Picturing Experience in the Early Printed Book

Contents

Chapter 1—Introduction: The Pilgrims and their Project

Bernhard von Breydenbach and his Pilgrimage

The Role of Erhard Reuwich

Chapter 2—The Authority of the Artist-Author’s View

The Censorship Edict of 1485

Breydenbach’s Self-Presentation as an Author

The Artist as Eye-Witness

These Animals are Truly Depicted as We Saw Them

Gart der Gesundheit (Garden of Health)

The Artist-Author’s View in Petrarch and Van Eyck

Appendix

Chapter 3—Mediterranean Encounters: Lady Venice, Holy Land Heretics, and Crusade

Crusade in the 1480s and the Turks Tithe

Mainz Printing and the Selling of Crusade

The Peregrinatio’s Journey between Venice and Heresy

Other Heretics of the Holy Land

Venice Influenced, Venice as Influence

What They Took from Peter Ugelheimer and What They Left Behind

Chapter 4—The Map of the Holy Land: Art-Making as Cartography

Mappae Mundi

The Burchard Map of the Holy Land

Portolan Charts

The Pilgrims’ Itinerary and Itineraries of Other Travelers

Netherlandish Pictorial Space

Chapter 5—The View of Jerusalem: Perspectives on a Holy City

The Centripetal View from Mamluk Monuments

The Franciscan Indulgenced View

Putting Islam at the Forefront of a Christian View

The Meaning of al-Haram al-Sharif for the Pilgrimage of 1483–84

Coda: The View from the Jewish Quarter

Bibliography

Index

“Ross provides an engaging account of how text and image work together in the Peregrinatio in terram sanctam. The narrative she constructs, however, does more than simply tell us about the making of a single book. It also suggests new ways for scholars to look at how authors and artists collaborated in the earliest days of European printing to construct meaning and authority through carefully recorded, and meticulously packaged, experience.”

—Eric J. Johnson, Sixteenth Century Journal