The Land between Two Seas: Art on the Move in the Mediterranean and the Black Sea 1300–1700

Front matter

" KIDS m en ile, DAC k- (red

THE LAND BETWEEN TWO SEAS iterranean in the Med and the Black Sea 1300

Art on the Move

PART 1 The Adriatic

The Late Sixteenth-Century Ship in the Adriatic as a Cultural System 29 Mirko Sardelić

Peripheral or Central? The Fortification Architecture of the Sanmichelis in Dalmatia 40 Ana Sverko

Daniel Rodriga's Lazaretto in Split and Ottoman Caravanserais in Bosnia: The Transcultural Transfer of an Architectonic Model 59

Darka Bilié

The Villa in Renaissance Dubrovnik: “Where Art Has Tamed Wild Nature" 79 Josko Belamarié

Visualizing Illyrianism in Urban vs Rome 99 Daniel Premerl

PART 2 The Black Sea from the Dardanelles to the Sea of Azov

"Vampire Trouble Is More Serious Than the Mighty Plague”: The Emergence and Later Adventures of a New Species of Evildoers 129 Cemal Kafadar

Transcultural Ornament and Heraldic Symbols: An Investigation into the Aesthetic Language of Early Modern Crimea and the Northern Black Sea Shore (Thirteenth-Sixteenth Centuries) 152

Nicole Kancal-Ferrari

CONTENTS

8 Romes Outside of Italy: Alevisio Novy and the Circulation of Renaissance Architecture in Muscovy and the Crimea 177 Tatiana Sizonenko 9 The Mangalia Mosque in the Waqf Empire of an Ottoman Power Couple: Princess İsmihan Sultan and Sokollu Mehmed Pasha 200 Giilru Necipoglu 10 Goldsmithery Made for the Cantacuzini: How Seytanoglu’s Descendants Made the Arts Flourish in Wallachia 220 Anna Maria Nyárádi n The Reliquary of St. Niphon: Relations between Wallachia, Constantinople, and Mt. Athos 239 Ioli Kalavrezou 12 Between Venice and the Danube: Hieromonk Makarije and His Cyrillic Incunabula at the Turn of the Sixteenth Century 252 Vladimir Simić PART 3 The Danube and Beyond 13 Between Worlds: Ottoman Heritage and Its Baroque Afterlife in Central Europe 275 Iván Szántó 14 Portability, Mobility, and Cultural Transfers—Wooden Church Architecture in Early Modern Banat: The Case of the St. Paraschiva Wooden Church in Crivina deSus 291 Diana Belci 15 Ottoman and Persian Luxury between Fashion and Politics: The Armenian Merchant Network and the Making of Sarmatian Culture in Early Modern Poland-Lithuania 3u Alexandr Osipian 16 Sociability Seeps through the Lower Danube: The Introduction of Coffee to Moldavia and Wallachia in the Seventeenth Century 334 Daniela Calciu 1; On the Road to the “New Empire”: The Afterlife of Roman and Byzantine

Porphyry and the White Marble Tradition in Central Europe during the Early Modern Era 354 Michat Wardzynski

Index 379

Acknowledgments

The volume before you is the product of a long process that started in the spring of 2012 with Anne Helmreich from the Getty Foundation sounding me out on possible ideas for a project for their Connecting Art Histories program. The project I proposed, “From Riverbed to Seashore. Art on the Move in Eastern Europe and the Mediterranean in the Early Modern Period," was accepted in May 2013 and started with a call for participation in December 2013. Three traveling seminars in seven countries and two workshops and a conference in three more countries later, the essays that were generated from this intense activity are finally seeing the light of print. Needless to say, a project that involved twenty-one people and travel in nine countries and that came to full maturity almost ten years later, required much organization and planning, not to mention discipline sometimes reminiscent of a military campaign. But beyond the inevitable logistical challenges, the project brought much satisfaction through discovery, exploration, and adventure—all of it exciting, fun, and quite literally mind-bending. And, as an added bonus, beyond scholarship it led to many friendships and a sense of extended family. So, in this spirit I want to thank all those who stayed the course and whom you will meet on these pages, and just as much those who participated only in some parts of this operation. Thank you, Jacek

