>> Elmer Eusman: We have two 
speakers today, Dr. Sylvia Pugliese
Head of the Preservation and 
Conservation Department,
Marciana National Library, and 
CarissaPastuch, reference
Librarian in the Geography and Maps 
division here at the library.
Dr. Pugliese will speak about the
Haci Ahmet, and I'm very sorry
if I mispronounced that heart-
shaped map of the world, which
was printed in Venice in the
16th century using six woodblock
blocks--or woodcut blocks.
And she will elaborate on the
history and the technique of
papermaking in the Venetian
Republic, and more specifically
about her research, which casts
new light on the special large
size papers made in Venice 
used for mapmaking.
Miss Pugliese, will speak about the
copy that the library holds here
in the Geography and 
Maps division and its its
significance in the 
library's collection.
The presentations will follow
in short order or in succession,
so I will introduce both
speakers now.
Sylvia Pugliese is a trained
book and paper conservator and
head of Preservation and
Conservation at
the Marciano  National Library 
of Venice. She received her
master's degree from the European 
School for the Conservation of
Library Materials in 
Spoleto, Italy, and
her PhD in archival and
bibliographical sciences from
the Uned University,  
also in Italy.
She was presented, or she has
presented original research in
early paper history of the
Veneto region in Krebs, Austria.
She did that together with
Sylvia Amerigo, Amerigo and on
Globe Conservation in
Copenhagen, Denmark, as well as
in Italy. Carissa Pasek is the
reference librarian in the
Library of Congress Geography
and Max Division.
She graduated from the
University of Arizona with a
master's of arts and in Middle
East and North African studies
and Information and 
library science.
Her background is in descriptive
cataloguing of unique
collections in Arabic script
as descriptions as
Description Coordinator at 
the World Digital Library.
She led a team of editors 
and researchers to create
descriptions for items 
of various formats.
Before her appointment to the
library, Ms..
Spastic was the reference
librarian or reference and
outreach librarian at the
Department of Homeland Security.
So let me welcome everybody and
let me thank both speakers for
their willingness to provide
today's top lecture.
Dr. Pugliese.
>> Dr. Sylvia Pugliese:
Good evening to our audience.
I'm very pleased to share 
with you this research.
The video of the presentation
will be hosted on the website of
the Library of Congress.
So by now you can relax as we
are going to see many images.
And so this is printing maps on
oversize paper, the 18th century
paper mills in the 
Tuscolano district.
The first slide I show six
blocks made of cherry wood
carved for woodcut kept in the
National Library of Marciana in
Venice. All together, they create 
a world map with a heart
shape surrounded by a longer
commentary in Turkish.
The work was made in Venice
around 1559 or 1560 by a
joint venture of European
scholars for the Ottoman Market.
But the blocks disappeared very
soon, and no copies of this is
known. Then in 1795, they were
discovered in the secret
archives of Consiglio De Leche
in the Ducal Palace.
The official Ducal printing house 
that was in Pinelli,  produced
for free an edition 
of 24 copies.
Once printed, it came out that the 
world image was surrounded by
a Turkish text branding, the
author name of Haci Ahmet from
Tunis and the Muslim Day
corresponding to 1559 1560.
On the bottom there is an
armillary sphere and two
celestial hemispheres 
on both sides.
After printing, the wooden
blocks were assigned to the
public library of St. Mark’s.
Nowadays, the Mirjana.
A painting by Canaletto helps
us in setting our story.
You can see the Ducal Palace
and the National Library facing
each other. And 
not far away, near
the Church of Santa Maria Formosa, 
the  printing premises of Pinelli.
Evident in 1795 the map was no
more updated and valuable as a
cartographic item, it soon
became applicable as an
antiquarian object.
I could trace 15 copies
existing in public and private
collections. Four are still in
the Veneto region, two of them
in the Mirjana.
Four are in the United States.
Library of Congress.
William Clements Library in Ann Arbor, 
and the John Carter Brown Library in
Providence and the Newberry 
Library in Chicago.
Formerly, there were two more
copies in the US.
One was in New York in the private 
collection of Douglas Pratt
given in 1988 to the American 
Museum in Bath, and one
was in California at Ruderman
Antique Maps and is now in the
Qatar National Library.
On each block. A large size
sheet of paper was printed for a
total of six sheets.
Two of them E and F on the
bottom were then cut in more
pieces. The ten resulting
pieces were assembled in a
collage, slightly overlapping
their edges.
All together they create a
square slightly larger than one
square meter.
So you can see here from 
the blocks to the map.
The watermark detected in the
copies I could examine are the
three crescents and the counter
watermark “GF”  the shape of a
ball or crown on top.
GF stands for the paper 
maker name.
And so came 
the question.
Who was the paper maker
Gf in 1795 in Veneto?
As we will see, he was 
Giuseppe Fossati, the son of
“Godencion Corpuscoliano
of the Garda Leak.”
