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The Realism of Erhard Reuwich's ECA 8 (2011), p. 15-28; doi: 10.2143 / ECA.8.0.2961363 The Realism of Erhard Reuwich’s Cityscape of Jerusalem (1486) Louis VAN EMPELEN INTRODUCTION praise the realism of the woodcuts and the great art historical value of the cityscapes and harbour Around the year 1450 some views of Jerusalem in scenes. They point out that the view of Jerusalem French and Flemish manuscripts for the first time is the first realistic cityscape of the Holy City with displayed a certain degree of correspondence with an accurate topography and a reliable perspective5. reality1. The miniaturists who drafted these illustra- However, this laudatory opinion is hardly substan- tions did not strive for accurate topographic repre- tiated by arguments. Some deviations from reality sentation because their emphasis lay on the spiritual were noticed by these authors which primarily value of the Holy City2. At the end of the fifteenth cover the embedding of Jerusalem in the map but century a noticeable change occurred in the degree not the city itself. The recent work of Frederike of realism of portraits of Jerusalem. The progress Timm, which stresses the importance of an accu- reached its first apotheosis with a woodcut by rate comparison with reality, also discusses the city- Erhard Reuwich, a Dutch engraver and printer who scape of the Jerusalem only superficially6. There- worked mainly in Mainz (Fig. 1). fore, she does not notice a number of deviations. The dates and places of Reuwich’s birth and The present contribution is an attempt to fill this death are unknown and the remainder of his bio- gap; this paper focuses on the extent to which the graphy is uncertain. It has been suggested that the cityscape of Jerusalem corresponds to the actual master descended from a family of painters in situation in 1483. Utrecht; his father may have been Hildebrand Reuwich, who was dean of the city’s painters’ guild METHOD AND SOURCES in 14703. Reuwich accompanied Bernhard von Breydenbach, a canon from Mainz, on a pilgrim- The analysis of the realism of the cityscape of Jeru- age to the Holy Land in the year 1483. The mas- salem focuses firstly on the accuracy with which the ter’s view of Jerusalem is therefore based on per- urban structure is represented. To a large extent sonal observation. His cityscape is inserted as the this fabric is determined by the position of the middle section of a large woodcut of Palestine and buildings relative to each other and the application Egypt4. This map is included in a pilgrim itinerary entitled Peregrinatio in Terram Sanctam (‘Pilgrim- age to the Holy Land’), which was published by 1 Jerusalem: London, British Library, Egerton Ms. 1070, Breydenbach in 1486. fol. 5r; Jerusalem: Paris, Bibliothèque Nationale, Ms. In addition to the map of the Holy Land with Français 9087. 2 Meuwese 2005, 147. Jerusalem, woodcuts of important places en route, 3 Boon 1961, 59 n. 17. folk types of the Holy Land, and useful informa- 4 Copies: Avi-Yonah et al. 2008, Pl. IV; Davies 1911, 25-29; tion for pilgrims were included. The Peregrinatio is Nebenzahl 1986, 21. 5 therefore regarded as the first printed and illus- Bachmann 1965, 3; Betschart 1996, 295; Braunfels 1960, 119-120; Burgoyne/Richards 1987, 38, 194 n. 121; Davies trated guidebook. Consequently, it forms a mile- 1911, I, XXI; Fuchs 1960, 31; Ganz-Blättler 1990, 303; stone in the renewal of the world of books during Grisebach 1912, 262; Haussherr 1987/1988, 66; Hind the transition period from the Middle Ages to 1935, 354; de Jong 1934, 100; Krinsky 1970, 17; Lievens- Modern Times. Therefore, art historians, historical De Waegh 1994, 66; Muther 1922, 91; Nuti 1996, 93; Pächt 1973, 93; Schock-Werner 1986, 266; Weinmayer geographers, and cartographers have studied the 1982, 166. Peregrinatio intensively. These authors unanimously 6 Timm 2006, 122. 15 95300_ECA8(2011)_02.indd 15 27/02/13 15:16 95300_ECA8(2011)_02.indd 16 16 Fig. 1. Erhard Reuwich, centre part of the woodcut of the Holy Land with the Civitas Iherusalem (1486); detail, later colouring (after Avi-Yonah et al. 2008, Pl. IV) 1. The Mount of Olives 10. The City of Jerusalem more was closed at first miraculously to the 2. Bethany 11. The Brook Kedron Emperor Heraclius, when he arrived with 3. Betphage 12. The Garden of Gethsemane imperial pomp, and which was opened after he 4. The Mount Zion 13. The Tomb of the Virgin Mary humiliated himself, and which today remains 5. The Al-AÈÒa Mosque (‘The Temple of Simeon’) 14. The Dome of the Rock (‘Solomon’s Temple’) closed to the Saracens, so that it is unrepair- 6. The Pool of Siloam 15. The Citadel (‘The castle once erected by the able for them by