Bielak and Stanko Kokole for joining our group and adding your wisdom to our peregrinations in mind and in fact. A particularly warm thank you to three exceptional project assistants—Elizabeth Kassler-Taub, Victoria Addona, and Mathilde Bonvalot—without whom neither the voyages nor the volume would have come to a happy end. Thank you to Joško Belamarić for opening doors and connecting us to people and sites, as well as to so many hidden treasures, all along the Dalmatian coast; to Anca Oroveanu for inviting us into the enchanting New Europe College in Bucharest; to Ana-Maria Zahariade and Horia Moldovan from the Architecture School Ion Mincu in Bucharest for much help with organizing our Romanian trip; to the staff of the libraries at Harvard University and at the Harvard Art Museums for giving the project participants the opportunity to access books, rare collections, and hold a workshop within the museum premises; and many, many thanks to Joan Weinstein, Anne Helmreich, and most recently Miguel de Baca from the Getty Foundation for supporting the project with so much enthusiasm and for understanding its complexities with so much sympathy. Finally, a thank you to Clare Peploe for offering the wonderful heaven of peace where I could write and to Mark for sustaining me in this work gently and steadily and sharing with me his own fascination with distant shores and mobile worlds.

Figures

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Anonymous, Map of the World, 1457 2

Map of the Genoese and Venetian expansion

in the Mediterranean and Black Sea in the thirteenth-fourteenth centuries 4

The Genoese presence in the Black Sea in the fourteenth century 5

Enisala, Genoese fortress on the Black Sea, Romania, second half of fourteenth century 6

View of the Royal Monastery of Curtea de Arges, completed 1512-17, Romania 9

Detail of frieze with muqarnas and rosettes, Royal Monastery of Curtea de Arges 10

Detail of muqarnas, portal of Karatay Medresesi, 1251, Konya Karatay Medresesi, 1251 n

St. Niphon reliquary, back view, Dionysiou Monastery 12

Fortress Church St. Mary of Mercy Vrboska, Hvar Island, Croatia 14

Michele and Giangiorgio Sanmicheli, fortifications, mid-sixteenth century, Sebenico, Croatia 15

Port of Ancona, unknown artist, 1731, Maritime Museum Dubrovnik 16

Diogo Homem, Map of the Black Sea, circa1559 17 Eastern Danube territories, in Willem Blaeu Theatrum orbis terrarum, sive atlas novus (1649-1655) 19 Francesco Da Ronzani and Girolamo Luciolli, “Prospetto verso la Campagna della Porta Nuova in Verona,” in Le fabbriche civili, ecclesiastiche e militari di Michele Sanmicheli, Venice, 1831 42

Francesco Geronzi, Plan of the town and fortifications of Zadar, eighteenth century 44

Marcello Alessandri, Map of Sibenik, Marcello Alessandri, 1620 45

Anonymous, St. Nicholas Fortress, Šibenik,

sixteenth century 46

Giovanni Maria Falconetto, Porta Savonarola

in Padua 47

Michele Sanmicheli, Drawing of the Porta di Terraferma in Zadar, Michele Sanmicheli 48 Sculptural decoration from the Porta di Terraferma, Zadar 48

Porta di Terraferma, Zadar 49

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Francesco Da Ronzani and Girolamo Luciolli, "Porta del Castello di S. Nicolò presso Sebenico,” in Le fabbriche civili, ecclesiastiche e militari di Michele Sanmicheli, Venice, 1831 51

Fortress of St. Nicholas, Šibenik 51

Detail of the frieze of the Gate of St. Nicholas Fortress, Sibenik 52

View of the port, Split, G. Santini, 1666 60 Lazaretto, Split, 1603 62

Plan of Split, G. Santini, 1666 64

Courtyard, Lazaretto, Dubrovnik 65

Plan, Lazzaretto Vecchio, Venice 66

Model, TaSlihan in Sarajevo 70

Plan, Morića Han in Sarajevo 71

Dubrovnik seen from Mount Srd 80

Giovanni Battista Fabbri, idealized representation of the city and its planned territory 81

Villa Sorkočević in Komolac—Rijeka Dubrovačka, c.1860 82

Villa of Miho Junijev Bona in the late nineteenth century 83

Villa of Vice Skočibuha by “Tri crkve” at Boninovo. Facade and longitudinal section 84