There are some interesting
studies and catalogs which can
help us to find the watermark
of a Venetian paper produced in
the 18th century.
But unfortunately, they don't
tell us the name of paper
makers. So we can learn the
place and the station of the
paper use not of 
its production.
The only exception is the
online database of paper and
copies of opera scores in
Vienna covering the period from
1760 to 1775.
The most important and helpful
source for this research are, in
fact, the regulations issued by
the Venetian Republic on paper
trade, a major branch 
of its economy.
Moreover, we have the inquiries
sent by the central government
to the papermaking districts
and the reports and notes sent
by the local administrations 
to Venice.
This documentation is kept at
the state archives in Venice and
is particularly rich for the
second half of the 18th century.
Here you can see the printed
Terminazione of 1768.
That is the public resolution
of the government officers,
Cinque Savi alla Mercanzia 
and Inquisitor alla Carta
It lists for the first time
district by district, the paper
maker's names and initials.
From 1768 onwards.
These specific initials have to
be put as counter mark on each
sheet of Venetian paper.
If a paper maker wished to make
a change, it had to write and
ask. The following year, more
regulations appeared in 1769, an
additional Terminazione with
six more paper mills and
inition. And from 1774, the
paper exported in the Levant had
to be produced with precise
sizes and weights for the five
main formats Imperial, Under Imperial, 
Royal, Medium, and Three Crescents.
The rule was intended 
to keep the highest
standards for this 
market target.
It was not enough, as in 1782
and as a rule followed again for
paper exported in the Levant.
The name of the format had to
be added as an extra watermark.
One year after, however, this
standard was no more mandatory.
In 1996, the scholar Ivo Mattozzi,
who has made extensive
research on the economic
history of paper manufacturing.
Veneto has published the paper
maker's initials, officially
recorded as counter marks 
from 1768 to 1791.
Relying on the documentation 
of the Venice State archives,
according to Mattozzi, the
possibilities for the paper
maker G.F. are limited to three
in different Veneto districts.
The best hypothesis for the
paper chosen by Pinelli was the
third one Giuseppe Facade, the
son of Gaudenizo Toscolano
guardenzio and Giuseppe
appear consistent consistently
in all the records from 1768
onwards, and Tuscolano was the
most important district for the
best quality paper of the
Republic. To double check the
two other candidates.
We start saying that they are
not recorded in 1768.
The first mention of Giacomo
Florian in Treviso is in a list
of 1782.
As director of a paper mill
owned by a Venetian nobleman.
But in 1791 and 1796, Pietro
Florian holds the position of
director, and the count 
[inaudible]
In the Brescia area.
Giuseppe Fillipini was a director
working for Pietro Bonera in
1781. But one year later we
find that the director has
changed. In 1790, the paper
mill was even no more active.
It is interesting to note that
in the documents I examined in
the many files about Treviso
and Brescia, I couldn't find any
paper with a counter 
mark G.F..
So we meet the name 
guardenzio Fossati
In the termination of 1768, the
Riviera di Salo district on
the western shore of Garda Lake
was in fact the place with more
paper mills of the
whole Republic.
This papermaking district was
active since the end of the 14th
century and it was mainly
concentrated in the so called
Tuscolano Paper Mills Valley.
In 1768, 69, in a few kilometers, 
there were 36 paper
mills out of a total of 43 in
the whole Riviera.
We see here the name of 
guardenzio Fossati.
The Tusculano River runs in a
narrow valley, giving the ideal
environment for operating 
a paper mill.
The water was well known to be
pure, clear and plentiful, and
the air of the valley
especially dry and fresh.
The concentration of paper mill
buildings along the water was
impressive. The Paper Mill
Valley is now a lovely place,
scattered with ruins of 
ancient paper mills.
The only existent one in Maina 
Inforiore has been restored and
it is now the site of the
beautiful Paper Museum.
This is a transcription of the
1768-69 list of Toscolano and
Maderno paper makers 
and counter marks.
There were 32 with three Fossati 
guardenzio, Andrea, and
Pietro. Some of these family
names, such as Bertolata,
Havanccini, Carschnar, and Andioli
are already mentioned in notary
documents of the 16th century
published by Leonardo Mattozzi in
1990. After almost three
centuries, these families were
still active in the papermaking
business while others
disappeared from the stage 
and new ones arrived.
To endorse the hypothesis
 of our, GF.
The next step has been to
examine documents issued around
1795 kept in the Tuscolano Maderno
City archives as they had to be
written for sure on local paper
being paper the leading industry
of the area. For centuries, it
was impossible that local
authorities could write on
paper imported from outside the
Tuscolano, and so if our GF was
from Tuscolano, it had to be in
the Tuscolano archives.
And in fact they keep many
examples of GF also with
variations in the quality 
and sizes of paper.
It is therefore possible to
reconstruct the variety of modes
used in the fossati paper 
mill over the decades.
