Cephalonia

Cephalonia enters the space of scholarship and geography together with the other Greek islands with “Liber Insularum Archipelagi” a pioneering  early 15^th century cartographic manuscript by Cr. Buοndelmonti. Buondelmonti’s work became a model for the isolaria which followed, such as the one by Β. Bordone (1547) who notes information on myths, the climate and the history of the island on his idiosyncratic maps.

G. Fr. Camocio’s groundbreaking isolario, a pioneering work for its era, influenced later isolaria such as G. Rosaccio's (1598) and lent its illustrations to pilgrim chronicles (H. Beauvau, 1615). In Camocio's work, the irregular coast of Cephalonia is delineated without precision but the Castle of Agios Georgios is distinctly marked.  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.

The work by J. Lauremberg (1660) includes excellent engravings of maps of ancient Greece. The maps are accompanied by historical and geographical explanatory texts, which testify to the author's deep erudition.

The editions of the Accademia Cosmografica degli Argonauti in Venice, under the direction of V.M. Coronelli include hundreds of copper engravings exalting Venice's victories during the Ottoman-Venetian War (1684-1687), among which there are several plates of Cephalonia and its castles. Views, plans, drawings and maps show the main fortresses of the island; a plan of Assos, a plan and a map of Argostoli, a plan and a map of Agios Georgios castle and a map of Cephalonia are included in the 1688 Coronelli edition, while only a plan of Assos, a map of the island and a view are published int the 1687 work by Coronelli. Copies of these drawings, identical or with variations, accompanied the reprints or translations of these works, and illustrated later travel chronicles, history books and geographic publications such as the one by Ol. Dapper in 1688, a work with highly elaborate engravings and abundant material, which was based mainly on ancient Greek and Latin sources, portolani, isolaria, contemporary travel accounts  and authoritative maps. In the same period, the work by J.v. Sandrart(1686) shows the influence of similar engravings dating from the late 16th century. The plates in the work by J. Sandrart (1687) show castles and other location, in their majority under Ottoman rule. Several similar works which highlight the victories of the Venetians against the Ottomans in the Sixth Ottoman-Venetian War (1684-1699) were released during the same period. Likewise, the editions by J. Enderlin include copies of engravings found in earlier or nearly contemporary popular works (1686). The editions by J. Peeters in the late 17^th century (1686 and 1690) also 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 and Saudi Arabia.

J. Seller was the creator of the first detailed mapping of the Mediterranean coast, titled “English Pilot...” . First published in the 17^th century, it was repeatedly reissued and continued to be used down to the 19^th century (here in the 1771 edition). Seller's works established the use of the English language in maritime charts and greatly influenced later cartographic editions. It includes maps of the local shores.

The fact that Cephalonia occupied a central place on the maritime route from the Adriatic to the East is confirmed by the existence of numerous maps of the island's anchorages (J.N. Bellin,1771 and J. Roux, 1804). A map of the anchorages is also included in the companion Atlas to A. Grasset de Saint Sauveur's three-volume work on the Ionian islands (1800). The companion Atlas to the work edited by J.B.G.M. Bory de St. Vincent (1823) includes an interesting map of the island.

Illustrations of Cephalonia comprise two views of locations, and an engraving of a votive stele. Many antiquities of the island were probably transported to Italy after the Venetian campaign of the late 17^th century, according to the treatise by P.M. Paciaudi (1761).  The illustrations accompanying the text by Abbé de Binos (1787) echo his reflections on the differences and similarities between different nationalities, especially regarding their customs and religious practices.

The travel account by antiquity scholar R. Chandler (1776), who was equally interested in ancient ruins, geography, history and modern inhabitants also contains a map of all islands near Cephalonia. A similar theme is found in the companion “Atlas” to J.J. abbé Barthélemy (1832), travel narrative and fictional recreation of the ancient world, which paints an idyllic panorama of the ancient world. The “Atlas” includes maps of the wider sea area and the adjacent continental coast. A map and views of ancient sites is found also in the work by assistant surgeon W. Goodisson (1822). The highly interesting work by British politician and officer Ch.J. Napier (1825) deals with the road network of Cephalonia and expounds the author's suggestions as to its improvement. It is enriched with views of locations and maps.

