Fig. 15.1: Map of Jerusalem (Undated) by Catharine Hermine Kølle. Photo: Svein Skare © University Museum of Bergen

Fig. 15.1: Map of Jerusalem (undated) by Catharine Hermine Kølle. Photo: Svein Skare © University Museum of Bergen. Open Access. © 2021 Kristina Skåden, published by De Gruyter. This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License. https://doi.org/10.1515/9783110639476-016 Kristina Skåden Chapter 15 Drawing a Map of Jerusalem in the Norwegian Countryside Catharine Hermine Kølle (1788–1859) lived by the Hardangerfjord in West-Norway. She drew a map of Jerusalem at some time in her life. This chapter examines Kølle’s Jerusalem-map using a “circulation of knowledge” approach, combined with the established methods for the analysis of Jerusalem maps such as studying orientation, perspective, and cartogenealogy. The investigation of Kølle’s map involves identifying and studying decisive moments of knowledge work in time and space, and trac- ing connections between the map and the different actors that in some way have impacted the conception and execution of the map: Kølle’s education and upbring- ing, her mapping practice and fieldwork, as well as her religious art production dur- ing her childhood and adult life. Kølle’s map is understood as an outcome of the circulation of knowledge between centers and the periphery of academic work. Kølle’s map thus constitutes a chapter in the history of knowledge. This chapter concerns an undated map of Jerusalem, stored in the collection of the University Museum of Bergen (Fig. 15.1).1 In the lower-right corner of the map, we see the signature “C.H. Kølle.” Catharine Hermine Kølle (1788–1859) lived at her farm in the countryside, on the west coast of Norway, where she farmed; made and sold exquisite bead embroidery; worked as an artist; and even as a mapmaker. Although she never reached Jerusalem, her travels were out of the ordinary. The Jerusalem map she drew, represents one singular piece of paper in the “Kølle Collection,” a collection that consists of more than 1800 handwritten pages of text, several maps, and approximately 250 watercolours and sketches. The Kølle Collection is owned by the University of Bergen Library, the University Museum of Bergen, and 1 Catharine Hermine Kølle, undated, Kart over Jerusalem [Map over Jerusalem], Marcus, Spesialsamlingene, Bergen University Library: ubm-bf-diby-000383. Reproduced by Svein Skare. Note: I want to thank those whose help was significant in the writing of this chapter: Torild Gjesvik, Peter Lavender, Christine Nightingale, Erling Sandmo, Therese Sjøvoll, Ragnhild Johnsrud Zorgati, and Marianne Paasche; and Ola Søndenå at the Bergen University Library. Kristina Skåden, Guest Researcher, Department of Cultural Studies and Oriental Languages, University of Oslo, Norway 282 Kristina Skåden the Ulvik municipality’s local history archive.2 Kølle’s Jerusalem map remained unpub- lished, and ended up in the archives of the Bergen University Library. The map has not been subject to analysis, despite increased focus on female cartographers, and Kølle’s entire map production has received little attention.3 Instead, the emphasis has been on writing Kølle’s life and work into the history of art, the history of tourism, and the history of folk costumes.4 Cartogenealogy and the Circulation of Knowledge Academic approaches to the study of maps open up different routes of analysis and investigation. In the definition of maps of Jerusalem, we have to include conceptual images of past periods such as “Biblical Jerusalem,” not only graphic information 2 Marianne Paasche and Ola Søndenå, “Vandrende samlinger – om arkivmaterialet etter Catharine Hermine Kølle,” in Årbok for Universitetsmuseet i Bergen 2017, eds. Heidi Lie Andersen, Knut Olav Aslaksen, Asbjørn Engevik, Aino Hosia, Marianne Herfindal Johannessen, Hana Lukesova and Jo Høyer (Bergen: Universitetsmuseet i Bergen, 2017), 133–44. The University of Bergen Library and the University Museum of Bergen made a vital contribution to “Kølle research” by curating the web exhibition Catharine Hermine Kølle (1788–1859) (2017), and by digitalising Kølle’s paintings and some of her manuscripts. For the exhibition, see: Spesialsamlingene ved Universitetsbiblioteket i Bergen, “Catharine Hermine Kølle (1788–1858),” accessed January 14, 2019, http://marcus.uib.no/ exhibition/chk. For searching in the digitalised archive, see Marcus, Spesialsamlingene ved Universitetsbiblioteket i Bergen, http://marcus.uib.no/home. 3 Will C. Van den Hoonaard, Map Worlds: A history of women in cartography (Canada: Wilfrid Laurier University Press, 2013). 