Summer Residence of Vice and Toma Skočibuha in Suđurađ on the island of Šipan, 1563-88 — 85

Rijeka Dubrovačka (Ombla) in the area of

RoZat and Komolac (at the beginning of the twentieth century) 86

Trsteno, villa Guéetié—Gozze (c1900) 88

The Bay of Gruz in 1873. In the foreground on the right side are the villas of Paladin Gundulic, Marin Bunić, and Junije Bunić; on the left, the villa of Petar Sorkočević 91

Angelo degli Oddi, Porto di S. Croce (Gruž), 1584 92 Giovanni Guerra and his workshop, Saint Jerome Explains Difficult Passages in the Holy Scriptures, Giovanni Guerra and workshop 1589-90, Church of San Girolamo dei Croati, Rome 100 Silversmith Francesco Spagna (model for the

head attributed to Allessandro Algardi; model

for the plith attributed to Gian Lorenzo Bernini), Reliquary Bust of St Stephen the King, h. 113 cm, silver, copper, gilt, precious stones, 1635, Zagreb Cathedral

Treasury Croatia 102

FIGURES

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Unidentified master, title page of Osmanšćica, Rome, 1631 104

Unidentified master, Portrait of King Vukašin from Indicia vetustatis et nobilitatis familiae Marciae vulgo Marnavitiae, Rome, 1632 105 Unidentified master, portrait of Ivan Tomko Mrnavić from Indicia vetustatis et nobilitatis familiae Marciae vulgo Marnavitiae, unidentified master, Rome, 1632 105 Marble plaque, 1630, Church of San Girolamo dei Croati, Rome 106

Simone Lagi and Marco Tullio Montagna, Church of St. Caius in Rome, 1634-35, Palazzo Quirinale, Rome 107 Giuseppe Puglia Il Bastaro (incised by Orazio Brunetti), Frontispiece of Unica gentis Aureliae Valeriae Salonitanae Dalmaticae nobilitas, Rome,

1628 Library of the Croatian Academy of Sciences and Arts, Zagreb

Unidentified master, Reliquary Bust of St. Caius, Rome, seventeenth century Zagreb Cathedral's Treasury, Croatia 12

Juraj Šubarić, Frontispiece of Memoria regum et banorum regnorum Dalmatiae, Croatiae et Sclavoniae, Vienna,1652 13

Gaspare Mola, Constantine's Baptistery, reverse

of Urban vi11’s 1637 annual medal, Gaspare Mola, Staatliche Münzsammlung München 14 Unidentified master, Title page of Regiae Sanctitatis Illyricanae Foecunditas, Rome,1630 5

The good Vlad, Vlad Tepes, attributed to Germans masters 133

The bad Vlad, Christ before Pontius Pilate, mid-fifteenth century, by “the Master of Velenje 133

"Vampire skeleton" from Mytilene, Greece tableaux" 135 Cover of the 1733 book on the most notorious case 138

Map of the Crimean Peninsula City walls of Caffa 154

City walls of Sudak 155

Entrance iwan of the Hadji Geray (I. Mengli Geray)

Khan Mausoleum in Salaçik, mid- or end

of the fifteenth to the beginning of the sixteenth century 156

Fronton of the Church of St. John the Baptist in Caffa (1348), Feodosia Antiquities Museum 157

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Palace facade in Theodoro (Mangup), first half of the 157

Lintel on lateral portal, Church of St. John the Apostle in the "Quarantine" district in Caffa fourteenth or first half of the fifteenth century 159

Fragments of limestone slab, Feodosia Antiquities

Slab on the sixth tower in Sudak, 1392 fifteenth century

Slab on the sixth tower in Sudak, 1392 (drawing after Aibabina) Slab with inscriptions and coat of arms, 1425,

Bakhchisaray State Historical and Cultural

Preserve 161

Portal of the Armenian Church of Archangels Michael and Gabriel, Caffa 1408 Prayer niche (mihrab), Khan Mosque in Kezlev mid-

162 sixteenth century 163

Drawing of slab near the entrance gate of Sudak, 1385 in Waxel, Recueil (no.19) 164

