|
www.maplibrary.gr/e_perimetron
| ISSN 1790-3769 |
Elisabetta
Molteni*, Silvia Moretti**
Maps and drawings of Corfu in the Library of the
Museo Correr***
Keywords: Alessandro Ganassa, Giovanni de Honstein, fortifications, Corfu maps, Jean Baptiste Homann, Museo Correr Venice, Duke of Savoia, Marcello Alessandri, Johann Mathias von Schulemburg, Moser de Filseck, Military Hospital, port system of Spilea, port town of Govin, Padua.
Summary
The maps of Corfu preserved in the Museo Correr of
Venice (dated XVI-XVIII centuries) primarily record the fortifications of the
Old City and its burghs, but also the urban configuration of the whole and of
significant areas of the city is well represented (projects for the transformation
of the Military Hospital and the port system of Spilea). Through the description
of each map (examined as a document in the catalogue) we attempted not just to
write a short history of the fortifications of Corfu, but to highlight the
contribution of cartography to the knowledge of the relationship between military
architecture and urban history.
Introduction
The maps of Corfu presented here are the
most interesting and significant of the ones preserved at the Museo Correr in
Venice1. These maps date from different
periods, and are made with different techniques on different supports; they
primarily record the fortifications of the Old City and its burghs and in
some cases the urban configuration. From the eighteenth century, there are four
representations of the city as a whole with part of the surrounding territory,
three hand-drawn maps and an engraving: the most important map, heretofore
unpublished2, dates back to 1753 and
is the work of Giovanni de Honstein (Archivio
De Lazara, Pisani Zusto, cass. 1/12, fig.
7); the second, probably
made shortly thereafter is dedicated to Andrea Tron (Mss.P.D. c. 842/5, fig. 8)3;
the third, finally, (Mss. P.D., c.842/4,
fig. 9)
is attributed to Alessandro Ganassa, a cartographer working in Corfu after the
1780’s who was also the author of an interesting series of topographic drawings
preserved at the Archives of the Prefecture in Corfu4.
The group of eighteenth century representations is completed by an engraving (Mss. P.D. c.842/6, fig.
6) printed in Nuremberg
in 1735 by the heirs of cartographer Jean Baptiste Homann, his Imperial Majesty’s
geographer, who had previously printed at least one other map of the city represented
under the siege of the Turks in 17165.
The engraving, dated 1735, is dedicated to the newly elected doge Alvise Pisani6.
The sixteenth century situation of the fortress is well represented by two drawings, both
of them very beautiful: the first represents the city defenses in their
entirety (Mss. P.D. c 851/2, on
parchment, drawn during the last decades of the century7, fig. 1),
the other, which had previously been identified as a partial representation of
Constantinople (Mss. P.D. c. 861/2,
probably dated 1595, fig. 2)
represents only one part of the city walls, including the New Fortress.
The drawings from the Morosini Grimani
collection (Mss. Morosini Grimani, 436/16,
436/17, and 436/18 ante 1 April 1620,
figs. 3,
4,
5)
date from the early seventeenth century, and are contained in a book dedicated
by Marcello Alessandri to Girolamo Corner and his four sons Giorgio, Federico,
Andrea and Francesco. In the dedication written in Crema on April 1 1620, the author
states that he collected the drawings of cities and fortresses of various
Italian and European states to demonstrate his own lengthy experience in the
matter of fortifications and to personally present several suggestions for the
improvement of their defenses.
In addition to these documents, the Correr
collections also include several late seventeenth century drawings for the
expansion of the Military Hospital (fig.
11) and the port of
Spilea with plans for the construction of new defensive systems and the renovation
of the buildings8 (figs.
12, 13/1,
13/2, 13/3), and very
accurate plans of several sections of the city with information on the
ownership and functional situation of a number of public streets9 (figs.
14, 15, 16, 17).
The
sixteenth century
All the eighteenth century maps, and in
particular the Honstein map, focus their attention on the fortification of
Corfu, which during the second half of the century are the result of the
complex of constructions and additions built over time. The city defenses were
the object of particular attention from the very beginning of the Venetian
domination in the thirteenth century; in 1400 Jacopo Coltrino was sent to Corfu
with a mandate to prepare a general plan for the fortifications. Their
construction did not intensify however until the first half of the sixteenth
century, and was concentrated primarily around the Old Fortress10. From 1506 through 1532 the stronghold
was the object of a series of renovation and reinforcement projects: Frà
Giocondo (1506), together with Lattanzio Bonghi from Bergamo, proposed to separate
the Old Fortress from the mainland town by creating the Spianata, an esplanade
that would offer better resistance against possible attacks from the land.
Scholars believe that it was also their idea to separate the front of the Old
Fortress from the rest of the island and the burgs by means of a moat11. In 1532 Agostino da Castello was sent
by Vincenzo Cappello as the resident engineer to prepare a new plan to fortify
the stronghold, but despite Francesco Maria della Rovere’s support in 1533, the
initiative was never completed for lack of funds.
Between 1537 and 1558, after the
destruction by the Turks, Michele Sanmicheli and his nephew Giangirolamo built
the bastioned enceinte towards land for the Old Fortress (consisting in the
Savorgnan and Martinengo bastions)12.
Subsequently, the eastern defenses (Capo S. Sidero) were completed under the
supervision of the engineer Giacomo Fiumicelli (1566), a cistern at the
Versiada and a warehouse to stock millet were added (carrying out an idea by
Giulio Savorgnan, 1567) and the Spianata, built in 152413, was once more extended, becoming an
important site not only from a strategic point of view, but also as the main
ceremonial itinerary of the city14.
During the last quarter of the sixteenth
century, at the conclusion of the old City’s process of military specialization
between 1573 and 1576, the idea of a fortification that enclosed both the city
and the outer towns was taken into consideration. During that period, the town
of Corfu had achieved a significant level of urban development, as suggested by
the fact that the cathedral was transferred from the old city to the church of
San Giacomo, an idea that had been proposed in 1586 though it was not actually
carried out until 163215.
During those years, following a careful examination of the plans by Sforza
Pallavicino and Giulio Savorgnan, the works were entrusted to Ferrante Vielli,
an engineer summoned from Venice by the Duke of Savoia to work on the
construction of the New Fortress16.
Vitelli excavated a large part of the town located on the slopes of Colle San
Marco and part of the port zone of Spilea. The works proceeded through the
beginning of the 1790’s and the operations were supervised by Savorgnan, Jacopo
Malatesta and probably by Bonaiuto Lorini in 158217. Upon completion of the work, the
architect was commemorated as the principal creator of the new defensive system
along with the Provveditori in the plaques over the two city gates built
between 1577 and 157818. The
gates are the Porta Spilea, of which the façade of the front facing the
sea still remains, and the Porta Reale, now destroyed, whose construction
appears in other plans as well as in the History
of Corfu (1672) by Andrea Marmora. The Porta Spilea is a rustic gate
featuring a single opening with Doric columns, featuring bands of rustication,
engaged in the wall; the entablature sustains an attic with a lion of San Marco
flanked by obelisks with a sphere on the top. The Porta Reale on the other hand
is framed by Doric pilasters; it has a higher central arch flanked by two
lateral passages crowned with an architrave. Here the entablature follows the
profile of the lateral volumes that protrude slightly forward of the central
arched opening, and is interrupted by rusticated columns placed at the center
of gravity of the pilasters to emphasize the subdivision of the façade;
at the center is the crest with the lion of San Marco. Both projects could be
attributed to Vitelli, who proved able to make the best of the suggestions he
derived from reading about or seeing works by Serlio and, especially in the
case of the Porta Reale, other city gates, not the least of which were the
gates for Verona by Sanmicheli.
One of the two sixteenth century maps (Mss. P.D. c.861/2, dated 1595 or perhaps
1575) seems to document these particular works: the inscriptions on the folio
illustrate the excavation works, for example “loco dove sono cavati li terreni
per riempire la piazza delle armi” (place
where earth was removed to fill the parade grounds), in front of the Porta
Reale. The drawing also contains many toponymic indications as well as the
number of cannons and culverins to place on each site to arm the defenses.
In 1588-1589, the last funds were allocated
for the fortified enclosure which would reach beyond the New Fortress to
include the Valier and Raimondo bulwarks, the S. Atanasio platform, the
Sarandaro bulwark, which would survive through
the end of the eighteenth century despite the large number of transformations
they underwent. The second sixteenth century map, which probably dates from
1598 (Mss. P.D. c 851/2), illustrates
this situation in its entirety, highlighting the fortifications with a red
line. On this map, as in many others of the same period preserved in the
Archivio di Stato in Turin19, the
ramparts of the fortress have a double projection that does not appear in later
drawings; in addition the Raimondo Bulwark facing the town of Castrade shows a
different profile from the one that was built and does not allow access20.