This part of the research was
done together and thanks to the
Senior Medico, Director of the Toscolano
Paper Museum, Silvia and I
presented the paper at the
International Paper Historians
Congress in France in August
2022, and this lecture is an
updated version of the
presentation given in France.
The local authorities were
regularly sending reports and
even samples of blank paper of
each paper maker active in the
district to the central
government in Venice.
These are two samples provided
by guardenzio for two different
writing papers, one with arrows
and one with a dove as
watermarks. Once we know 
which is the fossati
counter mark, it's easy to
make an attribution of the
variety of watermarks 
paired with it.
In other documents, these are,
for example, the three stars,
the lion and the dove.
They are in letters with the
Venice Salo and Smyrna in
Turkey. On the right, there is
a variation in the drawing of
the GF letters.
Please remember that there is
another GF counter mark in papers
from north and north
northeastern Italy.
Similar to our G.F.,
the paper mill of Giuseppe
Fedrigonni,
acting from 1717 in San 
Colombiano, near the top of
the Garda Lake.
But San Colombiano was not part
of the Venetian Republic, and as
expected, I never found it in a
Venetian documents or print.
I examined. Here you can see
the counter marks and the
watermarks of other Toscolano
paper makers found in documents
written in Salo and 
sent to Venice.
The Luchini brothers are on the
left with the three heads of
Watermark. The three heads were
typically found in writing
paper. And then we have em by
Andrea Mazzoli and A-Z, by
Anthony Donnelly, both with a
crossbow and the coat of armor
with a post horn.
Please remember them as we
will meet them again later.
Here are the paper makers from
Tosolano on the right, the GFA of
the Andreoli Company, with a
watermark of a post horn
within a coat of arms.
Then the Avencinni one
changing from Romano to Romano 
and Jeronimo from 1767 to
1786, with the counter mark
changing accordingly from RA to GRA
a with the two key water the
two keys watermark.
An interesting phenomenon is
the change of position of
counter marks in 
Venetian paper.
In the combination of watermark
and counter mark on the mold,
the second one was usually put
in the corner in the first
centuries of its use.
For this reason, a scholar even
proposed to call it Corner Mark
rather than counter mark.
In the 18th century in Italy
and out of Italy, it could be
still in the corner, but also
in the center of one half of the
sheet. Focusing on the
situation in the Veneto region,
it was quite a 
conservative area.
The Venetian papers I examined
dating before 1768 68 have their
counter marks still in the
corner, except for some cases,
especially in larger formats.
After 1768, the situation is
reversed and only a few ones
still have a counter 
in the corner.
This is an interesting document
dated 1768, just months after
the national census promoted by
the central government to
prepare the terminazione.
Every paper maker was invited
to give details on his activity.
And here we have a group of
paper makers from Vicenza
sending a loan notice
complaining about the new
regulation. Here in detail is
what they say on the counter
market obligation.
In the past, they always used
to put the mark in the bottom of
the sheet. Therefore, most
times most times the sheets do
not come out well as they 
are drawn by the workers,
particularly by women, 
while laying the sheet.
Once it has just been sized.
Accordingly, they have to cut
the large format sheet into a
small format one and therefore
the mark comes out.
So the problem with the new
rule was that the cut sheets
called Talliadni would have been
without the mandatory counter
marks. And this can be
considered one of the reasons
for such a fast shift of position 
of counter marks in the
Venetian paper making process.
Generally speaking, it can be
an important clue for dating a
paper. Here we have two
documents dated 1762 and 1763
with the counter marks FC and
FF in the corner.
As usual, for those years on
the right you can see the
special one by Francesco Fondrieshi
from Toscolano.
Both of them are from Toscolano
with a comment and his
declaration of 1768, explaining
that the two F could be sewn to
the mould in the normal
position or one mirroring the
Fondrieschi explains that it depends
on the sentiment and creativity
of the many artisans who 
make the moulds.
soaked in wax.
We will now examine some
documentation on paper.
mills  in Toscolano and Maderno
sent to Venice from all the paper
making districts from 1765 to
1791 now in the state archives.
The Salo district in 1768, 69.
There were, as we already said,
43 paper mills out of a total of
105 in the republic.
36 of them were in Tuscola.
And there we can see the
striking difference in numbers
with the many other centers in
the.
It's possible to trace the
trend of paper industry in the
following decades, thanks to
lists and reports constantly
updated district by district.
In 1782, in Salo, there were 44
paper mills, but now they were
out of a total of 123.
Because other districts were
growing notably so.
In 1791, all the paper mills
raised to 47.
These documents give not only
the names and count the marks,
but also the number of 
wheels of every paper.
We can therefore understand
which were the most important
and productive companies
for Toscolano and Maderno
there is also an
earlier report of 1765.
It lists 23 paper mill directors
for a total of 91 wheels.
