Milos attracts the attention of scholars and geographers together with the other Greek islands with “Liber Insularum Archipelagi” a pioneering early 15th centurycartographic manuscript by Cr. Buοndelmonti of . Buondelmonti’s work became a model for the isolaria that followed, such as those by B. dalli Sonetti (1485) and Β. Bordone (1547). Sonetti's maps are accompanied by commentaries in verse, while Bordone notes information on myths, the climate and the history of the island on his idiosyncratic maps.
Towards the late 16th century Milos is included in the isolario by G. Fr. Camocio, which inspired several other isolaria, such as the one by G. Rosaccio (1598), and provided illustrations for pilgrim chronicles (H. Beauvau, 1615). Like all similar works, the isolario of Antonio Millo (1582-91) is enriched by engravings already published in contemporary editions. Antonio marks perillous waters on the maps of his isolaria, and uses the place names found in contemporary portolani.
In 1572 T. Porcacchi published a very successful isolario, (here the edition of 1620) in which he employed the novel technique of copper engraving. This technique permitted the creation of more detailed and accurate images and a greater concentration of information; it gradually became the technique of choice for all illustrated works, until the early 19th century, when progressively lithography became the most popular technique. In Μ. Boschini’s edition, a small beautiful sample of Venetian engraving of the mid-17th century, maps of Milos and other islands are accompanied by an explanatory text with historical and geographical information. The isolario of Fr. Piacenza (1688) includes superbly engraved maps and a wealth of material on the Aegean islands, Cyprus and the Peloponnese. The editions by J. Peeters in the late 17th century (1690) exalt the victories of the Holy League in the Ottoman-Venetian wars. The plates show cities, ports and other locations in Austria, southeastern Europe, the eastern Mediterranean and places in Asia all the way to India.
J. Pitton de Tournefort' s account of his journey to the Aegean islands (1717 ) provided a wealth of information and became thenceforth an indispensable guide to all travellers to the Archipelago. Images from Milos depict women in local costume and a view of the port.
In the early 19th century, the coasts of Milos are mapped in the important port index by J. Roux and in a map found in G.An. Olivier's “Atlas” (1801). Antiquities of Milos come to the possession of Venetian collectors (P.M. Paciaudi, 1761). We also find antiquities in treatises on ancien Greek architecture (W. Wilkins, 1807).
The monumental work by M.G.F.A. Choiseul-Gouffier expressed the love of antiquity and the philhellenism of the era in new and original fashion, establishing at the same time image as opposed to text, graphic representation, as a primary feature of travel chronicles. A view of the cave leading to the catacombs of island, a map and a general view of the bay are found for the first time in this work.
The plans and drawings of one of the major works of W. M. Leake (1825, photomechanical reprint 1967) show how meticulously and systematically the spaces and monuments were recorded by the passionate archaeologist and topographer.
A drawing of the splendid hellenistic statue of goddess Aphrodite embellishes the 1840 account by Martin du Tyrac (vicomte de Marcellus), who obtained the statue for the royal collection of France.
From the second half of the 19th century onwards, the modalities of subjective, partial representation of space are subverted by the appearance of photography. This technique becomes the most powerful means of representation, albeit always bearing the seal of the individual photographer. F.F. Boissonnas' work constituted a landmark in the history of photography. His photographs of Milos and other spaces depict landscape and people bathing in the light, in harmony with their surroundings. Boissonnas' photographs of 1919 show the ancient theatre, the location where Aphrodite's statue was discovered, antiquities and idyllic landscapes. An interesting view of a small bay is seen in a photo by E. Reisinger (1923).
The wood engtavings, water colours and photographs (1935) transmit Fr. Perilla's love and enthusiasm for the Cyclades islands, as well as his artistic sensitivity.
Written by Ioli Vingopoulou