Editing Naples

In the Editing Naples project, historical maps and views of Naples are digitized and digitally annotated with information from their respective legends. The topographical information in the printed legend can be called up directly by touching the object with the cursor. Alternatively, the objects can be found on a digital legend, which appears on the left side of the page. The monuments are color coded according to their specific function – a feature that can be turned on or off accordingly. Likewise, the information provided in the legend can be visible or hidden as desired. The zoom function offers a closer look at the details of the maps, enabling a more in-depth view of a selected section. However, the fact that one can and must select the section to view themselves, prevents the loss of context that occurs when confronting specific details in print. 
The aim of this project is to establish an understanding of the overall map view, both in terms of the maps’ compositions and their many details, which inform each other through reciprocal interaction. The digital processing of historical maps therefore offers new insights by providing multiple and varied perspectives on the historical printed product. In this sense, the maps can be maneuvered, viewed, and studied in ways that are not made possible when accessing the original printed form.

"Neapolis urbs ad verissimam effigiem […] nuper expressa" (Theti 1560)

The very title of this first copper engraved plan of Naples announces its claim to be a "most true representation" of the city.  more

"Nobile Cita di Napole […] suo vero Ritratto" (Du Perac/Lafréry 1566)

The plan engraved by Étienne Du Perac and printed by Antoine Lafréry proved more successful than its predecessor (Theti 1560) because of its almost true-to-scale representation and not least because of its aesthetically attractive presentation. more

Panorama of Naples (Stinemolen 1582)

The atmospheric drawing by the Dutch artist Jan van Stinemolen, which shows Naples from the unusual perspective of the northeast (and hence from the countryside), combines high topographical detail with suggestive effects of landscape painting. more

"Fidelissimae Urbis Neapolitanae […] accurata et nova Delineatio" (Baratta 1627/1670)

Alessandro Baratta's plan is characterized by its prominent title, a particularly detailed design of the individual buildings, and extensive paratexts.  more

"Mappa topografica della città di Napoli e de' suoi contorni" (Duca di Noja 1775)

The closest approach to modern maps is the plan of the Duca di Noja, surveyed with the greatest technical effort, which completely dispenses with axonometry and any form of elevation.  more