Slab with inscriptions and coat of arms 1427, Bakhchisaray State Historical and Cultural Preserve 165

Fragment of a door frame, 1406 Feodosia 166

Alevisio Lamberti da Montagnana, Chapel of

Antiquities Museum

Santissimo, ca. 1500—01, Duomo di Montagnana,

179 Alevisio Lamberti da Montagnana, Oratorio

Italy dell'Annunciazione (La Chiesetta Revese), ca. 1499, Brendola, Italy 180

Alevisio Lamberti da Montagnana, tomb of Tommasina Gruamonte, 1498, Casa Romei, originally Church of

St. Andrea, Ferrara, Italy 180

Alevisio Lamberti da Montagnana, Demir-Qapi or “Iron Gate,” Bakhchisaray Palace, 1503-4, Crimea 181 Pietro, Tullio, and Antonio Lombardo with Giovanni Buora; Mauro Codussi, Scuola Grande di San Marco, 1488-95, Venice, Italy 184

Mauro Codussi, San Zaccaria, 1483-90, Venice, Italy 184

Alevisio Lamberti da Montagnana, Cathedral of Archangel Michael, North Facade, 1505-8, Moscow 186

Giacomo Quarenghi, Cathedral Square in the Moscow

Kremlin, Moscow, Russia

Kremlin, 1797, State Hermitage Museum

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Aristotele Fioravanti, the Dormition Cathedral, south facade, 1475-79, Moscow Kremlin, Moscow, Russia 189

Marco Ruffo and Pietro Antonio Solari, the faceted palace, 1487-91, Moscow Kremlin, Moscow,

Russia 190 Cathedral of St. Sophia, 1045-50, Novgorod, Russia 191

Cathedral of Archangel Michael, West portal

Ismihan Sultan's Friday mosque, Front view,

193 Mangalia 201

İsmihan Sultan's Friday mosque, Back view, Mangalia 201

Sokollu Mehmed Pasha, engraving 202

Mosque complex of ismihan Sultan and Sokollu

Mehmed Pasha, Kadirgalimani, Istanbul | 204 Funerary Madrasa complex of İsmihan Sultan and Sokollu Mehmed Pasha, Eyiib, Istanbul

Plan, Mangalia mosque

204 206 Cross section, Mangalia mosque 206

The Surrender of Becskerek Castle in 1551, manuscript painting from Arifi, Fütuhata Cemile, 1557 Map of Sokollu Mehmed Pasha's waqf endowments 21

Gospel cover from Márgineni monastery, before 1658 Plate from Cotroceni monastery, around 1680 Plate, before 1685 Ewer and basin, before 1685

223 225 225

Gospel cover from Cotroceni monastery, 1681 229 Kivotion from Cotroceni monastery, before1688 231 Katzi from Cotroceni monastery, before1686 231 View of relics, Reliquary of St. Niphon Dionysiou monastery 240 St. Niphon and Neagoe Basarab, Reliquary of St. Niphon, Dionysiou monastery 241 Reliquary of St. Niphon, Frontal full view when closed Dionysiou monastery 242 St. Niphor's reliquary, View from above, Dionysiou monastery 242

St. Niphon’s reliquary, Frontal view, Dionysiou 243

Enamel plaques of the Deesis and additional saints, monastery

Reliquary of St. Niphon, Dionysiou monastery Front detail 244 St. Niphon’s reliquary, Saint portraits of the two short sides, Dionysiou monastery 245

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FIGURES

St. Niphon’s reliquary, Back view, Dionysiou monastery 246

The Church San Giorgio dei Greci

in Venice, woodcut illustration 253

The Betrayal of Judas, woodcut illustration, Octoechos 254

The view of Dubrovnik in the sixteenth century (copy 255

Putti in the capital of the column on the porch, The

(tones 5-8), Cetinje 1494 from the nineteenth century)

Rector's Palace, Dubrovnik, mid-fifteenth century, Dubrovnik 257

Putti, woodcut illustration, detail of fig. 12.2, Octoechos (tone 5-8), Cetinje1494 257

