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By Palmira Brummett

Uncomplicated paradigms of Muslim-Christian disagreement and the increase of Europe within the 17th century don't suffice to give an explanation for the ways that eu mapping expected the "Turks" in picture and narrative. fairly, maps, commute debts, compendia of information, and different texts created an image of the Ottoman Empire via a posh layering of background, ethnography, and eyewitness testimony, which juxtaposed present occasions to classical and biblical historical past; counted area when it comes to peoples, routes, and fortresses; and used the land and seascapes of the map to say possession, claim victory, and include imperial power's achieve. Enriched all through via examples of Ottoman self-mapping, this e-book examines how Ottomans and their empire have been mapped within the narrative and visible mind's eye of early smooth Europe's Christian kingdoms. The maps function centerpieces for discussions of early sleek house, time, borders, levels of trip, details flows, invocations of authority, and cross-cultural family.

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25 It drew on the medieval constructions of the Muslim conquerors who were the Ottomans’ antecedents. And it added new variants to the representational corpus as events, audience, and situation demanded and as narrative and visual modes allowed. These demurrals are not meant to argue that there can be no logical periodization for early modern European mapping of the Ottomans. Indeed, that mapping was characterized increasingly by a movement from regional to state designation; a complementary movement to the marking of borders of various sorts; the employment of ethnographic vignettes; a willingness to 21 22 23 24 25 Constance Relihan, Cosmographical Glasses: Geographic Discourse, Gender, and Elizabethan Fiction (Kent, OH: Kent State University Press, 2004), 45, links Lepanto to the notion of a turning point but also suggests the continuity in England of the consciousness of Ottoman threat.

56 The battle of Lepanto, which took place in the narrow channel connecting the Gulf of Patras to the Gulf of Corinth, on October 7, 1571, resulted in a victory for the combined fleets of Venice, the Holy League, and Don Juan of Austria, arrayed against the Ottoman fleet under Grand Admiral Muezzinzade Ali Pasha. Images of that victory spread swiftly ¨ to an audience eager for good news, with Venice, one of the major print capitals of Europe, spearheading the production of those images. The Venetian 52 53 54 55 56 230 n; and David Woodward, “The Italian Map Trade, 1480–1650,” 773–803, in HOC, v.

Ackerman and Robert Karrow, eds. (Chicago: University of Chicago Press, 2007), 261–5. Jean Baptiste d’Anville, “La Grece et les pays plus septentrionaux jusqu’au Danube: Pour l’Histoire Ancienne de Mr. Rollin,” 1740. 10. The Battle of Lepanto. Giovanni Camocio, “Il vero ordine delle due potente armate . . ]. C3 1574 Cage. 30 Mapping the Ottomans Thus, in Paolo Forlani’s (fl. 1560s) map of “Europe,” the sacred figures of Christian history, moving outward from Palestine, framed European space. ’ Similarly, Abraham Ortelius’ (1527–98) atlas, the Theatrum Orbis Terrarum, included a set of Biblical maps.

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