Seventeenth
and Eighteenth century
During the first half of the seventeenth
century, construction primarily involved the seats of public representation,
and it was not until the second half of the century that Filippo Verneda,
summoned many times between 1662 and 1673, was able to accomplish what many had
been proposing for some time, that is the construction of a new enceinte to protect
the entire city21. The new front
proceeded along a parallel course by doubling the sixteenth century walls, and
would provide the foundation for the eighteenth century modernization. Thus the
new works designed and only partially completed in the seventeenth century included
the following: the “reinforcement” beyond the Fossa Reale with the S. Antonio
hornwork, the
Corner and Grimani ravelins, the Mezzaluna, the Scarpone below the New
Fortress.
The map drawn by Marcello Alessandri in
1620 (Mss. Morosini Grimani 436/16)
obviously does not show these works but presents several suggestions that
appear interesting because they would later be accepted in part by eighteenth
century theoreticians. In fact Alessandri proposes to fortify Monte S.
Salvatore and Monte S. Giorgio (Monte Abramo) one of the central proposals in
the project by Schulemberg to renovate the fortress.
One might say that in the mid-eighteenth
century the defensive system of Corfu had achieved its definitive form, even
though through the end of the Republic other projects would be drawn up,
concerning infrastructure or logistics however rather than actual fortifications22.
The victory over the Turkish siege of Corfu
in 1716 by Johann Mathias von Schulemburg (1661-1747) who had been named Field
Marshal of the Venetian army only a few months earlier, is part of the myth of
the Republic23. Schulemburg was still
alive when he made History, since at the successful conclusion of this endeavor
he was honored with a monument in the Old Fortress of Corfù, near the
clock tower. Schulemburg thus became the virtual father of the defenses of
Corfu, given that his statue is indicated in all the eighteenth century maps
(in the Nuremberg map, in Honstein’s map – n.32 of the Old Fortress: “Orlogia,
ove è la stadua F.M. Schulemberg” (Clock, where stands the statue of
F.M.Schulemburg) – and in Alessandro Ganassa’s map – n.17 of the Old Fortress24) where it is given the same importance
as the public buildings of strategic interest.
Schulemburg worked to reorganize and
strengthen the fortifications of Corfu over a period of approximately twenty
years, leaving many traces of his own thoughts in documents, letters and
drawings25. The nucleus of
Schulemburg’s defense theory is the constitution of a series of strongholds
connected by paths that are mostly underground. The new forts on Monte San
Salvador and on Monte Abramo (two high points from which it was possible to
launch dangerous attacks on the city) were thus connected to the city walls and
transformed into a powerful defensive barrier, an impressive work not only
because of the dimensions of its linear extension but also because of its
remarkable depth. One cannot say that there was “a project” by Schulemburg for
Corfu it was more of a flexible plan involving general strategic policy that
provided a basis for the works that were built one piece at a time. During
those years Shulemburg was obviously not always there to direct the works, and
a long-distance control system was developed based on a continuous exchange of
directives and information between the engineers working on site and the
general. An essential element of these exchanges thus became the drawings,
increasingly detailed and precise not only in their representation technique
but especially in the way each single element of the fortress was named.
Following a practice that emerged most strongly between the seventeenth and
eighteenth centuries, the legends present long lists of names that allow each
element of the fortifications system (increasingly complex and articulated) to
be recognized quickly and with no margin for error and to intervene exactly
where it was necessary. The legend thus became an integral part of the planning
system and not simply the result of a celebratory obsession involving the
protagonists and the events that took place in those sections of the fortress.
For an example of the interaction between text and drawing, one can compare the
1735 Nuremberg engraving, printed when Schulemburg was still alive and his
projects were under construction, and the letter with instructions by
Schulemburg sent just a few years later to Moser de Filseck26 (January 1738 m.v.).
The 1735 Nuremberg engraving presents the
essential components of the project in an articulated manner, a project also
seen in many other drawings preserved at the Archivio di Stato in Venice27. The structure of the legend is
articulated in three sections: the new forts designed by Schulemburg, the works
planned for the reinforcement of the “exteriors” (that is the wall system of
the city), and the existing defenses both in the city and in the Old Fortress
(which Shulemburg leaves almost untouched). The description of the defenses
highlights the underground construction which was also quite impressive, reaching
an overall length of 7000 toise (1,949 m) and including very large structures (for example see item n.5, an
underground connection shelter that could hold up to 800 men). Much more
important is the view of the land presented on this folio, a view that underlines
the impressive dimensions of the embankments of the fortresses on the mountains
and of the outer defenses. This is an important image because it seems to be
the only trace left of a group of views of the city of Corfu, almost all of
them drawn before the 1720’s but lost after being registered in the inventory
of Marshal Schulemburg’s collection28.
The map made by Captain Giovanni de
Honstein, extremely precise and detailed, takes care to illustrate the
relationships established between the military fortifications and the overall
urban system. This map is neither operative nor a planning drawing but an accurate
synthesis of all the important factors in the defense of the city, factors that
were strictly military and logistic (the fortifications system, the underground
tunnels, the position of the militia lodging districts and the warehouses for
food and artillery), or apparently less related to defense, such as the public
buildings, the hospitals, the leper hospice, the porticoes along the streets,
the water supplies. The Honstein map is a presentation drawing, probably
intended as a gift because it features a noble family coat of arms, left blank,
above the legend. It is not currently possible to identify exactly who this
work was intended for: it may be noted however that in 1753 Stefano Magno
finished his mandate as Provveditore and Captain of Corfu, and that in his
report he writes that he largely accomplished his duty to maintain the
fortifications of the city, but that he also built the Episcopal palace and the
Prefect’s palace29.
The author of the drawing, the captain of
the engineers Giovanni de Honstein, a relatively little known figure, under the
heading “Rimarco essenzialissimo” (highly essential note) positioned under the
legend, provides several notes on his own military career that encompassed the
wars in the Flanders, in Hungary and in Sicily. He was probably in the service
of the Republic since the 1730’s, though his activity was documented
exclusively by his drawings: in 1738 he drew a view of Padua30, in 1753 the map of Corfu dealt with
here and in 1757 a representation of the port town of Govin which was only
recently identified and displayed in the exhibition held at the Correr Museum
in 200131. The view of Padua is particularly
interesting because of the combination of different types of images on the same
folio: the outline of the city, an image of a clearly military nature, appears
on a background of a country scene with ancient ruins in the foreground,
whereas the plan, projected orthogonally, seems to focus mainly on the
hydraulic system of the city and its immediate surroundings. The same graphic
configuration may be seen in the folio on Govin but it is used in a planning
context: here the most important representation is the plan of the bay, to
which he added an outline of the city and a proposal for the fortification of
the city by reinforcing the harbor.
Though it is not possible at the moment to
define his training or his work at the service of the Republic, nor to evaluate
his degree of competence in the matter of fortifications, it must be recognized
that Honstein possessed an uncommon graphic talent. His representation of the
defenses and the town of Corfu is incredibly rich in information, precise in
its execution (it was undoubtedly drawn using a magnifying glass); it is also
cultured and amusing, using an expedient to represent the drawings of several
particularly significant areas of the defenses (a section at larger scale,
plans at different levels, etcetera) drawn on sheets of paper that are rolled
up and pinned to the main drawing. This graphic sophistication, that
distinguishes all of his drawings, is rare among the military engineers whereas
it was quite common in architectural presentation drawings and treatises after
the beginning of the seventeenth century, and might indicate that he was
trained in that field.
The Honstein map represented the state of
works on the outer defenses, indicating the parts to be built and suggesting
several improvements that however, as confirmed by later cartography, were
generally not pursued. One of the most important integrations, the construction
of a new ravelin between the Corner and Grimani ravelins (indicated near section
C-D), is not shown in any other drawing. In several cases Honstein’s proposals
coincide with Schulemburg’s project: this is the case of the reinforcements
between the Raimondo and Valier Bastions, to each side of the Porta Raimonda, which
later were built in part (see legend, n. 31, “Falsabragha cominziata, e non
terminà”, (Fausse-braye begun, but
not completed) colored in yellow, thus apparently a project by Honstein,
but in fact they already appear in the 1735 engraving). Honstein remarks that
the entire section of the walls around the Porta Reale was not in good
condition: it was necessary to finish the Cortina Reale (the section of wall
near the Gate) which had no defenses, and had become the “scovazzera” [the waste disposal site] of the city, just as work was
needed on the Capitale fausse-braye which “piange abbandono da se medesima” (deplores its own abandonment).
The wealth of information present in the
Honstein map is unequaled by the two later maps, the one dedicated to Andrea Tron
(Miss. P. D. c 842/5) and the one
drawn by Alessandro Ganassa (Mss. P.D. c 842/4)
that are however very similar in their general layout; both indicate the
topography and the plan of the intra-city territory, but whereas in the Tron
map, the author limits himself to a graphic reproduction of the disposition of
the plans, Ganassa – like Honstein – indicates their exact dimensions. The plan dedicated to Andrea Tron seems
basically intended to provide an overall view of the system at a glance: it
excludes an analytical examination of the city (the legend is minimal) whereas
it provides toponymic indications as well as the names of the individual
defense plazas directly on the plan.