Three Hymnographers, Octoechos (tones 5-8), Cetinje 1494 258

Detail of fig. 12.3, Old Cathedral, Dubrovnik 259

The Synaxis of St. John the Forerunner, detail, Octoechos (tone 5-8), Cetinje1494 260

City gate, coin, Dubrovnik1464 260

Three Hymnographers, Octoechos, Wallachia 1510 — 262 Three Hymnographers, Octoechos, Gracanica Monastery1539 263

Map showing the main urban and rural settlements mentioned in this chapter 276 Parish church, Szigetvár 276

View of the ceiling fresco, Parish church,

Szigetvár 278

The deaths of Miklós Zrínyi and Sultan

Suleyman 1, detail of the ceiling fresco, parish church, Szigetvár 280

The reconquest of Szigetvár, detail of the ceiling fresco, Szigetvár parish church 280 Mosque, Soko 283 Parish church, Dakovo 284

Parish church, Palkonya 285

Map of contemporary Banat and its wooden churches 292 View from the altar, church St. Paraschiva, Crivina de Sus, Romania, photograph 2014 298

Inscription on the pronaos door, south facade, St. Paraschiva, 1677, Crivina de Sus, Romania, photograph 2016 298

View of the interior, St. Paraschiva, Crivina de Sus, 299

Carpenter's marks, St. Paraschiva, Crivina de Sus,

Romania, photograph 2013

Romania, photograph 2016 300

FIGURES

14.6 The tower-building system, St. Paraschiva, Crivina de Sus, Romania, photograph 2015 301

14.7 View of the altar, St. Paraschiva, Crivina de Sus, Romania, photograph 2015 301

14.8 View of the interior, St. Paraschiva, nineteenth century, Poieni, Romania, photograph 2013 302

14.9a Caransebesin1697 304

14.9b Caransebeş in 1701, Revista muzeelor si monumentelor, Monumente Istorice si de artá 1 (1984): 41-42. 304

1410 Window detail, church from Povergina photograph, after2015 306

15.1 Unknoqwn artist, portrait of Łukasz Opaliński, ca. 1640 National Museum in Kraków, Poland 313

15.2 So-called “Wiesiołowski carpet,” ca. 1635-37 Zamek Królewski na Wawelu, Kraków, Poland 318

15.3 “Rug with birds” with the coat of arms of Archbishop Jan-Andrzej Próchnicki, early seventeenth century, Museum of Mediterranean and Near Fastern Antiquities (Medelhavsmuseet), Stockholm, Sweden 319

15.4 Jesus Christ “breaking bread,” Piarist monastery in Rzeszów, Poland 320

15.5 The biblical wise men, Piarist monastery in Rzeszów, Poland 321

15.6 So-called “Polish carpet” (“Polenteppich”), ca. 1601-2, Bayerischen Schlösserverwaltung, Munich Residenz Museum, Munich, Germany 323

16.1 Constantin Cantacuzino, map of Wallachia drawn between 1694-99, published in 1700 at Padua, in Anton Maria del Chiaro, Istoria delle moderne rivoluzioni della Valachia, Venice, 1718 336

16.2 Dimitrie Cantemir, Tabula Geographica Moldauiae—Descriptio antiqui et hodierni status Moldaviae, Frankfurt und Leipzig, 1771 336

16.3 Stadt und Festung Hírsova: Bulgarien, Lithograph by A. von Saar, 1826 after a drawing by Erminy 339

16.4 Map of the Dobrudja Plain, Istanbul, eighteenth century 340

16.5 Bathers in the Colentina River, watercolor by

Amedeo Preziosi, June 21,1869 343

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South-east view, Fundenii Doamnei church, Bucharest 344

Stucco motifs, South facade, the köşk, Fundenii Doamnei church, Bucharest 345

Stucco motifs, South facade, Fundenii Doamnei church, Bucharest. Measured detail drawing,

1944 345

Carved motifs, Cakaloglu Hanı Çeşmesi, Gaffarzade, Izmir 346

Motifs on exterior wall, Mosque in Berat,

Albania 346

Andrea Alessi and Niccolò di Giovanni Fiorentino with workshops, Primate Tamás Bakócz’s

funerary chapel, general view of the altar niche, 1507-9, cathedral, Esztergom /Gran, Hungary 358 Andrea Alessi and Niccolò di Giovanni Fiorentino with workshops, Chapel of the Blessed Giovanni Orsini, general view, cathedral, 1468-88, Trogir/Trau (Dalmatia/Croatia) 359

