panoramic engravings of Nesvizh, Grodno, Brest and other cities of modern Belarus.</p><p> Nowadays, the traditions of medieval art cartography in Belarus have received a new development in the works of artist-cartographer Ruben Atoyan. Initially, cartographic images were made manually with ink and watercolors. Panoramic maps of the main cities of Belarus, including Minsk, Grodno, Gomel, Mogilev, Mir, Nesvizh, Novogrudok, etc. were created in a such way.</p><p> With the usage of computer technologies at the present stage, the technique of creating of artistic cartographic images has significantly changed. The majority of types of work which was performed previously by creating on paper, now is possible to implement using a personal computer, graphics tablet and vector and raster graphics programs. During this process – and it's very important – the handwritten style of images is kept and the ability of operative update of the content is provided. However, there are some types of artistic and cartographic work which easier and faster to accomplish manually than on the computer, for example, drawing of different types of trees, grasses, waters of rivers and lakes. In this case it's possible to speak about the combined handwriting-automated technology of artistic map image creation which includes elements made manually and the separated stages and elements which advisable to perform on the computer.</p><p> The construction of the perspective image of an urban landscape according to the method developed by the author conditionally consists of several stages.</p><p> The first step includes the selection of the projection direction and determination of the territory coverage by remote sensing images of the Earth and the city plan. The previously developed template of perspective (central) projection is used to build a perspective grid on the sheet of the drawing paper. Then the road network and configuration of the structures are drawn.</p><p> The second stage is the construction of buildings’ frames of complex configuration (for example, architectural monuments) and drawing them in ink.</p><p> The third stage includes the color design (with watercolor) of significant parkland, forests, and water areas. It was determined empirically that this type of work is more appropriate to perform manually.</p><p> The handwritten component of this technique is completed by scanning of the image in high resolution. Further, the creation of a panoramic map is carried out with the usage of vector and raster graphics programs.</p><p> The fourth stage involves the detailing of the facades, i.e. filling the frames with structural elements from the pre-created library of signs (different types of windows, doors, arches, balconies, etc.) (using the vector graphics program Adobe Illustrator).</p><p> At the final, the fifth stage, the concluding color design of the panorama is realized according to the library of colors and textures (using the raster graphics program Adobe Photoshop).</p><p> The similar steps are performed in graphic editors during the creating of a panoramic map using the automated technique. This method involves the usage of computer technologies only. Thus, at the first level of visualization the plan of the territory based on an aerial photograph of the city is created in the program Adobe Illustrator. Then this scheme is transformed into a perspective projection using the tool “Perspective Distort” in the Free transform toolset. The construction of all buildings’ frames (including structures of complex configuration) is also implemented in vector format with the tools "Pen" and "Line Segment" (the second level of visualization). At the third and fourth levels, the frames are filled with structural elements, and then the whole cartographic image is made in color according to the libraries of textures and colors.</p><p> Operational updating of the content of panoramas created earlier is carried out mainly by the combined technique with the usage of Adobe Photoshop: new buildings which were drawn manually or on a computer are combined with the scanned original, the colors of facades and roofs are updated, park spaces and road junctions are added. For these purposes the following tools are used: "Polygonal Lasso", "Brush", "Clone Stamp", "Color Replacement ", – as well as the options "Curves", "Color Balance", "Hue/Saturation" of the section Image/Adjustment.</p><p> The combined handwritten and automated method of constructing of three-dimensional cartographic images was tested by the author during the creating and updating of the panoramic maps of cities not only of Belarus, but also other world-class cities: Berlin, Moscow, Yerevan, Astana.</p><p> Currently, the author is working on the practical usage of this method of creating of artistic cartographic images for the development of electronic multi-scale applications for the cities of the Republic of Belarus.</p>