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 Accademia Cosmografica degli Argonauti in Venice, founded by V.M. Coronelli, published hundreds of engravings showing Venice's victories during the Ottoman-Venetian war (1684-1687). Naturally, its publications include several copper engravings of Monemvasia. Views, plans, drawings and maps highlight this important fortress on the east coast of Lakonia. The engravings in the 1708 works by V. M. Coronelli are highly appealing, although most plates repeat subjects already published in earlier editions of the Accademia Cosmografica degli Argonauti.

Identical copies of these drawings, or variations thereof illustrate reeditions or translations of Coronelli's works as well as later travel chronicles (B. Randolph, 1689), historical treatises and geographic editions (Ol. Dapper, 1688 and J.von Sandrart, 1686; the latter copied his maps from a popular edition of the late 16^thcentury). 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.

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 (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. Clearly influenced by the editions of the Accademia Cosmografica degli Argonauti, G. Albrizzi's work (1687) includes a series of major fortresses, ports and towns, mainly of the Peloponnese.

A.L. Castellan's drawings of Monemvasia (1808) are objective but marked by sensitivity. Towards the end of the 19^th century, views of the place show the influence of photography even when they are rendered in wood engravings (A. von Schweiger Lerchenfeld, 1887). In the early 20^th century, Fr. Perilla embellished his books with his own drawings, photographs, engravings and water colours (1929).

Written by Ioli Vingopoulou