Giorgio di Lorenzo, attr., Madonna with the Child, (Báthori Madonna), 1526, Magyar Nemzeti Gáleria, Budapest, Hungary 360

Santino Solari (design), Hans Waldburger and Hans Pernegger the Younger of Salzburg (execution), high altar, Salzburg cathedral, 1628, Salzburg, Austria 361

Alexander Colijn of Mechelen and workshop, sarcophagus of Emperor Maximilian 1 of Habsburg, Alexander Colijn of Mechelen and workshop, Hofkirche, 1563-83, Innsbruck, Austria 362

Paul Strudel, bust of Emperor Leopold 1 of Habsburg, c. 1690—95, Kunsthistorisches Museum, Vienna, Austria 363

Antonio Corradini, statue of Emperor Karl vi

of Habsburg, 1731, Prunksaal, Hofburg, Vienna, Austria 365

Side altar of the Holiest Sacrament, Zadar cathedral, 1718-19, Dalmatia, Croatia 366

Notes on Contributors

Josip (Josko) Belamarié

is head of the Institute of Art History (Cvito Fiskovié Center) in Split and is Professor at the Department of Art History, University of Split. Between 1991 and 2009 he served as the director of the Regional Office for Monument Protection. He has published a number of books, studies, and articles on the urban history of art, architecture, and urbanism of early modern Dalmatia. He has directed conservation works in Dalmatia and also curated a number of exhibitions.

Diana Belci

is a lecturer at the Politehnica University Timisoara, Romania, Faculty of Architecture and City Planning where she teaches history of architecture and heritage conservation. She earned her PhD from the University of Architecture Ion Mincu in Bucharest and was a visiting PhD candidate at Ecole Nationale Supérieure d'Architecture de Paris-Belleville. Her work focuses on transregional and cross-cultural artistic exchanges between designed and vernacular architecture in the former Ottoman, Balkan-Eastern European region.

Darka Bilić

is a research associate at the Institute of Art History in Croatia. She received her MA in Art History and Italian Language and Literature from the University of Zagreb, where she also obtained her PhD. Her work focuses on the history of early modern architecture in the eastern Adriatic in a broader geographical and cultural context, with a special interest in exploring the role of the Venetian Republic in shaping the built environment.

Daniela Calciu

is Heritage Director of the National Museum of Contemporary Art and assistant professor of architectural design at the “Ion Mincu” University of Architecture and Urbanism. She also develops action research projects with the Association for Urban Transition to craft new modes of collaboration between academia, professionals, and urban communities. Her awards and recognitions include bursaries from UNESCO, CNRS, TATE Modern, and rwM Wien, and the Fulbright Junior Award as visiting researcher at the University of Cincinnati.

Ioli Kalavrezou

is the Dumbarton Oaks Professor of Byzantine Art History at Harvard University. Topics of special interest in her research include the relationship of Church and State, political and ideological history, sun imagery of the emperor, and the cult of the Virgin. Her book Byzantine Steatite Icons investigates private devotion in Byzantium. Her studies on the roles and place of Byzantine women produced the exhibition Byzantine Women and Their World. These questions led her to investigate material evidence, from wall paintings and mosaics to carved objects, icons, and manuscripts.

Nicole Kancal-Ferrari

is associate professor at the Faculty of Architecture and Design at Marmara University, Istanbul. She is the author of several books, book chapters, and articles on Turkish and Islamic art and architecture. Her special interests include: the material culture of the Northern Black Sea Region with a special focus on the Golden Horde and Crimean Khanates; the culture of death in the Ottoman environment; and Islamic visual and architectural culture and its agency.

Gülru Necipoglu

isthe Professor and Director ofthe Aga Khan Program for Islamic Art at Harvard University and editor of Muqarnas: An Annual on the Visual Cultures of the Islamic World (Brill). She specializes in the arts/architecture of the early modern Mediterranean and Eastern Islamic lands. Her publications examine aesthetic cosmopolitanism, transregional connectivity between empires (Ottoman, Safavid, Mughal), architectural practice and drawings, and theories of ornament. She is a Fellow of the American Academy of Arts and Sciences.