The Fossati companies are two
Girolamo Fossati with three
wheels and Guardenzio with two.
Three years later, in 1768.
There are three Fossati Andrea.
That is the Girolamo Company,
Guardenzio and Pietro.
This is the attachment 
to the 1765 report
signed by 
Guardenzio Fossati.
giving more details on  the 
company of Andrea Fossati
stating the building was of its
own property.
The three wheels gave materials
for the work of one and one half.
The qualities of paper
produce was fine and ordinary
that is high and low quality.
The average production per
year, 45 bales that is 225,000
sheets, explaining that it
could vary according to reqs
availability and river water
scarce or overgrown.
The final destination of the
paper all delivered in Venice
except for a few packages sent
in Verona at request, and the
prices of 12 kinds of paper
from Imperial and imperial down
to ordinary boards.
Girolamo, in his attachment,
was writing on his own paper.
As we can see the watermark
with the three stars in a coat
of arms and HAF as
counter mark..
Standing for this Hetreicus Andrea 
Fossati we will meet again this
watermark. This is the attachment by 
Guardenzio Fossati he was renting the
paper mill and with these two
wheels, his production was
slightly lower than Giulermo
who had three wheels.
He had the nine qualities of
paper available from Royal to
Blue paper. And from here on,
when I say quality, I mean
format, mainly his paper that
were sold in Venice, but also
locally in the Salo District area..
And this can explain the high
quantity of paper with his
watermarks we found in official
documents in the Tuscolano City
archives. The report of nine of
1782 prepared 17 years later
updates the list of counter
marks of every paper ending and
gives other 
interesting details.
We can get information about
the owner of the paper mill, the
renter, if different 
from the owner.
The number of paper mills.
And of course, we learn that
Gaudenzio as tenant for paper
mills for a total of eight.
That's one of these.
Paper mills is owned by his
son, Jose Ben.
Also for the 1782 report, the
Venice Theatre State Archives
keep as attachments the notices
of single paper makers.
Here we see the one signed by
Gaudenzio what it specifies the exact
place along the Toscolano River,
where his paper mills are
located. Minor Maina
Inferiore, where nowadays
there is the paper Moselle in 
Contrada  which is much
above at the top of the valley.
His paper mills produced both
fine and ordinary paper, marking
the five main qualities with
both GF and the letters
claiming for the paper quality
that is from imperial to Tre Luna,
three, three Crescents and the
other qualities marking only
with signs he calls hieroglyphs.
These are the lion, the dove,
the three heads we have seen
before. This is the last census
I could find dated seven
1791. Again, it contains the
names of the owner and renters
and the number of paper mills,
and vat's at this stage Fossati
there is Giuseppe with one 
wheel and three vats
[inaudible]
There is a short piece of
information on another specific
production of the fossil in the late 
eighties quoted by Ivo Mattozzi
It is boards for 
the wool industry.
This is a general report of
1786-88 on goods produced in the
Verona district covering 
the wool trade.
Speaking about the difficulties
and possible improvements for
the manufacturers, the report
says once we had to import boards
from Holland, but today Giuseppe
from Tuscolano and makes
boards of the best quality
which are searched for even from
abroad. It refers to the last
process in the manufacture of
wool in the so called Dutch
Way, the heat metal press that
gives the fabric a final shine.
This press was a machine
introduced in the
Venetian Republic
by foreign artisans at
the end of the 17th century.
The fabric was folded and the
boards were put between the
layers of fabric to keep it
perfectly stretched during
pressing and to protect it 
from excessive heating.
In the sixties, the Raymond
Dini Company had already tried
to imitate the Dutch Boards
with no success, and as hundreds
of boards were necessary to
operate this kind of presses.
There were a considerable
spending factor.
In 1784, four heat presses were
introduced in a company of the
Verona District.
And this can explain the
involvement, the involvement of
the Fossati paper mill in
a new production for the
National and even for the
foreign market.
Incidentally, the report is
written on a splendid under
Imperial paper by Capa Siueti 
from Tuscolano.
You can see here the watermark
and the three moons.
We will now concentrate on the
final possible sale destination
of the largest size paper
produced in Toscolano
Inside or outside the 
Venetian Republic.
First of all, there was 
customs in Venice.
The archives keep hundreds of
lists of paper lots registered
by the Venetian customs between
1770 and 1778.
The Lots examination was
carried out and signed by two
members of the Cartier
Corporation.
I put here some examples where
the name of Gaudenzio appears.
For every entry we have the
paper maker, counter mark and
name, location of the mill,
paper quality and quantity, and
the name of the merchant
selling the paper.
I found and recorded 156
entries for Gaudenzio in these
eight years for a total of 365
packages of paper.
The main quality was sent 
to Venice were the three
crescents, followed by the
common writing paper, The Royal
and minor quantities 
of Mezzana
The same used for 
our Turkish map.
Very few lots were the largest
formats Imperial and sotto imperial.