The configuration of the urban lots and the locations of the buildings
of public interest may be found on all three maps, but they are definitely more
detailed in Honstein’s map, which even indicates the arcaded streets and the
honorific busts located along the street that runs across the Spianata and in
front of the Loggia della Gran Guardia, leading to the main artery of the city.
It is thus possible to derive a rather precise image of the spaces of the city
and the significant elements for the reconstruction of public ceremonial32. To this information Alessandro
Ganassa’s map adds the distinction between Orthodox and Latin church buildings.
One element that makes the Honstein map so
distinctive is the mapping of all the underground tunnels of the fortress and
Alessandro Ganassa, who also drew them with only minimal differences compared
to the preceding map, might have referred to it at least in part. The zones
with the largest number of underground itineraries are located under Monte S.
Salvatore and the southern part of the Verneda barrier. The connection between
the Verneda barrier and Monte S. Salvatore takes place through the Lunette.
Honstein proposes a connection system between the S. Spiridon counterguard (the
most advanced part connected to the Scarpon, see in legend, New Fortress n.24)
and the Monte Abramo (see in legend, New Fortress n.27) and proposes a large
number of exits especially along the Verneda line.
Considering the precision of Honstein’s
drawing, and observing that perhaps the information it contains might only
partially correspond to the existing defense systems (for obvious reasons of
discretion and security) one might in any case observe that the map itself
constitutes a defensive instrument for the city, a “paper” defense: the representation of an undefeatable fortification
system.
Public
buildings and the city
In addition to the general maps of the city
of Corfu, the collections in the Museo Correr also preserve several drawings
from the end of the eighteenth century that present single buildings or areas
of the city. They include projects for the transformation of the Military
Hospital and the port system of Spilea, and finally the plans of several city
streets.
The transformation project for the Military
Hospital (Mss. P.D. c 859/16) located
adjacent to the S. Nicolò gate, on the esplanade on the sea, involved a
building that had been built for the galley crews in the first half of the
sixteenth century, and which had been converted into a Military Hospital during
the period of the sacred League. The project for the expansion of the building
envisions the addition of a new wing precluding however any significant changes
to the building, which was probably the result of the adaptation of earlier
spaces, and without introducing a plan clearly related to the functional requirements.
The folio is the only one remaining, but was certainly part of a series of
drawings that illustrated the changes to the various floors of the building.
Many of the drawings regarding the urban
sectors of the city illustrate the area around Spilea, an area of particular
importance because of the many functions that characterized it since the
mid-sixteenth century. In the mid-century it hosted a butchery, to which later
additions would include a grain storage warehouse, a merchandise depot, and the
quarantine structures for the “contumacia”
(the building and the port), the Magistrate for Health. This area would be the
focus of a series of projects, including the 1795 project for the fortification
of the beach or the esplanade, which also included the construction of a new
city gate documented by folios Mss.P.D.c
862/133 and Mss. P.D. c 859/17 for the extension of the dock34.
The area immediately adjacent to Spilea is
strongly commercial in nature as is evident in maps Mss. P.D. c. 859/19 and Mss.
P.D. c.859/23; the former
referred without a doubt to the zone between the convents of San Francesco and
the Madonna del Tenedo, near the Porta Spilea, the latter most likely refers to
the nearby street near the Sarandario Bulwark between the Greek churches of
Saint Basil and Saint John. It offers a very precise description of the
situation regarding the ownership and functional destination. On the ground
floor, which is almost always lined with porticoes, the variety of boutiques is
justified by the proximity to the wholesale commerce area of the port. The
similar map Mss.P.D. c. 859/18 refers
on the contrary to the city center: it shows the main road, leading from the
Spianata to the Porta Reale, onto which the San Giacomo theatre35 faces.
References
Archivio proprio Johann Matthias von Schulemburg, filze 24, regg. e voll. 40 (1714-1747).
Provveditori alle Fortezze,
ex b. 79, drawing 11, Pianta d'avviso della piazza di Corfù con li
progetti fatti, et da stabilirsi, proposti da S.E. Felt-Marescial Co. Di Schulemburg, Gen. in capite, 1727.
Provveditori alle Fortezze, ex b. 79, drawing 14, Pianta d'aviso per i due monti Abram, Sant Salvator, e collina Sant Rocho [in Corfù], by anonymous, XVIII cent.
Collegio, Relazioni Ambasciatori e altre cariche, Corfù (1611-1753), b. 85, two maps n.n.
Venezia, Biblioteca del Museo Correr:
Mss. Correr 1214, fasc. 2740/1, copy by Andrea Marmora, Historia di Corfù descritta da Andrea Marmora nobile corcirese. Libri otto, presso il Curti, Venetia 1672
Cod. Cicogna, 1796, De Capitani Generali ed altri Illustri nell’Armata di Venezia, c. 86 ss.
Mss. Donà dalle Rose 438, c. 5, Restauri fortezze di Corfù.
De Lazara Pisani Zusto, cass. 7/10, Giovanni de Honstein, Pianta Geografica del porto di Govin [isola di Corfù], 1757, pen and watercolor drawing, in Navigare e Descrivere. Isolari e portolani del Museo Correr di Venezia, XV-XVIII secolo, exhibition catalog (Venezia, Museo Correr, December 1 2001-April 1 2002), ed. by Tonini C. and Lucchi P., Marsilio, Venezia 2001.
Ms. Correr 1093, Istruzione per i lavori da intraprendersi nei Esteriori della Piazza di Corfù, Venezia, January 13, 1738.
Cod. Cicogna 1796, De Capitani Generali ed altri Illustri nell'Armata di Venezia, cc. 132-134.
Mss. Donà dalle Rose 153, cc. 16-19v.
Mss. Correr 1214, fasc. 2740/4.
Torino, Archivio di Stato, Corte, Biblioteca Antica,
Architettura Militare, vol. V, cc. 6v-7, 115v-116; 117-120; 122.
Bacchion E., Il dominio veneto su Corfù (1386-1797), Edizioni Altino, Venezia 1956.
Binion A., La galleria scomparsa del Maresciallo von der Schulenburg. Un mecenate nella Venezia del Settecento, Electa, Milano 1990.
Concina E. and Nikiforou-Testone
A., (eds.), Corfu, History, Urban
Space and Architecture, XIV-XIX century, Cultural Society Korkyra, KÝñêõñá
1994.
Concina E., Città e fortezze nelle “tre isole nostre del Levante”, in Venezia e la difesa del Levante. Da Lepanto a Candia 1570-1670, Marsilio, Venezia 1986, pp. 184-194.
Concina E. and Molteni E., "La fabrica della fortezza". L'architettura militare di Venezia, Verona 2001.
Concina E., Corfù: tra la presenza di Venezia e la memoria di Bisanzio, in Il Mediterraneo centro-orientale tra vecchie e nuove egemonie. Trasformazioni economiche, sociali e istituzionali nelle isole Ionie dal declino della Serenissima all'avvento delle potenze atlantiche (secc. XVII-XVIII), edited by M. Costantini, Bulzoni, Roma 1998, pp. 57-62.
Concina E., KÝñêõñá, ìßá ìåóïãåéáêÞ óýíèåóç: íçóéùôéóìüò, äéáóõíäÝóåéò, áìèñþðéíá ðåñéâÜëëïíôá, 16ïò-19ïò áé., ed. by A. Nikiforou, proceedings of the conference held in Corfu (May 22-25 1996), ÊÝñêõñá 1998, pp. 241-256.
Dal Borgo M., La situazione delle artiglierie veneziane a Corfù attraverso le relazioni di William Gräeme e James Pattison, in Il Mediterraneo centro-orientale tra vecchie e nuove egemonie. Trasformazioni economiche, sociali e istituzionali nelle isole Ionie dal declino della Serenissima all'avvento delle potenze atlantiche (secc. XVII-XVIII), ed. by M. Costantini, Bulzoni, Roma 1998, pp. 33-46.
Ferraccioli M., Catalogo dei manoscritti riguardanti Corfù nella biblioteca del Museo Correr, in Romanelli G. and Tonini C., (eds.), Corfù. Immagini e documenti dalle collezioni storiche del Museo Correr, CDRom, Comune di Venezia, Musei civici veneziani, Centro Stampa - Centro Produzione Multimediale, Venezia 2000.
Fontana V., (ed.), Struttura urbana e immagine della città nello Stato veneziano di Terraferma, CDRom, Università degli Studi di Napoli Federico II, Centro di Ricerca Iconografia della Città Europea, Università degli Studi di Venezia Ca’ Foscari, Dipartimento di Storia e Conservazione dei Beni Artistici G. Mazzariol 2003.
Ghironi S., Padova. Piante e vedute, with an essay by G. Mazzi, Panda, Padova 1987, plate n. 72.
Hale, J.R., L’organizzazione militare di Venezia nel Cinquecento, Jouvence, Roma 1990.
Levey, M., A Note on Marshal Schulemberg’s Collection, in “Arte Veneta”, XII, 1958, p. 221.
Levi C. A., Venezia, Corfù e il Levante. Relazione storico archivistica, Comune di Venezia, Venezia 1907.