Anna Mária Nyárádi is a research fellow of Special Collections, National Széchényi Library. Previously she was involved in the inventorization and documentation of the ecclesiastical cultural heritage in Hungary and research projects focused on goldsmithery. She holds a doctoral degree (PhD) in art history from Eótvós Loránd University. Her research interests pertain to Central-European

NOTES ON CONTRIBUTORS decorative arts with a special attention on Hungarian goldsmithery and printmaking.

Alexandr Osipian

is a Research Fellow at the Freie Universitat Berlin. He is a historian specialized in the cultural transfer between the Middle East and Eastern Europe. His research focuses on late medieval and early modern long-distance trade operated by Armenian merchant networks and on the formal and informal conditions of trade in the region. He is also interested in how oriental goods were consumed, appropriated, reinterpreted, and imitated in Eastern Europe.

Alina Payne

is Alexander P. Misheff Professor of History of Art and Architecture at Harvard University and Paul E. Director of Villa I Tatti (Florence). Most recently she published Larchitecture parmi les arts. Matérialité, transferts et travail artistique dans l'Italie de la Renaissance (Hazan/ Louvre 2016) and co-edited The Renaissance in the 19th Century. Revision, Revival and Return (I Tatti/ HUP, 2018). She received the Max Planck and Alexander von Humboldt Prize in the Humanities and is Fellow of the American Academy of Arts and Sciences.

Daniel Premerl

is a Research Associate at the Institute of Art History in Zagreb, Croatia. He is the author of the book Bolonjske slike hrvatske povijesti (2014), a study on the political iconography of wall paintings from 1700 in the Illyrian- Hungarian College in Bologna. His articles focus on the early modern Italian art commissioned by Croats either for their national institutions in Italy or for their churches in Croatia. Within ecclesiastical art he explores altarpieces in particular.

Mirko Sardelic

is a historian of medieval and early modern cross-cultural exchange, especially between the Mediterranean world and Eurasian steppe. He is a Research Associate at the Department of Historical Research of the Croatian Academy of Sciences and Arts and an Honorary Research Fellow at the ARC Centre of Excellence for the History of Emotions (University of Western Australia). He is also founder and co-director of the Centre for the Study of Emotions in Cross-Cultural Exchange.

XIII

Vladimir Simić

is an Associate Professor at the Faculty of Philosophy of the University of Belgrade. His research is focused on early modern art and culture in Southeastern Europe. He is the author and editor of several books and numerous published articles. Currently, he is editor in chief of Matica Srpska Journal for Fine Arts and Head of the Department of Fine Art of Matica Srpska.

Tatiana Sizonenko

earned her PhD in Art History at the University of California, San Diego. Her scholarship focuses on the transmission of Italian Renaissance art and architecture in the greater Mediterranean world. She has published on the art and culture of Renaissance Venice, Constantinople, Muscovy, and the Crimean Khanate. She is the recipient of a number of fellowships, multiple dissertation research fellowships from UcsD, and a national fellowship for distinguished scholarship in art history in Russia.

Ana Sverko

is a Senior Research Associate at the Institute of Art History—Cvito Fisković Center. She works part-time at the University of Split as a lecturer in the Architecture and Urban Planning graduate program. Her research focuses on the architectural and urban history of the Eastern Adriatic in a cross-cultural context, with particular emphasis on classical architecture and the study of travelogues. Her work brings together the history of the urban form and heritage conservation studies.

Iván Szántó

is Chair of the Department of Iranian Studies of the Eótvós Loránd University (ELTE), Budapest, Hungary, where he habilitated in 2014. Between 2010 and 2017 he was leader of a project at the Institute of Iranian Studies, Vienna, Austria, aiming to contextualize Islamic, chiefly Persian, art objects in Central Europe. In 2018 he was scholar in residence at the Getty Research Institute in Los Angeles, California. His research interests cover diverse aspects of Iranian art history in the Islamic period, as well as Islamic artistic interactions with neighboring regions. His books include: The Shaping of Persian Art (ed., with Yuka Kadoi, Newcastle, 2013) and Honar-e Iran asr-e Qajar dar majmueha-ye Majarestan (Tehran, 2016).