The first one dates 1773.
We have to remember that 
in the notice of 1765.
So before Gaudenzio didn't have 
in stock any of these two formats
and this production started and
his production started from the
royal one. I limited myself to
take note of the deliveries, but
all this registration, if recorded 
and analyzed, would
represent an incredible source
to answer questions about the
paper industry and market.
Which were the means really
specialized in the production of
the largest formats.
And how much did 
each of them produce?
Did they change their
specialties over the eight
years? Who sold more paper 
in terms of packages?
Who were the most 
important merchants?
Some of them were or 
had been paper makers.
And we could go on.
The first possible market we
need was the international
export. The Tuscolano papermaking
district had specialized since
long times in the production of
luxury paper for the Middle East
That is the main cities of Syria, 
Egypt, Greek, Morocco,
and most important, Istanbul.
The Turkish Imperial
Chancellery, in fact, demanded a
special paper of the highest
quality, well beaten and well
sized, extra thick.
And of the five specific
formats, the Ottoman market was
of primary importance 
for the Venetian trade.
And there were many competitors
from France in Tuscany trying to
imitate the Venetian 
luxury paper.
In fact, the strict regulations
issued by the Venetian Republic
in the second half of the 18th
century we have seen, were
mainly intended to face a
number of official complaints
coming from the Turkish side.
In one of these complaints,
dated 1786, some samples of old
and new luxury papers, blank
and untouched, were sent as
attachments to Venice.
Six out of the eight samples have 
counter marks from Tuscolano
and one is Imperial Format by
the Carlos Samueli Company and
one the under Imperial by our
Guardenzio with the name Imperial
misspelled Impergal.
The third new sample from Toscolano
is the medium format by
the under Guardenzio Fossati
You can see the difference
between the paper by Guardenzio
pretty clumsy and uneven and
the one by [inaudible] which
is much better. We must see
that the Turkish were right in
complaining because all the new
papers are much thinner than the
older ones.
I could weight the samples and
these are the results comparing
the old and new paper where we
have 5 and 10% in weight.
On the right you see the new
paper of the three crescent
format marked with SB and the
three Crescents drawn with a
corrugated line, which 
is a very peculiar one.
Mattozzi gives only one possibility 
for SB, Samuelli company, to learn from
trades recorded in 1773.
I have never seen one from him.
And for the old  
sample of Imperial.
The mark is not very clear.
It's a CC with a C under it.
It could be Carlos Samuelli
misspelled so CC instead of CS
but I'm not sure.
The second field of
investigation is the production
of large sized paper for prints
made within the republic
borders. That is in Venice
around the year 17- 1795 of our
two Turkish men. I examined two
collection of a large size maps
kept in the Marciana, one by
Antonio Zatta, who was active
until 1797 and one with mixed
material dating from 1795 to
1801. In both volumes.
The paper is very thick and
well prepared in Zatta the prints
are on papers coming from
nine different paper mills
Here we have two from Toscolano,
both with the three moons.
The companies are Andrea Fossati
with the AM we saw before and
the Giovanni Andrea 
Faustino with GAF
Here we have on the right a paper by 
the Andrea Fossati company with
the h f already met, the one 
with v g of a Valentino Galvani
a very important paper maker, 
important on and in
the middle the R of Remondini in
Bassano, who produced not only
the famous Remondini
prints, but paper itself.
The Remondini paper was
notorious for its low quality,
and in fact, in this sheet we
see a paper which is not wide
and refined. If we compare it
to the other paper in the data
albums. In the second
Marciana collection of
maps, there are, for example, 
ACC on the right belonging to the
Toscolano Company of Antonio
Seguito or Alberti Secondi
e Compagni,  and on 
the left the e.
EGA
This counter mark is not present
on the official lists, but we
can interpret it as Eredi Girolamo
Avanzini, thanks to the customs
information we 
have seen before.
This preliminary investigation
confirms that at the end of the
century, the Toscolano
papers were still very
competitive, both on the
domestic and international
market of high quality, large
size paper.
To get a larger picture of the
paper trade in the century.
We can also look at papers used
in Venice for the new regulation
of 1768.
The British artist John Baptist
Jackson spent several years in
Venice from 1731.
He took part in the Venetian
circle of the British Council.
Joseph Smith, famous collector
and art merchant and printed
woodcuts with a special
technique.
After oil paintings of famous
Venetian artists, the Mirjana
keeps a collection of 31 of
these prints unbound, which can
be dated from 1739 to 1744.
They are under imperial format
and show five different
watermarks. Here we can see a
very large counter marked Z,
paired with the watermark of a
crossbow.
And as we know.
That from 1768 onwards the
counter marked with a Z and the
same crossbow stands for
Antonio Zanetti in Toscolano
We can now assume that a few
decades before this paper as
well come from the Zanetti Paper
Maker family that the Z is in the
corner of the sheet.