Molteni E., La scienza del fortificare, in Concina E. and Molteni E., "La fabrica della fortezza". L'architettura militare di Venezia, Banca Popolare di Verona-Banco San Geminiano e San Prospero, Verona, 2001, pp. 185-292.
Nikiforou, A., Äçìüóéåò ôåëåôÝò óôçí ÊÝñêõñá êáôÜ ôçí ðåñßïäï ôçò ÂåíåôéêÞò êõñéáñ÷ßáò, 14ïò-15ïò áé., åêä. ÈåìÝëéï, (Public ceremonies in Corfù during the Venetian domination, 14th-18th c.), 1999.
Pavan G., (ed.), Palmanova fortezza d’Europa, 1593-1993, exhibit catalog (Palmanova, 1993), Marsilio, Venezia 1993.
Rigoli P., Gli ultimi anni di Schulenburg a Verona, in "Verona illustrata", 11, 1998, pp. 31-56.
Romanelli G. and Tonini C., (eds.), Corfù. Immagini e documenti dalle collezioni storiche del Museo Correr, CDRom, Comune di Venezia, Musei civici veneziani, Centro Stampa - Centro Produzione Multimediale, Venezia 2000.
Schmidt H., Il salvatore di Corfù. Johann Matthias von der Schulemburg, in "Quaderni del Centro tedesco di studi veneziani", 42, 1991, p. 3-29.
Tonini C. and Lucchi P., (eds.), Navigare e Descrivere. Isolari e portolani del Museo Correr di Venezia, XV-XVIII secolo, Marsilio, Venezia 2001.
Venezia e la difesa del Levante. Da Lepanto a Candia 1570-1670, Marsilio, Venezia 1986.
[fig. 1 P.D. c
851/2]
BMC, Mss. P.D. c 851/2 (già
Cicogna C Mss. F. N 43)
[Plan of Corfu: Fortezza Vecchia and city/town]
Anonymous author; before 1598
(according to a nineteenth century note on the verso) or after 1577 (according
to Palmanova 1993, p. 529); pen and coloured washes on parchment, 653 x 782 mm;
with scale (100 passi veneziani);
orientation: wind rose, North to the lower left corner.
General plan of the
fortifications of the city and the Fortress of Corfu within the context of the
surrounding area. The fifteenth century walls and The Fortezza Nuova are
represented with extreme accuracy, whereas a synthetic description is made of
the orography. The city map highlights only a few churches and public buildings
and some of the main streets.
[fig. 2 P.D. c 861/2]
BMC, Mss. P.D. c 861/2
[Plan of Fortezza Nuova and city walls towards the territory]
Tomasso Picholo (Tommaso
Picolo), last quarter of the sixteenth century; pen and coloured washes on
paper pasted on canvas, ramparts painted in red and gold, 1080 x 1130 mm; with
scale (80 passi veneziani); orientation: not indicated (North to the
lower left corner).
Inscribed, on the back (on
canvas), damaged: All’Ecc. Sig. Gio. Andrea Vidali
(?) fatto adi 8 [***].
Plan of the western fortified
area, in particular of the sixteenth century curtain from the Raimondo bastion
towards the Fortezza Nuova (including Porta Reale). The drawing is very accurate with careful indications of
the orography including calculations of the distance between the bastions and
the surroundings hills.
[fig. 3 Morosini Grimani,
436/16]
BMC, Mss. Morosini Grimani, 436/16
[View of the fortifications of Corfu]
Marcello Alessandri, before
April 1, 1620; pen drawing on paper bound in a volume, 470 x 658 mm; with scale
(100 passi veneziani = 1, 738674 m o passi veneti =1,714574 m); orientation: directional arrow, North downwards.
Inscribed, top right:
Corfu con le fortificazioni che si
doverebbono fare nella / contrascarpa, et come doverebbono esere occupati / li
duo colli per levare quelli siti a’ nemici / parere di Marcello Alessandri; A
Castel Vecchio alto dal mare passa n. 45; B Castello da Mare alto passa n. 38
Perspective plan within the
territorial context including the burghs of Manducchio and Castrate; brief
references to the orography. The date is related to the dedication of the
volume by Marcello Alessandri to Girolamo Cornaro and his sons Giorgio,
Federico, Andrea and Francesco.
[fig. 4 Morosini Grimani,
436/17]
BMC, Mss. Morosini Grimani, 436/17
Profilo di
Corfu
Marcello Alessandri; before
April 1, 1620; pen drawing on paper bound in a volume, 470 x 830 mm; without
scale; orientation: not indicated (North downwards).
Perspective view. The date is
related to the dedication of the volume by Marcello Alessandri to Girolamo
Cornaro and his sons Giorgio, Federico, Andrea and Francesco.
[fig. 5 Morosini Grimani,
436/18]
BMC, Mss. Morosini Grimani, 436/18
Castello
Santo Angelo in Corfu
Marcello Alessandri; before
April 1, 1620 pen and coloured washes on paper bound in a volume, 470 x 665 mm;
with scale [for the plan] 20 passi
veneziani (1,738674 m) o passi veneti
(1,714574 m); orientation: directional arrow, North downwards.
Perspective view and plan of
the Castle of S. Angelo and S. Sidro. The date is related to the dedication of
the volume by Marcello Alessandri to Girolamo Cornaro and his sons Giorgio,
Federico, Andrea and Francesco.
[fig. 6 P.D. c 842/6, Homann]
BMC, Mss P.D. c 842/6
Plan de Corfu [Plan and view of Corfu dedicated to Alvise Pisani]
Anonymous author, printed in
Nürnberg by Homann’s heirs; 1735; engraving, 800 x 750 mm; with scale (500
passi veneti); orientation: wind
rose, North to the lower right corner.
1) Topographical plan of the
city subdivided in lots showing main buildings, churches, wells, military
lodgings and description of the outworks in the surrounding territory; brief
references to the orography of the Fortezza Vecchia and the territory. Portrait
of Pisani and cippus with military trophies.
Inscribed: left, on the ribbon
over the portrait of Pisani:
Aloysio Pisani Duci Venetiarum Dono Dederunt.
Legend:
Renvoy pour les nouvelles
fortifications proietées, et executeés par S. E. M.r le Felt – Marechal Comte de Schulemburg / 1.
Mont Abraham, occupé par un bastion retranchétaillé dans
le roc et garni avec des galleries et caponieres à voute et à
crenaux, magazins et quartiers le tout à l’ipreuve de la bombe / 2.
Demye redoute, enfoncèe dans le roc, avec un fossé profond de 24
pieds, chemin couvert avancée et pourvu par des caponieres à
voute et à crenaux, ayant par tout des communications souterraines / 3.
Batteries sur le penchant de la hauteur, qui est de 134 pieds au dessus du
niveau de l’eau / 4. Ouvrage au dessous de dites batteries, qui couvre la
communication de la place avec la hauteur fortifiée / 5. Casematte au
pied du precipice de la hauteur, voutée et enfoncée dans la
montagne, pour l’artillerie et mousquetterie, et pour soutenir la communication
de ce coté icy entre la hauteur et la place, il y a des voutes pour
recouvrer 800 hommes dans les ouvrages cy dessus nommez / 6. Hauteur
nommèe St. Salvator a 78 pieds au dessus le niveau de l’eau, dont le
terrain est argillieux et fort difficile ouvrage a corne conformez à la
situation / 7. Contregarde et tenaille / 8. Rentrenchement interieur / 9.
Traverses voutées / 10. Enveloppe avec des bonnets sur des angles
saillants, des galleries enterrées dans les rentrants du fosse et
d’autres dans la contrescarpe des saillants de l’enveloppe mème, le tout
pourvu des communications souterraines à l’epreuve de la bombe, à
crenaux, avec des soupiraux necessaires /11. Caponieres à voute et
à crenaux dans les fossez interieurs / 12. Gallerie a crenaux sous le
terreplain de l’ouvrage capital / 13. Revêtement de la gorge des ouvrages
capitaux, sous le quel regne une gallerie à crenaux, et d’ou
s’êtendent les autres communications souterraines dans les ouvrages et
galleries superieures / 14. Gallerie basse à fleur d’eau au pied et le
long de toute la gorge, avec des crenaux de revers s’etendant aprés vers
la gauche sous le glacis de la hauteur, d’icy son prolongées les rameaux
bas sous les ouvrages, et les communications souterraines en haut, et en bas
vers les fortifications de la plaine/15. Ouvrages de communication entre la
hauteur et les fortifications basses svivantes [sic.] / 16. Retrenchement bas
pourvu d’un bonnet à double voute d’ou on communique sous terre aux
ouvrages du mont Salvator et à la place / 17. Deux lunettes
casemattèes et crenellées / 18. Enveloppe de dites lunettes / 19.