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Michat Wardzynski is Assistant Professor at the Art History Institute, Warsaw University, Poland. His main fields of interest are material and technique studies in Central-European sculpture and small-scale architecture in the early modern era. He is currently working on a book on Flemish and Dutch high-baroque sculpture imports and on the reception of Netherlandish art culture in this region. He

NOTES ON CONTRIBUTORS has participated in several research grants in the EU and worldwide and has taken part in dozens of international and national scientific congresses and conferences. He is the author and co-author of three scientific books as well as many articles and reviews in Polish and congress languages and is the co-editor of eleven collected volumes.

Alina Payne

1 Of Roads and Seaways

"The stream that runs through the city of Sarajevo [...] flows into the river of Saray; this river in turn meets waters arriving from Herzegovina and Croatia before it flows over mountainous terrain into the Sava which ‘meets the Danube right beside Belgrade’ The Danube itself in all its majesty eventually runs into the Black Sea, and 'it is clearer than sunlight'; the Black Sea meets the Mediterranean in Istanbul and the Mediterranean, in turn, flows through the straits of Gibraltar into the Surrounding Sea which meets the larger Ocean ‘by the order of the Creator of both worlds. These are the words of Evliya Celebi (161—after 1683), the Ottoman traveler whose ten hefty volumes may well be the most monumental example of travel writing in any language.”!

Indeed, for this seventeenth-century author the rivers seem to have been a system of capillaries, forever in movement, flowing gently one into the next, filling out the seas, allowing them to flow further, into each other, connecting the world: the world of the Ottomans, that of the Europeans, and further, beyond the known boundaries, the mysterious oceans that hug the globe.

For Claudio Magris, writing some 400 year later, the Danube leaves behind “a Nilotic slime in which pullulate germs still confused and indistinct,’ a lively melting pot of races and cultures, “a fertile mud in which flourished a Carpatho-Balkan community that resulted from an ancient but still extant underground stream, that of the Byzantine-Turkish-Mongols seeking the Lands of Rum, and that bathed the shores of the Danubian principates."? These two testimonies are remarkable for zeroing in on rivers as the cultural infrastructure of the Mediterranean world, as the carriers of people, things, and ideas that fused in myriad ways once they reached the larger pool of the inland sea, of the mare nostrum. In their own ways, both statements reveal an act of attention that is eloquently represented by an anonymous

Itis then the rivers and the sea writ large that constitute the geographic template upon which this volume was developed. Why the Mediterranean? And why rivers? Taking up Fernand Braudel's notion of a hinterland that is connected to the Mediterranean world, the volume looks to the reverberations and echoes of this classic site far beyond its shores and into the continent both North and East.? Conversely, it also looks to the reciprocal effect: the world moved two-ways, not just from a Mediterranean seen as center toward its peripheries but also from deep into the Eurasian continent toward the Mediterranean itself. Indeed, the rivers create a complex texture— fine threads that crisscross Europe, some as main avenues while others diverge— connecting territories that on land routes would have been too distant to reach and even to imagine. Scholarship, however, has mostly neglected this secondary system of contact that swelled the Mediterranean in both directions. Not that the Mediterranean has not claimed a central place in recent work—especially among historians, though art historians have also joined the trend.* However, the original Braudelian idea of a shore and a hinterland and the ties between them has been somewhat moved to the sidelines, so appealing has the work on the cultures bordering the sea become. Yet, the liquid network of rivers—those natural highways—that extends inland and ties the golden fabled shores with the mountains and the peoples living in their shadow or along the paths of the rivers' passages is as interesting as it is understudied. Among them, the king of the rivers has to be the Danube, running a parallel course to the Mediterranean and cutting across Europe from West to East only to come to rest in the Black Sea, thus pouring itself into the system of the communicating vessels of the Mediterranean—the old Roman mare nostrum itself, the Sea of Marmara, the Black Sea, and, the last ripple within this body of water that separates and unites three continents, the Sea of Azov. But the Danube is not alone in so swelling the Mediterranean world with the cultures along its shores. The Sava, the

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