In the same years in Venice,  
Antoni Zanetti, the younger
contemporary of Jackson and
conservator at the Mirjana, was
publishing the two catalogs of
the Greek and Latin manuscripts
of the library. The Mirjana
still keeps around 150 defective
copies of these catalogs 
all unbound.
I examined some of them and
always found the same and only
watermark the Z in the corner
and the crossbow again made by
one. This gives an example 
of the ability of this big
companies to produce at the
same time, papers tailored to
different customers.
In this case four large woodcut
prints and a large order of
paper for books.
The paper format for these
catalogues is smaller,
corresponding to medium long
merzzana long, and the marks are also
much smaller than 
those in Jackson.
This is another watermark
in Jackson.
AS with the see below into
variants, you can see the
drawing on top of the 
as are different.
I see below all S stands for
company, but the initial AS as
we have seen, have two
possibilities Antonio or
Alberto. And they are 
both  from Toscolano
But Alberti Secundi and company
is documented only from 1775.
Antonio, on the contrary, does
not have a C below, but other
letters referring to one 
of his paper means.
So this is not yet sure 
which company is this.
But we are anyway sure that such
an asset was a counter mark of a
Toscolano paper maker from
another contemporary source, the
Greek manuscript of Antonio
Bongiovanni, of Venezia
with the Greek catalog of 1740.
It shows the AS and the
watermark of a coat of arms with
the lion below with the 
writing Toscolano.
So we are sure that AS is at
least comes from Toscolano
This manuscript is 
very interesting.
It is very interesting as it
contains many different
watermarks from the Salo
district, and they all can be
dated before 1740.
So for dating, it's 
very important.
Here we have other  AS and ASC
variations found in documents
from the fifty's to the
eighty's written in Salo,
Venice and Istanbul.
The state archives keep a
wonderful collection of Turkish
documents and they are a
perfect source to find Venetian
watermarks on documents written
in the Imperial Chancery and
with a precise dictation.
A second field explored was 
the production of larger sized
prints of lower quality.
I examine a wide number of
terminazione and proclaiming that
is the official announcements
of new regulations issued by the
Venetian government.
They were sent out regularly
and had to be posted in public
spaces in Venice.
For this reason, many of them
are of large sizes, like a
poster. The Pinelli family was
first sent to the only printing
house allowed to print these
official documents, and in 1795
Pinelli was chosen to print the
six woodblocks with our map.
So which paper did 
Pinelli have in stock?
Around 1795.
We must answer a great variety,
not only from  Toscolano.
All on all papers are very thin
and soft, white, but not refined
as the papers used by that.
For example, as we can expect,
because these have different
destination and 
life expectation.
Here we see, for example, the AF 
of the Antoni Fossati company.
We know together with the name
Toscolano and the lion.
The three stars in the coat of
arms we have already seen in a
map by Antonio. But the quality
here is totally different.
Here we have on the left our GF
with the crown on a sheet of
paper corresponding to the
standard size of a Leona GFA
produced by Giovanni Andereoli in
Toscolano for a very large sized
sheet and the double
P with three heads.
The so called tracker band
together with the V between two
mirroring S, which brings a
paper mill near Fordelona
As a conclusion, it was
possible to identify the paper
maker producing the paper used
by Pinelli in Venice in 1795,
not with the catalogs of
watermarks where we can find
many genes, but with a  
general localization.
Benito The starting point where
the documentary researches by
Ivo Mattozzi on the Republic
official lists of counter Marx
and then came as examination 
of both of both the text and the
materiality of the documents
studied by him, as well as the
unexplored City Archives in the
papermaking district of Toscolana.
Over several years, the last
step was the cross linking of
all the data to reach 
a double check.
This approach can be extended
also to other papermaking.
Papermaking centers as often
the same letters are used by
more than one paper mill.
Back to Penelli. We can say
that for the Turkish world map
of 1795, he used the paper
produced by Giuseppe Fossati
Paper Mill with the standard
measures of Mezzanna Lunga, of
medium quality and 
of light weight.
It was intended for the common
domestic market, and in fact, it
doesn't show the specification
of the Medina size in full
letters. As a luxury paper made
for export in the Middle East.
It was the paper Pinelli
normally used to print his
everyday official announcements
and not a special one used to
print maps. This can be
explained also with a business
point of view. To print 24
copies, he had to use 144
sheets, receiving no reward
other than the honor of the
assignment. Thank you 
for your attention.
>> Carissa Pastuch: Hello, 
everyone, and good afternoon.
Thank you for joining us today
on the topics on Preservation
Series. And thank you, 
Dr. Pugliese
for your research on the 
technique of paper making
used for this math.
It's quite interesting.
I'm Carissa Pastuch, I'm a
reference librarian.
It's geography and map division
for the Library of Congress.
Today. I wanted to briefly talk
about the context and the
background, the historical
context of the map.