any art, because if they try it 7. The Tomb of Absalom Christians and named the Castle of David’) they suddenly die; that is why they don’t use it 8. The Valley of Jehoshaphat 16. The Hospital of St John (‘The hospital, where for either entering or going out’ 9. ‘Note, wherever you find a double cross, this the pilgrims coming to Jerusalem, rest’) 20. ‘The place where St Stephen was stoned’ signalized that in this place there is a full 17. The glorious Temple of the Holy Sepulchre Translation: David Flusse remission of all sins, but where a simple cross, 18. The Al-Îaram al-Sharif there is the indulgence for seven years and seven 19. ‘The Golden Gate, where Christ, sitting on a times forty days’ donkey, entered on Palm Day, which further- 27/02/13 15:16 of linear perspective. Secondly, the accuracy and the city wall, this portrayal of the situation has detail of a number of landmarks are assessed. This hardly changed. inquiry focuses on the main religious sanctuaries, Reuwich’s rendition corresponds to the vista but which were well preserved during the ages. also shows some deviations. Jerusalem stretches out To assess the realism of the cityscape, an accu- like a theater in front of the viewer and dominates rate reconstruction of the outline of the city at the the middle part of the woodcut of the Holy Land. end of the fifteenth century is required. To this The impressive sight from the Mount of Olives end the descriptions of Jerusalem by contemporary must have been the main reason to portray the city- Muslim authors are very useful. Their historical scape to the west, opposed to the eastern orienta- surveys give a detailed impression of the Islamic tion of the map of Palestine and Egypt of which it buildings. The main Arabic source is Al-Uns al-Jalil is a part11. Moreover, Jerusalem is represented on Fi Taiikh al-Quds wa-al-Khaiil (‘Beautiful Guide a much larger scale than the map, which empha- for the History of Jerusalem and Hebron’). This sizes the city’s religious importance. The larger two-volume treatise was written in 1495 by the scale allows a clear image of the holy places where historian and jurist Mujir al-Din, who was a resi- indulgences could be obtained. In this way the dent of the Holy City. Key passages are translated practical usefulness of the map for pilgrims was from Arabic by Guy Le Strange and Sebastianus assured. The sanctuaries are marked by textual Marmardji7. For the description of Christian edi- notes and single or double crosses. These signs are fices, in addition to Breydenbach himself, Felix explained in a legend at the bottom of the woodcut Fabri is an important source. This Dominican (no. 9 on Fig. 1). scholar wrote two itineraries about his pilgrimages The inclusion of the cityscape in the geographi- to the Holy Land in the years 1480 and 1483- cal map, which is oriented to the east, caused some 1484. The journal of his second voyage includes problems with the representation of the surround- accurate accounts of the Christian sanctuaries in ing region. The western orientation of Jerusalem Jerusalem. In several passages Fabri refers to the was retained at the bottom side of the woodcut. journal of Breydenbach whom he accompanied for However, this caused difficulties for the depiction some time8. The information in these primary of the Brook Kedron (no. 11 on Fig. 1). This part sources is verified by descriptions in the standard of the map contains a view of the Valley of Jeho- surveys of Michael Burgoyne, Keppel Creswell, and shaphat with the sanctuaries of the Garden of Denys Pringle9. As a basis for visual comparison, a Gethsemane and the Tomb of the Virgin (nos 8, photograph from around 1865 is utilized (Pl. 1). 12-13 on Fig. 1). In Reuwich’s woodcut the creek This picture is very useful, because the Old City flows from the south (left) parallel to the city wall within the walls largely retained its character until and then rounds the two holy shrines, whereas in the mid-nineteenth century because of age-long fact it pursues its direction in the Valley of Jeho- stagnation. In addition, attention is paid to the shaphat. On the left side, another deviation appears; changes in the structure and architecture between the creek bends upwards at the level of the Tomb 1483 and 1865. of Absolom (no. 7 on Fig. 1), and then joins with a rounded, elongated, forested hill that encloses INTEGRATION IN THE GEOGRAPHICAL LANDSCAPE Jerusalem on the south (left) side. This ridge ends on the southwestern side (top, left) near the villages In his Evagatorium, Felix Fabri describes the fabu- Betphage and Bethany and the Mount of Olives lous panorama which extends from the top of the (nos 1-3 on Fig.
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