4 An extensive art-historical study of Kølle’s work is Anka Ryall and Jorunn Veiteberg, En kvinnelig oppdagelsesreisende i det unge Norge. Catharine Hermine Kølle (Oslo: Pax Forlag, 1991). See also Anne Wichstrøm, Kvinners bilder. Malerinner i Norge før 1900: Lillehammer malerisamling 25 juni- 16. august 1982, Kunstnerforbundets katalog nr. 12 (Oslo: Riksgalleriet, 1982). A tourism history approach is takenbySigneBrueneck,“Catharina Kølle. Norges første kvinnelige fotturist,” Bergens Historiske Forenings Skrifter 63 (1960), 79–89; Nanna Ebbing, “Norges første kvinnelige turist gikk til fots gjen- nom Europa,” Aftenposten, June 29, 1961, 22–3; Nanna Ebbing, “Catharina Hermine Kølle. Vandrende turist og malerinne,” Hordaland 27 (February 1988); Jan E. Hansen, Catharina Kølle vår første van- drerske (Oslo: J. M. Stenersens Forlag, 1991); Margit Harsson, Kongevegen over Krokskogen (Hole histor- ielag, 1997), 36; Claus Helberg, De første vandrere (Den Norske Turistforening: Grøndahl og Dreyers Forlag, 1994), 98–106; and Elsa Ulvig, “Vi dameturister for og nu,” Den Norske Turistforenings årbok 1918, ed. H. Horn (Kristiania: Grøndahl & Søns Boktrykkeri, 1918), 76–87. See Ryall for a focus on skills and learning: Anka Ryall, “Dannelse, fotturisme og norskhet: Catharine Kølle og Ulvikparlamentet,” in Nordisk salonkultur. Et studie i nordiske skønånder og salonmiljøer 1780–1850, ed. Anne Scott Sørensen (Odense: Odense Universitetsforlag, 1998), 403–24. The Hardanger and Voss Museum has a collection of the bodice inserts made by the Kølle sisters. See the exhibition “1000 bringklutar” [“1000 Bodice Inserts”]: Hardanger og Voss Museum, “1000 bringklutar,” accessed March 4, 2019, https://har dangerfolkemuseum.no/utstillingar/1000-bringklutar/. Chapter 15 Drawing a Map of Jerusalem in the Norwegian Countryside 283 about “the real World.”5 My work is indebted to an established method for analy- sing maps of Jerusalem, which consists of dating criteria and identifying “the mapmaker”; whom may either be an individual, or a regional or national group of mapmakers. Classification criteria have been established and a typology has been created, for the more than 300 maps of Jerusalem drawn between the end of the fifteenth and the beginning of the nineteenth century. Classification involves studying the orientation and the perspective of the maps. The third method is to identify the concepts conveyed by the map; either maps that describe Jerusalem in a historical, imaginary framework or maps that describe the contemporary city. In addition, a fourth method of classification is referred to as “cartogenealogy.” Cartogenealogy attempts to identify original maps and to distinguish between them and the copies based on them.6 The theoretical underpinning for my study of Kølle’s Jerusalem map is the concept of “circulation of knowledge.” This concept was first put to use in Nach Feierabend (2011), the Zurich Yearbook for History of Knowledge, and outlined in the editorial of this volume by literature and cultural scientist Philipp Sarasin and historian Andreas B. Kilcher.7 Sarasin and Kilcher clarify that the concept emerged as an approach within the field of the history of knowledge; with references to the history of science, culture, and ideas: In the genealogy of cultural history, the term “circulation of knowledge” refers to a fundamentally material dimension of “circulation.”8 Know-how, meaning, and sociality are essential and are based on material circulation, on the exchange of material, and the passing on of things. The focus is on how knowledge occurs by cultural processes, and usually crosses boundaries of geographical and cultural spaces, thus transcending social and institutional bar- riers. This does not mean, however, that knowledge is accessible for everyone, at any time. Knowledge occurs and circulates under the conditions of complex power relations and within systems of restriction. The history of the circulation of knowledge is therefore always also the history of those semiotic, discursive, and medial systems that make knowledge possible in the first place.9 In a Nordic context, Sarasin and Kilcher’s concept of circulation is transformed and challenged by the book Circulation of Knowledge. Explorations on the History of Knowledge by Johan Östling, David Larsson Heidenblad, Erling Sandmo, Anna 5 Rehav Rubin and Yehoshua Ben-Arieh, Image and Reality: Jerusalem in Maps and Views (Jerusalem: Hebrew University Magnes Press, 1999), 14. 6 Rubin and Ben-Arieh, Image and Reality,45–55. 7 Philipp Sarasin and Andreas B. Kilcher, “Editorial,” in Nach Feierabend. Zirkulationen, eds. David Gugerli, Michael Hagner, Caspar Hirschi, Andreas B. Kilcher, Patricia Purtschert, Philipp Sarasin, and Jakob Tanner (Zürich: Diaphanes, 2011). 8 Sarasin and Kilcher, “Editorial,” 7–11. 9 Sarasin and Kilcher, “Editorial,” 9–10. 284 Kristina Skåden Nilsson Hammer, and Kari Nordberg.10 The Circulation of Knowledge emphasises “how knowledge moves

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