Bonnets voutez pour l’artillerie et musqueterie qui rase le fossée de
l’enveloppe même / 20. Comunication souterraine sortant du fossè
de la place, et allant aux deux lunettes / 21. Bastion detaché entre le
monts Abram et St. Salvator, pour communication de l’un à l’autre, et
pour s’entre defendre, il est posté sur une petite hauteur nommé
S.t Roc et a ses defenses internes toutes à l’epreuve de la bombe / Les
lignes pointees marquent des ouvrages proietez.
Renvoy pour les ouvrages
qu’on a fait pour rectifier le front exterieur de la place / a. Contregarde St.
Spiridion avec une gallerie et caponieres dans son fossé et chemin
couvert, et avec une casematte de revers pour raser le rivage de la mer / b.
Tenaillon excavé dans le roc, qui domine par dessus la dite contregarde /
c. Enceinte qui enferme le rivage de la mer, avec une gallerie crenellée
au dessous, et des batteries au dessus / d. Grande tenaille qu’on appelle
Scarpon et qui a êté reduit en un ouvrage à corne / e.
Fossé entre le Scarpon et la Fortresse Neuve, qu’on a approfondi dans le
roc / f. Place d’armes au devant du Scarpon, avec un logement de masonnerie
crenellé, et contrescarpe pourvue d’une galllerie / g. Deux caponieres
casemattées pour la defense interne du fossé du Scarpon / h.
Contrescarpe nouvellement erigée d’un bout à l’autre du front
haute de seize pieds / i. Murailles crenellées, pour couvrir les
poternes de communication, et defendre le fossé / j. Caponieres
voutées, et crenellées pour l’artillerie et mousqueterie / k.
Lunette avec deux places d’armes sur la contrescarpe / l. Place d’armes avec
son logement de masonnerie, et chemin couvert à droite et à
gauche / m. Couvre-face construite dans l’eau / n. Basse tenaille avec des
caponieres voutées au dessous les profils de ses extremitez / o. Enceinte,
qui ferme l’extremité de la mer / p. Retrenchement dans l’ouvrage
à corne St. Antoine / q. Logements masonnez et crenellez dans le centre
des revelins / r. Fausse braye [sic.] Au pied du corps de la place / s.
Casernes et hopitaux / nb il y a en matiere de galleries voutes et casemattes
en tout 7000 toises d’etendue en cette place.
Icy suivent les
fortifications vieilles de la place / aa. Forteresse Neuve située sur
une hauteur de rocher, et qui donne par dessus le mont Abram de 30 pieds
environs / bb. Fortifications basses de la même forteresse du coté
de la mer / cc. Bastion Sarandaris / dd. Platte fome St. Athanase / ee. Bastion
Raymonde / ff. Demi bastion Raymonde / depuis la Forteresse Neuve jusq’icy est
le front du corps de la place superieur de six pieds au mont Salvator / gg.
Bastion Valier / hh. Ouvrage à corne St. Antoine avec son ravelin / ii.
Ravelin Corner / jj. Ravelin Grimani / kk. Demye lune Grimani / ll. Porte
Royale / mm Porte Raymonde / nn. Porte Spilée / oo. Porte St. Nicolas /
pp. Vieille Forteresse qui est la cittadelle de Corfù, dont le poligon
contre la ville a double casematte avec une contrescarpe haute de 40 pieds et
une lunette d’eau / qq. Fortification projettée sur la contrescarpe de
la dicte forteresse / rr. Front ancien de la dicte forteresse qui sert à
present des rentrenchement / ss. Chateau nommée della Campana, ou soit
de la cloche, situé sur un rocher haut de 210 pieds et ruiné par
un incendie de la poudre, causée par une foudre l’an 1718/ tt. Chateau de
mer situé sur un rocher plus bas que le premier / uu. Cittadelle
superieure postée entre ces deux chateau / vv. Deux demyes lunes
plantées sur la ponte du rocher / ww. Port pour les galleres, galleasses
et galliottes / җ Statue du Marechal de
Schulemburg que le Senat luy fit eriger au reconnoissance de la glorieuse
defense de cette place contre les Turcs, l’an 1716 / Ø Il Domo / ‚ L’Annunziata / ♂ St. Francesco / д La Madonna del Tenedo / ♀St. Spiridione / + Palazzo Generalizio / ê Magazeni polvere / # Gran
Guardia / Û Sinagoge [sic.] dei
hebrei
2) Lower right, on a small
scroll rolled up and pinned to
the main drawing:
perspective view of the land ramparts of the fortress including the city, the
Fortezza Vecchia and the sea toward the albanian mainland.
[fig. 7 De Lazara cass. 1/12]
BMC, Archivio De Lazara Pisani
Zusto, cass. 1/12
Pianta della
città e fortezza di / Corfù / con tutte le sue vechie e nove
fortificazioni, si sopra che sotto / terra, tanto stabilite, quanto quelle che
restano da farsi proposte / dal FeltMarschal conte di Schulemburg come ancora
le proprie progietti specificati coi numeri etcetera
Giovanni de Honstein, captain
and engineer;1753; pen and coloured washes on paper, the colour yellow
indicates planned and unfinished works, 1040 x 760 mm; with scale only for the
sections (passi geometrici and piedi 300 = 156 mm); orientation: wind
rose, North to the lower right corner.
1) General map including the
Fortezza Vecchia, the city and the outworks with extramural burghs; the
orographic representation is more accurate within the Fortezza Vecchia and the
surrounding land than inside the city. The representation of the buildings is
detailed and precise: urban lots (including porticoes, stairs, protrusions),
churches and public buildings, gardens. It is undoubtedly the most informative
map preserved at the Correr Museum. Numbers refer to the legend as listed
below: see legend N. 1 Fortezza Vecchia,
N. II La Città.
Legend on the right in a
cartouche:
Per meglio spiegarsi nelle sotterranee delli
due bastioni della Fortezza Vecchia, ho posto il boligono [sic] due / volte
della medema, come pure la fronte, et esteriori della città, per il
medemo ogietto. / Le numeri cerchiate indica l’altura del luogo, tanto dendro
che fuori et il scuro il fodo [sic] d’acqua.
Dechiaratione de numeri nella pianta, e
profilli qui sotto.
N. 1 Forotezza [sic] Vechia
2. Castello
da Mar 3. Castello detto la Campana, o’ del stentardo, diroccato dal fulmine 1718. a’ ristaurarla per aver
una battaria a’ cavalli dalli bastioni della città, si potrebbe
abassarlo sino a il numero 12 piedi per quadegnare più luogo, e viene
comandato dal Castello da mar, ultima retirata / 4. La Cittadella / 5. Mezaluna
in alto / 6. Mezaluna della Porta / 7.
Posto Santo Sidero / 8. La Versiada / 9. Torrion della Versiada / 10. Bastion
Martinengo / 11. Cavallier detto / 12. Bastion Savorgnan / 13. Cavalier detto /
14. Opera genuese / 15. Cordina di mandrachio / 16. Rondel del portello / 17.
Il portello per mandrachio / 18. Portello per Santo Sidero / 19. Punta Santo Sidero ove si potrebbe
fabbricare un gran bel et arioso deposito di polvere, neccesarissimo / 20.
Porta soccorso nella Cittadella / 21. Porta e salita del Castel da mar / 22.
Porta della Cittadella / 23. Porta Maggior / 24. Contrafossa osia antica / 25.
Fosso capitale / 26. Tenaglia, proposto nella medema / 27. Magazen per arbori
di nave / 28. Pallazzo generallizio / 29. Pallazzo del proveditor / 30.
Quartieri publici, più parte investitto / 31. Magazeni per attrezzi
militari / 32. Orlogio, ove è la stadua f. M. Shulemburg / 33. Loggia, e
la chiesa della Madonna / 34. Prigione / 35. Duomo vechio di Santo Arsenio /
36. Armamento, vuodo / 37. Quartier per milizie, detta pallazina / 38. Ponte di
commune, ora in ruina / 39. Depositi di polvere / 40. La teza in mandrachio per
far ristauri /¤ indica cisterne in general / il progetto di
ridoppiare il muro à Spilea
N.° II La città
1. Bastion Sarendario / 2. Li trè pozzi,
spiragli dalle casematte / 3. Posto La Traversa, da terminare / 4. Cortina
Real, pur imperfetta / 5. Piattaforma Santo Atanasio / 6. Bastion Raimonda / 7.
La Radente / 8. Piatta forma Raimonda / 9. Porta Raimonda / 10. Porta Real /
11. Porta Stoppa / 12. Porta Spilea, col suo progietto d’una nuova mura innanzi
la vechia, e terrapienarla, che ora è assai debole /13. Porta Santo
Nicolò. n. 3 Tutto quel trato di mura, che circunta la città per
mar manca in molti luogi il suo parapetto / 14. Teza per l’Artigliaria / 15.
Due progetti di simile teze, ma sulla mura, e con li suoi canoni armatorie(?)/
16. La Madonnina, grecca / 17. Il Conciglion / 18. Marmi interrato per
l’ingresso di generali / 19. Le pozzi nella Spienada / 20. La Madonna
Plattaterra / 21. La Madonna de Rosario / 22. L’ospitale per la milizia / 23.
