Constructing Melchior Lorichs's 'Panorama of Constantinople'

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Westbrook, N. ; Dark, Ken R ; Van Meeuwen, R. (2010)

In Constructing Melchior Lorichs's Panorama of Constantinople, Nigel Westbrook, Kenneth Rainsbury Dark, and Rene Van Meeuwen propose that Melchior Lorichs's 1559 Panorama of Constantinople was created by using a viewing grid. The panorama is thus a reliable graphic source for the lost or since-altered Ottoman and Byzantine buildings of the city. The panorama appears to lie outside the conventional symbolic mode of topographical depiction common for its period and constitutes a rare "scientific" record of an encounter of a perspicacious observer with a vast subject. The drawing combines elements of allegory with extensive empirical observation. Several unknown structures, shown on the drawing, have been located in relation to the present-day topography of Istanbul, as a test-case for further research.
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    43 references, page 1 of 5

    50. Mango and Yerasimos, Melchior Lorichs' Panorama, 10.

    51. Ibid.

    52. The Eskı Saray occupied approximately the present location of Istanbul University.

    53. Mango and Yerasimos, Melchior Lorichs' Panorama, 10.

    54. Ibid., 11.

    55. See Jonathan Bardill, “The Palace of Lausus and Nearby Monuments in Constantinople: A Topographical Study,” American Journal of Archaeology 101, no. 1 ( Jan., 1997) 67-95.

    56. Robert Demangel and Ernst Mamboury, Le Quartier des Manganes et la Première Région de Constantinople (Paris: E. de Boccard, 1939), plates I, XII.

    57. See Alfons Maria Schneider, Byzanz: Vorarbeiten zur Topographie und Archäologie der Stadt (Berlin, 1936) (Amsterdam: Hakkert, 1967), 93 and plate 9.

    58. Manners suggests that the source for Vavassore's image was a drawing by Gentile Bellini (who stayed in Istanbul in 1479-80), transmitted through its reproduction in a now lost woodcut by the Florentine printmaker Francesco Rosselli. See Manners, “Constructing the Image of a City,” 93-94, note 29.

    59. Schneider, Byzanz, 91-92, figs. 45, 46.

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