After his journey in Greek lands, at the begining of the 19th century, Stackelberg was able to render historical locations and antiquities in accordance with the emerging tendency of romanticism (1834). The impressive scenery of the islands near Cephalonia is depicted in engravings by S. Pomardi (1820). J. Cartwright's works (1821) render landscape and people realistically, with great technical dexterity, delicacy, spontaneity and sensitivity. Rare watercolours from the album of the Gennadius Library depict a serene and lush landscape, and interesting locations and monuments (“Sketches of the Ionian Islands”, 1835-1840).

Antiquities and a view of the island executed in novel style are included in the highly successful historical narrative by Chr. Wordsworth (1882 reedition but also in the edition Chr. Wordsworth, 1841). The same view is found in other contemporary editions (R.R. Farrer in 1882).

A distinctive feature of the 19^th century is the contribution of landscape painters, who, each in their own style, managed to convey the view as well as the emotions caused by their experience of the natural landscape. (Ed. Lear in 1863, and «Landscape in 1834» from Piraeus and Ports).

The Album of 1984 includes rare and very interesting wood engravings taken from the  pioneering weekly review  “The Illustrated London News” (1842-1885) and the similarly themed magazine “The Graphic” (1869-1885). The plates depict locations, people and events (political, social and military), from 1842 to 1885.

Finally, the Emblem of the United States of the Ionian islands (1817-1864), with the royal coat of arms of Great Britain, is included in J.H. Allan's chronicle of his journey to the Mediterranean (1843).

Ithaca

The first map of Ithaca is found in the printed isolario by B. Bordone(1547) with simplified maps intended for the general public.  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. The work by J. Lauremberg (1660) includes excellent engravings of maps of ancient Greece. The maps are accompanied by historical and geographical explanatory texts, which testify to the author's deep erudition.

The safe anchorage at Vathi and the strait between Ithaca and Cephalonia are mapped in the works by JJ.J. Bellin (1771) and A. Grasset de Saint Sauveur (1800). The companion Atlas to the work edited by J.B.G.M. Bory de St. Vincent (1823) includes an interesting map of the island. J.J. abbé Barthélemy's (1832) travel narrative and fictional recreation of the ancient world, which paints an idyllic panorama of the ancient world, was followed by an Atlas with maps and drawings. The Atlas includes maps of the wider sea area and the continental coast opposite Ithaca.

Drawings of antiquities are found in the work by assistant surgeon W. Goodisson (1822), who did thorough research and recorded a wealth of information on the island and its inhabitants, and in the edition by P.M. Paciaudi (1761), which in all probability depicts antiquities carried away to Italy after the Venetian campaign of the late 17^th century. 

Ithaca had the privilege of attracting scholars of antiquities and the first archaeologist travellers, who passionately sought for place names mentioned in Homer and for possible ruins. During his searching of Ithaca, W. Gell (1807) achieved to faithfully convey landscapes in several locations, which he often misidentified with Homeric locations. 

Chr. Wordsworth published a historical narrative on Greece soon after the foundation of the Greek state. This work was lavishly illustrated and had great success. One reedition (Chr. Wordsworth, 1882) but also the edition Chr. Wordsworth, 1841 include antiquities as well as landscapes of Ithaca, executed in a novel artistic style.

The magnificent plates by Ed. Dodwell (1819) provide a wealth of information on public and private life of the Greeks in the pre-revolutionary period. The impressive scenery of the coasts of the islands near Ithaca is depicted in engravings by S. Pomardi (1820). The Italian artist Pomardi (1820) accompanied Edward Dodwell in his archaeological explorations and drew several subjects at the scholar's request. Pomardi's drawings are characterized by clarity and concision. The impressive landscapes of the island and above all the bay of Vathi were drawn by several artists and travellers (Ed. Dodwell in 1806, in Piraeus and Ports, E. Rey in 1867 and Ed. Lear in 1863). J. Cartwright's works (1821) render landscape and people realistically, with great technical dexterity, delicacy, spontaneity and sensitivity. Rare watercolours from the album of the Gennadius Library depict a serene and lush landscape, and interesting locations and monuments (“Sketches of the Ionian Islands”, 1835-1840).

The new technique of photography rendered the space with precision (E. Reisinger στα 1923).

The work of  J. von Falke (1887 / 2002) is illustrated by exquisite engravings. They show works of ancient Greek art and imaginary depictions of scenes from the public and private life of the ancient Greeks

Finally, the Emblem of the United States of the Ionian islands (1817-1864), with the royal coat of arms of Great Britain, is included in J.H. Allan's chronicle of his journey to the Mediterranean (1843).

Written by Ioli Vingopoulou