Duomo Santo Giacomo / 24. L’Annunciato convento latini / 25. Sant Francesco
convento / 26. La Madonna del Tenedo convento / 27. Sant Spiridione protettore
dell’isola / 28. Quartieri per milizia / 29. Quartieri, e teze proposte / 30.
Case da fabbricare / 31. Falsabragha cominziato, e non terminà / 32.
Acquadotto dalla fossa capitale
N.° III Fortezza Nova.
1. Bastion di Sei Venti / 2. Cortina, ò
cavallier Santo Zorzi / 3. Bastion di Sette Venti / 4. Quartieri / 5. Deposito
di polvere / 6. Campana / 7. Salita / 8. Comunicatione con li fianchi et
Scarpone / 9. Basso recinto / 10. Porta e salita per carri, à volto /
11. Porta al basso recinto / 12. Mezaluna /13. Mezo bastione proposta con una
teza sopra per l’artiglieria mondato / 14. Aloggio del N. H. castelan / 15.
Bastioncino, ha bisogno ristauri nel fondamento / 16. Cavallier Calojero, pure
da far la rampa / 17. Tezza e quartier proposta / 18. Tenaglione / 19. Le sue
sorditte, e comunicazione / 20. Deposito di polvere progettato, ottimo / 21.
Sorditta, e corpo di guardia / 22. Piattaforma con 3 canoni / 23. La batteria
delli 3 canoni / 24. Controguardia Santo Spiridion / 25. La plinta, muro
à feritore / 26. Fossa con galleria indorno, e caponere / 27. Progetto
per una comunicatione con la casamatte sotto il piede del monte Abram / 28. Il
Scarpone / 29. Le due bassifianchi / 30. Le comunicatione con detti fianchi /
31. Piazza d’armi e guartier [sic] / 32. Traverse con gallerie di sotto / 33.
Galleria e casamatte sotto l’opera Spiridion / 34. Due casematte per ponere
attrezze / 35 Caponera proposta per coprire il passaggio
N.° IV Li esteriori Verneda detta.
1. Contrafalsabragha / 2. La Fossa Capitale /
3. Bastion Vallier / 4. Tenaglia proposta / 5. Caponera proposta, per coprire
la piazza basso, ove il mar è guadosa / 6. Porta, e volto che passa il
bastion Vallier / 7. Progetto d’un muro per chiudere in quota / 8. Opera a
corno Sant Antonio / 9. Cavallier da perfettionare / 10. Porta, e passaggio /
11. Tenaglia nella fossa avanzata / 12. Revelin Sant Antonio /13. Coprifacia,
con caponere al passo / 14. Piazza d’armi, e guardia / 15. La comunicatione
sotto terra per la lunetta / 16. Revelin Marschialle / 17. Traverse, e piazze
d’armi / 18. Guardafossa mura a feritore / 19. Revelin Corner / 20. Revelin
proposta per coprire la testa della / 21. Capponera traversale per la fossa /
22. Caponera interrata, ancora da fare, per coprire la comunicazione al monte
Sant Salvatore / 23. Chiesa di Sant Rocco / 24. Corpi di guardia sotto il
spalto / 25. Ravelin Grimani / 26. Porta dell’avanzata / 27. Projetto d’un
piccolo deposito, coppertto / 28. Mezzaluna Grimani / 29. Galleria sottoterra,
con caponera alla testa / 30. Rampe per comunicare nel fosso / N.B.Tutto quello
ch’è colloritto giallo resta da fare, come le contramine sotto il spalto
della città, neccessarissima, segnati sopra la pianta nuda, che mostra
tutti li sotterranee dendro, e fuori, di Corfù.
N.° V Fortezza monte Abramo
1. Opera Capitale / 2. Bastion distaccato / 3. Caponera
e gallerie / 4. Quartier, e Magazeni à volti / 5. Deposito di Polvere /
6. Sm[v]iluppo, con Caponere sopra e sotto nelli Angoli rientranti / 7. Piazza
d’Armi / 8. Galleria al / 9. Bonetto / 10. Caponera / 11. La strada Copertta /
12. Opera avanzata, col projetto d’un fosso innanzi da fare /13. gran piazza
d’Armi, e caponera interrata / 14. Batteria alta con 5 canoni / 15. Batteria di
mezo con 4 canoni / 16. Batteria di sotto à 5 canoni / 17. Opera
Meybaum, con doppia Caponera / 18. Caponera interrata / 19. Spalto di
comunicatione / 20. Salita, e Porta per il forte / 21. La gran Casamatte sotto
al piede del Monte, con 2 canoni per fianco / 22. Le Pozzi, che provedano la
Città d’acqua / 23. Projetto d’una scala di pietra per la Communicatione
col monte e la Casamatte
N.° VI Fortezza Monte Sant Salvador
1. Bastion Sant Nicolò / 2. Bastion
Corer / 3. Controguardia Santo Mattia / 4. Radente San Giovanni Battista / 5.
Tenaglia / 6. Im[v]iluppo ancora da vestire con mura per risparmio del gran
numero delle palisate che vi vorebbe / 7. Piazza d’armi à feritore / 8.
Piazza d’armi con capponere dietro / 9. Caponere che chiude la fossa / 10.
Bonetti con caponere dietro, e sortitte di sotto, in forma di gallerie / 11.
Capponere nelli angoli saliente del spalto, la rettirata per le mine / 12.
Capponere nelli angoli rintranti /13. Posto di Santo Marco / 14. Capponere
nelle fosse / 15. L’inderno [sic] piazza, con galleria indorno / 16. Il
trincieramento / 17. Rettirate contra le bombe / 18. Il quartier, e sotto la Porta
/ 19. Sortitte traversale / 20. Opere per coprire l’ingresso / 21. Gallaria al
piede del monte tutt’indorno / 22. Comunicatione sotto terra alla / 23. doppia
capponera / 24. Mezo ridotto, et trincieramento al fianco / 25. Le lunette
Santa Giustina, e Santa Barbara / 26. Imvilupo delle lunette / 27. Bonetto, e
trincieramento che sarebbe bene vistirlo di fuori con muro / 28. Chiusa, e
riparo del mare / 29. Ponte, e galleria sotto l’imvilupo / 30. Ponte, e guardia
/ 31. Deposito di polvere sul monte detto / 32. Projetto per rinforzare quella
parte, assai debole
N.° VII Forte San Rocco
1. Opera capitale / 2. Quartier, e di sotto
l’ingresso / 3. Fianchi à 4 cannoni per coprire li spalti delli due
monti / 4. Caponere per fianchi, che chiudano la fossa / 5. Depositi di
polvere, mal posto / 32* La retirata di questo projetto è per li
sotterranea dal monte San Salvadore, con caponer innanzi.
Rimarco essenzialissimo ! Per scarrico della
mia consienza facio la presete annottazione, per una lunga prattica di 40 e più
anni, che mi sono trovato in guerra, assedii, e diffesa di fortezze, partte
nella Fiandra, nel nort, in Ungaria et Sicilia etcetera. Ho da sugerire un
essenzialissimo punto diffettoso nella nova fortificatione, che sono le
capponere poste nell’avanfossa della contrafalsabragha Verneda, per traverso
della medema, e attaccato alla mura di detta opera, marcato con questo
segno ♂Le quali servono per di
sotto alla diffesa della fossa; ma nel medemo tempo anche al nemico per un
ponte per poter facilmente passare di sopra dal spalto, sull’opera della
contrafalsabragha, come io ho osservato, che passano comodamente non solo li
uomini, ma delle mandre di peccore etcetera onde per impedire un tal disordine,
e scandalo, si ha da tagliare e sepparare le capponere dall’opera stessa sino
al suo muro, detta guardafossa, e cossi farà il medesimo effetto nella
diffesa, ed è levato il comodo del passaggio. Item sono da fare li
disegnati contre - mina, cioè le sole entrade ò gallerie,
vestitte di mura, che poi le camere per li fornelli si costruiscono in tempo
del bisogno, in maniera come già sono fatte con muro, al fianco della
sotterranea comunicatione per la lunetta
che col spettare di far detti rami, ò gallerie in tempo d’un
assedio, non è troppo pratticabile, et è sottoposto à
mille inconvenienze, senza esser fatto col muro. Le tese da far sulla mura
circontaria della città, e sul mezo bastione nel bassorecinto della
Forteza Nova, marcati n.° 15 che servono d’haver sempre montada artiglieria di
sotto, à ciò per ogni improvisata à tradimento sia pronto
da diffendere la mura et il porto medesimo. Terminare una volta la cortina
Real, ora senza veruna diffesa, che è diventato la scovazzera della
città; comme pure la traversa à porta Stoppa segnato n.° 3.