The companion text of the map
and the map significance to the
collections at the Library 
of Congress.
Here we see a scanned image of
the copy of the Haci Ahmet Map,
held in the Geography  
and Map Division.
It's one of 24 impressions 
made in 1795.
The original map and 
companion text.
The context was created in 967
Hijri or 1559 1560 and is
attributed to a cartographer
from Tunis named Haci Ahmet
It's formed of six woodblocks
made in the 16th century, which
were confiscated before a 
map could be printed.
We think. Two centuries later,
the Woodblocks were
rediscovered, likely in 1794,
and the superintendent of the
Archives of the Venetian
Council of ten obtained
permission to have 24
impressions made of the 24
impressions made from
 the 16th century.
Woodblocks. 15 remain.
And this copy seen here is
housed in the Geography and Map
Division at the 
Library of Congress.
I want to address the content
of this beautiful work that was
captured in the 16th century.
967 Hijri.
1559 The Common Era.
At first glance, the map's
companion text in Ottoman
Turkish appears to be a first
person narrative of the
cartographers. Remarkable
odyssey across the
Mediterranean.
Upon closer examination,
scholars of cartography have
questioned the map's
authenticity and authorship,
citing the text contains many
linguistic and cultural errors
that would not have been
committed by a native Arabic
speaker, much less one educated
in a fez madrassa.
These details about the
mapmaker, we learn from the
companion text itself.
The map's true provenance, 
the content and historic.
Excuse me, whatever the maps,
true provenance, the context and
historical significance 
of the map remain.
The heart shaped map is
considered an updated and more
accurate derivative of
erroneous phineas printed
cortical map of 1534.
The medieval map of the known
world was intended for an
Ottoman, Muslim Muslim
audience, nobles and scholars.
It represents a cultural and
intellectual reciprocal exchange
between the audience, Ottomans
and the nations.
The title should be translated
into English The Representation
of the Whole World 
depicted in its entirety.
The most prominent portion of
the map includes the plan of
Sphere. Drawn with 
the heart shape.
Or a court form projection.
The modification of Ptolemy's
world projection, which became
popular in the 16th 
and 17th centuries.
It's bordered by clouds and
flanked in the lower corners by
two celestial spheres.
And below the point you'll 
find an armillary sphere.
This map is surrounded by
textual commentary in Ottoman
Turkish. There is 140 lines to
the right and 152 lines of text
to the left. The textual
commentary.
Or companion text is bordered
by vines and floral arabesques.
And the manner 
of the 16th century.
The text includes notes on
finding a lot of latitude and
longitude, description of known
continents and principal
countries, the names of planets
associated with each country.
Four continents are represented
with two hemispheres separated
by a graduated scale which
connects the North and South
Poles. The nine horizontal
bands to the north and south are
labeled or labeled aqalim a
column plural.
Additionally, 20 legends are
provided that refer to
astronomical nautical and
commercial points, and there's
an emphasis on the Portuguese
stronghold over Malacca and its
dominance over the spice trade
between the Pacific and Indian
Oceans. The text has been
broken down into five sections
and summarized in 1958 by the
Manage and the map of Hajji
Ahmed and its makers, published
in the Bulletin of the School of
Oriental and African Studies,
University of London.
Part one is a preface.
It tells us the map conforms
with the geographical text
written by Ismail bin Ali Abu
al-Qaeda, a 14th century Arab
historian, geographer 
and politician.
The cartographer clarifies that
he has updated the details of
rulers, etc.
to the contemporaries.
In 1967, Hijri or 15 5960
Common Era.
An introduction is 
the second part.
It includes notes on latitude
and longitude, the poles, the
tropics, the equator, and
addresses that.
Now there are known or known
continents, and one was
discovered by Spaniards and
Portuguese since 700 hijri.
Part three is a description of
those four continents Africa,
Asia, Europe and the New World.
And he provides extreme
coordinates for each continent,
as well as details of
administrative subdivisions
within the continent and the
political leaders.
Part four discusses the
principle 12 countries of the
world and its seven great
rulers.
He assigns each country a house
of the Zodiac and each ruler a
planet. And finally, Section
five, the cartographer closes
with an epilogue providing
thanks to God and details of the
mapmakers background.
He says he's from Tunis and
educated in the Maghreb.
The cartographer notes that the
place names are transcribed from
their Frankish forms, that the
mapmaker has been captured at
sea, held captive, and aims to
get his freedom from bondage as
payment for making this map.
He also notes that the purpose
of the map was to share the most
accurate known information of
the world to benefit Ottoman
scholars and noblemen.
The Geography and Map division
copy of the Haji Ahmed Map was
acquired in the year 2000 from
a private dealer.
It was a collaborative
acquisition, meaning many
divisions in the library were
involved in bringing the map to
the library. The African and
Middle Eastern Division,
European Division, Hispanic
Division of the area's area
study collections, as well as
rare Book and Special
Collections Division and of
course, the Geography and Map
Division all work together to
bring this to our collections.
