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DOI :10.26650/B/AH03AH08.2024.039.018   IUP :10.26650/B/AH03AH08.2024.039.018    Tam Metin (PDF)

Framing the Ottoman Empire: Venetian Chorographic Maps From the Renaissance

Toni Veneri

Before Abraham Ortelius eventually encompassed the territories of the Ottoman Empire in an iconic small-scale map (Turcici Imperii Descriptio, 1570), Venetian chorographic maps were instrumental in Europe’s undesrtanding of regions under the Ottoman sovereignty as a geopolitical body. This chapter explores the cartographic response of Venetian mapmakers to the expansion of the Ottoman Empire after the capture of Constantinople in 1453 and until 1570. It particularly emphasizes the creation of new frames (or borders), both within and beyond the mathematical scope of Ptolemy’s geography, to accommodate areas of conflict and cultural encounter in the eastern Mediterranean and the Near East. By revisiting and adapting formats from older traditions, such as nautical charts and Ptolemaic tabulae, these maps delineated geographical space according to a unique sea-centered and mercantile vision of politics and communication. Stressing the strategic position of Venice and IstanbulConstantinople as edge-markers at the head of extensive trading networks, they highlighted the cities’ prestige and dominance over intertwining empires. Enriched with the contribution of multiple actors and informants, these maps framed the Ottoman Empire as a military frontier and a brokering zone at the edges of the Venetian sea-state. Finally, this chapter aims to highlight the participation of these regional cartographic endeavors in the Renaissance resurgence of chorography as a flexible and fullyfledged discourse capable of plotting history and politics on a spatial layout.



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