Solamente un tocco di mura e terrapienarla, aciò si possa piantare
l’artiglieria, che ora non ha più che 5 in 6 piedi di spazio e doveria
avere almeno 30 piedi di largezza. La falsabragha capitale piange da se
medesima il suo abbandono. Gran fatto è che sino ad’ora si ha lasgiata
il più essenziale per terminare quello che già da bravi
intendenti della matimatica militare era cominziato à questa
riguardevole fortezza, e sono andati à far sempre più delle nuove
per pura ambitione e far spiccare (all’oro modo d’intendere) il proprio misero
indendimento senza riflettere, ò per malizia negletto, poiche più
che crescano le opere d’una fortezza, tanto più diffensori, artiglieria,
et municioni vi vuole per infalibile. Epure neccessarissimo di rifabbricare
nella cittadella come ultimo rettiro il laboratorio per li fuocchi artificiati,
che è verso la porta Soccorso fra n.° 4 e 20. Le caserme per alloggiare
la milizzia, che ora è affatto sprovista. Epoi li forni nel basso
recinto da fabbricare punto essenzialissimo in una asedio [sic]. Il tutto fu
diroccato nella disgrazia ch’andò in aria il castel Stendardo 1717 il
tutto colloritto giallo. Alla perfine ho ancora da ricordare un punto
necessarissimo, che è di ridoppiare il muro di Spilea n.° 41 segnato
giallo è poi quella terra pianarla, aciò si possa mettere
artigliaria à la navariola, spetialmente sarà assai utile il
cantone al fondico, che può fiancheggiare a dritta, e sinistra, per
diffendere le mura, et il porto di Spilea.
Delineato da me capitano ingegner Giovanni de
Honstein 1753
sopra
2) Lower left, on a scroll
rolled up and pinned to the main drawing: plan of the outworks at the gallery
level. Numbers refer to the legend as listed above: see legend N. III Fortezza Nuova IV Li
Esteriori Verneda detta.
3) On a scroll pinned to the
previous drawing: two plans of the rampart between the two bastions of the
Fortezza Vecchia towards the Spianata.
Inscription:
Poligono della fortezza Vecchia / Poligono medemo di sopra
4) Lower left under the
previous plans on a scroll pinned to the main drawing: two sections,
representing respectively the Monte Abramo and San Salvador hill forts. Numbers
refer to the legend as listed above: see legend N. V Fortezza
Monte Abramo and N. VI Fortezza Monte Sant Salvador VII Forte San Rocco.
Inscription:
Proffillo di Monte Abrmo da E a F / Proffillo di Monte San Salvadore da G a H
5) Lower right on a scroll
pinned to the main drawing: two sections across the Fortezza Vecchia bastions,
the Spianata and the city walls.
Inscription:
Proffillo del bastione Martinengo, della
Fortezza Vecchia, per vedere le sue belle sotterranie casematte / avan fossa
della Fortezza Vecchia / Il spalto, osia contra scarpa sino dietro la Madonna
Pattiterra con le sue proposte sotterranie in contromine / proffillo dalla
piattaforma Santo Atanasio (recindo capitale) con la sua falsabragha; fossa
capitale, contra falsabraga, capponere, sino sul spalto ove si propone un
ravelino, per coprire la testa della capponera. Lettera c. e d
[fig. 8 Tron P.D. c 842/5]
BMC, Mss. P.D. c 842/5
Dissegno
topografico della / città di Corfù / con le fortificazioni
nuovamente erette / Dedicato al Merito imparegiabile dell’Valente / Andrea Tron
Kavalier / In segno di profondissimo Ossequio e d’eterna obbligazione & c.
v. (….)
Giovanni Battista Bragadin,
lieutenant and engineer; second half of the eighteenth century; pen and
coloured washes on paper, 103 x 745 mm; orientation: wind rose, North to the
lower right corner.
Topographical plan of the city
subdivided in lots with buildings and churches; brief references to the
territorial orography within the city and the Fortezza Vecchia; the gradient of
outwarks and curtain batters is underlined by a grey shadowing.
Legend under the title, in a
plaque with a coat of arms:
Dichiarazione de Numeri
N. 1 La città / 2. Fortezza Nuova / 3. Fortezza Vecchia / 4. Magazeni / 5. Depositi di polvere / 6. Palazzo generalizio / N° 7. Palazzo pretorio / 8. Palazzo preffettizio / 9. Arcivescovado / 10. Loggia, ora teatro / 11. Ospital / 12. Sanità / Umilissimo devotissimo obbligatissimo, et obedientissimo servitore Giovanni Battista Bragadin tenente, e ingegnere.
[fig. 9 Ganassa P.D. c 842/4]
BMC, Mss. P.D. c 842/4
Pianta della
città / e fortezze di Corfù e / suoi sotterranei
Alessandro Ganassa; second half of the eighteenth century; pen and coloured
washes on paper, galleries and underground passages are coloured in brown with
a red outline, 793 x 935 mm; with scale (100 passi veneti); orientation: wind rose, North to the lower left
corner.
1) Topographical plan of the
city subdivided in lots with main buildings, churches (Greek churches
identified by a black cross, Latin churches by a red one) public buildings and
gardens; territorial orography is represented within the town and the Fortezza
Vecchia; the gradient of outwarks and curtain batters is underlined by a grey
shadowing.
Legend on two sheets overlapped
to the main drawing:
Dichiarazione delle lettere e numeri sparsi nel
presente dissegno / a. Alto recinto di Fortezza Vecchia / b. Medio recinto / c.
Recinto inferiore / n°: 1. Maschio dirocccatto [sic] dal fulmine dal quale da
la communicazione alla mezza luna (a) / 2. Porta d’entrata del Castello da mar,
con magazzino d’iatrezzi, quartier, et, al di ssotto sotterraneo e deposito a
polvere / 3. Piano detto la Cittadella, con quartieri, magazeni d’attrezzi,
depositi a polvere, prigioni e tezzoni d’attrezzi da guerra / s’averte che
questo n° 3 serve per tutta la pianta / 4. Kavalier nominaato la campana con
porta d’entrata, marrcata (b) e porte di socorso (con lettere c) ssparse nel
dissegno / 5. Porta Maggiorr / 6. Bastion, e kavalier Savorgnian / 7. Bastion,
e kavalier Martinengo / 8. Situazione detta la Versiada / 9. Palazzo del
provveditor general / 10. Palazzo del provveditor / 11. Palazzo del provveditor
d’armata / 12. Alloggio del castelan e camerlengo / 13. Magazeni de biscotti /
14. Forni publici diroccati / 15. Portello per la communicazione del
mandrachio, e all’inferior recinto / 16. Due tezzoni per i alberi di nave, e
galere / 17. Orologio e statua del marescialo conte di Scolemburgh / 18.
Armamento.
Fortezza Nova
D. Alto recinto / E. Basso recintto / 19. Porta
di comuniicazione con la città / 20. Altra porta otturrata per la Marina
/ 21. Bastion e mezzo bastion del basso recinto / 22. Punta perpetutua in tre
risalti / 23. Kavalier Calologero / 24. Salita alla mezzaluna, e da questa
all’alto recinto / 25. Situazione detta la Campana / 26. Due bastioni i Sette
Venti / 27. Cortina S. Zorzi a kavalier delli bastioni e del monte Abramo / 28.
Porta sotterranea per la ritiratta del Scarpon.
Città
F. Città e suo recinto / 29. Avvanzata
di Porta Magiore e ponte di communicazione con la Fortezza Vechia / 30. Gran
Guardia, e Consiglio della città / 31. Radente della Madonina / 32. Due
diseze a gradini per la communicazione del mandrachio e della fossa / 33. Due
ospitali uno in città per li soldati, l’altro in Fortezza Vechia per li
condanati / 34. Porta S. Nicolò / 35. Radente S. Marco / 36. Fonteghi
per grano / 37. Porta Spilea / 38. Porta di sortita detta del Sarandario / 39.
Bastion Sarandario / 40. Porta Real / 41. Piata forma S. Attanasio / 42.
Bastion, e mezzo bastion Raimondo / 43. Porta Raimonda / 44. Radente della
cisterna / 45. Monte di Pietà / 46. Fabrica incominciata per un ospitale
e sospesa / 47. Palazzo arcipiscopale, e chiesa cattedrale de latini / 48.
Palazzo del bailo, e ospitale de poveri / 49. Ospitale de bastardeli / 50.
Chiesa di S. Michiel, duomo de greci / 51. Chiesa di S. Spiridione / tutte le
chiese latine sono marcate con una croce rossa, e le greche con una croce nera.
52. Due sinagoge.
Esteriori
G. Esteriori della piazza, e Fortezza nova /
53. Il Tanaglion / 54. Posto trè canoni / 55. Controguardia S. Spiridion
/ 56. Il Scarpon / 57. Mezzaluna, e rivelin Grimani / 58. Rivelin Corner / 59.
Contro falsa braga / 60. Opera a corno S. Antonio e due rivelini / 61.
Coprifacia / 62. Bastion Valier / 63. Nuova falza braga finita fino alla
lettera (e) / 64. Vechia falza braga / 65. Ritirata del monte d’Abramo / 66.
Avanzate della Porta Real / 67. Caponere, blinde, traverse, e fuochi spaltati,
sparse per tutte le opere / 68. Trincieramenti in gola del monte S. Salvator /
69. Due lenette, e suo invilupo / 70. Communicazioni per la ritirata de trincieramenti
nella fossa del rivelino S. Antonio.
Monte S. Salvador
H.
Monte S. Salvador / 71. Salita e porta di comunicazione all’opera
capitale / 72. Trincieramento in golla dell’opera capitale / 73. Bastion Corner
/ 74. Bastion S. Nicolò / 75. Copribombe e traversoni / 76.
Controguardia S. Mattia / 77. Opera tanaglia / 78. Grande invilupo / 79. Posto
S. Marco / 80. Forte S. Rocco con una camera di galleria ripiena d’acqua (g)
perfetta.
I. Monte d’Abramo
81. Salita e comunicazione all’opera capitale I
/ 82. Mezzaluna S. Giorgio più alta dell’opera capitale / 83. Invilupo
con piccolo bonetto / 84. Opera Maibon con strada coperta per la retirata.
2) detail on the top over the
main drawing: map of the upper level of the bastions between Fortezza Vecchia
and the Spianata; the detail is represented on a sheet pinned to the main one.
[fig. 10 isola P.D. c
842/3]
BMC, Mss.P.D. c 842/3
Topografia
dell’isola di Corfù e vicina Terraferma / Con l’annotazione dei Posti
d’Armarsi lungo il Littorale dell’Isola in occasione di Sanità
[Francesco Zamoreo, captain and
engineer]; end of the eighteenth century; territorial map, pen and coloured
washes on paper, 650 x 935 mm; with scale (20 miglia venete); orientation: wind rose, North to the left.
The legend indicates the number
of soldiers required for the coastal guard houses in the event of plague.
Inscribed, on the back:
Isola di Corfù / posti sanitarj / de’ Venziani / [by a different hand] era ne’ disegni dell’ingegnere / Fustinelli.
[fig. 11 ospedale P.D. c 859/16]
BMC, Mss. P.D. c 859/16
Pian Terreno
dell’Ospital Militare in Corfù, come dovrà essere ridotto
Anonymous author; end of the
eighteenth century; pen and coloured washes on paper, the colour red indicates
the new wing to be constructed, 520 x 745 mm; orientation: not indicated (North
to the top).
Plan of the existing building
with the proposed addition on the right, on the south side of the courtyard
marked “d” in the legend.
Legend, lower left:
a. Luoghi terreni della nuova fabbrica ad uso
di lisciere, caneve e legnere / b. Detti terreni per l’istesso uso, sotto le
sale presenti / c. Magazzino sotto la cucina / d. Cortile fra la vecchia e
nuova fabbrica/ e. Altro magazzino / f. Sala terrena con porte sopra li cortili
/ g. Scale che conducono nel corridor del primo piano in soler della nuova
fabbrica / h. Fossale sopra la Spianata per dar respiro d’aria à luoghi
terranei con scarpa per sostegno delle terre / i. Cortile con cisterne / j. Lattrine
ora essistenti ridotte ad uso di forno / k. Rampe che conducono dlla [sic.]
Porta / l. Dette di San Nicolò / il color rosso conterminato in ogni
piano da numeri 3-4-5-6 denota l’estesa e situazione della progettata nuova
fabbrica
[fig. 12 porto P.D.c 859/17]
BMC, Mss.P.D.c 859/17
[Project for the Port of Spilea, Corfu]
Paolo Mastraca, captain and
engineer; end of 18th century; pen and coloured washes on paper, 487 x 692 mm;
with scale (30 passi veneti); orientation:
directional arrow, North to the lower right corner.
Partial plan with measurements
of the port of Spilea with the project for the transformation and extension of
the pier for the “contumacia”.
Legend, on the left:
GGGG etc. Molo rovinoso come ora esiste / ABCD.
Come lo stesso esser deve ridotto / BEFC. Nuovo braccio da aggiungervi / M.
Rampe che ascendono al molo
[figg. 13_1 ; 13_2 ; 13_3 Spilea P.D. c 862/1]
BMC, Mss. P.D. c 862/1 (a)
Piante e
spaccati della fortificazione da erigersi per coprire la spiaggia ed abitato
della Spilea non che per rendere
capace di difesa quella porzione del Recinto Capitale che giace tra la Fortezza
Nuova e la Piattaforma alli Fondaci
Anonymous author; 1795 (on the
frieze of the exterior elevation of Porta Maggiore, drawing n.1); pen on paper
with brown and grey washes, 492 x 2115 mm; with scale: 40 piedi (drawing n. 1); 30 piedi
(sections of drawings n. 2, 3); 40 passi
(plans of drawings n. 2, 3); orientation: not indicated (drawing n. 2, 3 North
downwards).
1) plans, sections and
elevations of the new Porta Maggiore to be erected in the planned city wall for
the expansion of the area of Spilea.
Inscription:
Pianta della Porta / Prospetto interno della
Porta / Profilo tagliato sulla linea AB / Profilo preso sulla linea CD /
Prospetto esterno della Porta
2) plan with measurements of
the existing buildings on the esplanade of Spilea with the proposed curtain,
bastion and city gate; the detail shows the cross section of the low artillery
outworks (gun platform and piazza bassa) at the left corner of the
new walls. The plan represents the built area as well the way of the rounds on
the new city walls.
Inscription:
Profilo preso sopra AB / Profilo preso sopra CD
3) ground level plan with
measurements of the same area as in drawing 2, showing the existing situation
and the planned extension of the shores of Spilea.
Legend, lower right:
Dichiarazione delle lettere e numeri
A. Piattaforma alli fondaci/ b. Fianco basso /
c. Cortina / d. Bastione / e. Tezzone per attrezzi di artiglieria / f. Molo che
serve al presente alle barche di contumacia / g. Molo nuovo / h. Cortina / i.
Fianco basso sotto la piattaforma di Fortezza Nuova / j. Porta Maggiore / k.
Sortite che conducono nè fianchi bassi / a. Recinto della città /
b. Basso recinto di Fortezza Nuova / c. Porta Spilea / d. Porta murata / 1.
Ufficio della Sanità / 2. Chiesa appartenente allo stesso / 3. Quartieri
per quelli che vengono dalla vicina terraferma / 4. Luoghi dell’ufficio
suddetto / 5. Fondaci nuovo appartenenti alla città / 6. Tezza de’
beccheri / 7. Baracche della città / 8. Baracca del signor Rodostamo S.r
Marco / 9. Bottega del Papà Calagerà / 10. Detta del Papà
Gonemi / 11. Casello della decima / 12. Baracche del Nobil Huomo Corner / 13.
Dette del papà Mario Bulgari / 14. Baracche del Ragionato Falier / 15.
Dette del signor Mercoran / 16. Dette del Teotochi del Santo / 17. Dette del
Giaferro / 18. Dette del Rodostamo / 19. Dette della Beata Vergine di Fortezza
Nuova / 20. Dette del Dimitri / 21. Dette del Vivante / 22. Dette del Pieri
alla Chieropula / 23. Dette di Giaculetto / 24. Dette di Giacur / 25. Dette del
Vuvà / 26. Dette del Polilà / 27. Dette del Frivoli / 28.
Condotti principalli della città / 29. Fondi del signor Spiro Sol / 30.
Magazzini de grani de’ privati / 31. Dogana del vino
[fig. 14 città 1
P.D. c 859/18]
BMC, Mss. P.D. c 859/18
[Plan of an urban sector of the city of Corfu: area between the Calle
dei Mercatanti and Calle delle Acque, facing the theatre of S. Giacomo]
Anonymous author; late
eighteenth century; pen and coloured washes on paper, 757 x 968 mm; with scale
(80 piedi veneti); orientation: not
indicated (North upwards).
Ground level plan of the buildings
lining the public street with indication of ownership.
[fig. 15 città 2
P.D. c 859/19]
BMC, Mss. P.D. c 859/19
[Plan of an urban sector of the city of Corfu: district behind Porta
Spilea, between the convents of S. Francesco and La Madonna del Tenedo]
Anonymous author; late
eighteenth century; pen and coloured washes on paper, 757 x 968 mm; with scale
(50 piedi veneti); orientation: not
indicated (North downwards).
Street-level plan of the
buildings facing the public street with indication of ownership.
[fig. 16 città 3
P.D. c 859/21]
BMC, Mss. P.D. c 859/21
[Plan of an urban sector of the city of Corfu: area of Calle del
Giustinian]
Anonymous author; late
eighteenth century; pen and coloured washes on paper, 525 x 780 mm; with scale
(60 piedi veneti); orientation: not
indicated.
Street-level plan of the
buildings facing the public street with indication of ownership.
[fig. 17 città
4 P.D. c 859/23]
BMC, Mss. P.D. c 859/23
[Plan of an urban sector of the city of Corfu: area between the two
Greek churches of S. Basilio and S. Giovanni]
Anonymous author; late
eighteenth century; pen and coloured washes on paper, 515 x 1520 mm; with scale
(80 piedi veneti); orientation: not
indicated (North to the left).
Street-level plan of the
buildings facing the public street with indication of ownership.