At the time there was believed
that there was only eight or
nine extant copies.
Part of graphically The Haji
Ahmed Map is the earliest
printed wall map in the
library's map collections, and
at the time of its acquisition,
it was the earliest evidence in
the geography and map division
of the use of form or the heart
shaped projection in the
history of block printing and
Arabic script.
It is the sixth item known to
be printed in an Islamic
language and is the first known
to be printed in Ottoman
Turkish. Furthermore, it is the
first secular geographic and
scientific text prepared for
printing in any of the languages
of Islam. And closing the
content of this map represents
an early printed example,
perhaps the earliest of the
change of direction and the
flow of ideas and information
between Europe and the Islamic
world.
Before the 16th century,
scientific and geographic
information flowed from the
Islamic world to Europe.
And at the outset of the 16th
century, the flow reversed and
began to flow from Europe to
the Islamic world.
Thus, this map is a profound
example of that change in the
balance of power between these
two empires.
Please feel free to reach out
to our reference librarians and
specialists with any research
questions.
This is the URL to access our
Ask Librarian page.
And here are some resources.
And finally, thank you.
And if you have any questions,
feel free to reach out to the
geography and map division.
Feel free to come by and view
the map in person.
We are open Monday through
Friday 830 to 5 p.m.
and you can get a hold of us
through these to means, email or
by phone. Thank you very much.
Thank you so much to the two of
you.
These were really fascinating
topics.
We have two questions in the
Q&A box right now, which I will
get to in just a second.
I'm also going to add a few
links to the chat for some
preservation director at
Specific Resources as well.
So let's start with the first
question that we received.
How did the Toscolano paper mills
source their fiber?
>> Dr. Sylvia Pugliese: Well, it's a very
 fascinating subject because in all the
Venetian in all the Venetian
Republic, the rocks or the rocks
and the glue, the gelatin glue
was one of the main issue of
Venetian paper makers, because
there was always shortage of
first of the first quality and
first the elements, first
materials. And and so the
Venetian Republic was issuing
constantly regulation on 
on the limitation of rugs, the
possibility of export of rugs
outside every district.
So we shift from years where
it's it's quite possible to buy
rugs and gel and can't so they
call it, which is the same
material to make gelatin size.
It was possible to buy it
outside the district of each
paper maker, and there were
years where it was not possible
to do it. And so one of the
main complaints from from the
paper makers to the Venetian
government was about the
liberalization to make it to
have a free market, let's say,
to make it possible to buy rugs
and gelatin size also from
outside the district.
It was also used.
You used to have contraband of
rugs from outside the Venetian
Republic, even if it was
forbidden.
They, the paper makers, say,
you know, that we are forced to
buy the rags and the gelatin
outside the district, even if
it's not allowed from the
republic.
And the Republic also had a
very large buzzing of rugs.
And the gelatin size us,
especially of rugs in Dalmatia,
which were the eastern, let's
say, territories of the Venetian
Republic. So it was east of
Trieste.
That was a big market where
they could buy.
>> Carissa Pastuch: 
Thank you.
We have another question here.
So how would the Fabriano
compare to Toscolano
production?
>> Dr. Sylvia Pugliese: It's a big
question why  Fabiano was starting
before the school on the first date 
and what the first watermark
in a of Toscolano
a dated document dated 1381.
So it's one century 
after Fabriano.
More or less let's say and and
so the development the
development of Toscolano the main
development of Toscolano is
strongly connected to the
printing flourishing of the
Venetian Republic.
So Toscolano was the paper source
for all the printers in Venice.
And. But Paganini.
Paganini, very important.
The printer was also a paper
maker, and also he had a paper
mill and a printing house.
So in the 15th century and the
16th century, especially,
Tuscany was flourishing.
In the 18th century, the
Venetian paper from Toscolano and
from Venice was how can we say
was having another renaissance,
let's say in Italy, while in
Fabiano, it was not so relevant
to the production as in the
Republic.
But I'm not an expert about the
Fabiano paper, unfortunately.
So the chronology is different
is definitely different.
The chronology.
>> Carissa Pastuch: 
Thank you, Sylvia.
I have another question here.
And forgive my pronunciation if
this is wrong.
Do you see the Filoni
supplementary feature in any of
the Tusk paper?
>> Dr Sylvia Pugliese: No, I was 
looking for them, but was not noticing.
No, no.
And all the.
No, I would say no.
Because I was always having a
special eye.
But in the papers I examined of
large formats, a lot of
documents, so a lot of writing
papers.
I never seen a supplement.
Supplementary chain?
No.
>> Carissa Pastuch: 
Thank you.
Let's see. Have you thought of
going to the archives in Trento
to follow up on the paper mills
from the north of Lake Garda?
>> Dr Sylvi Pugliese: No, because it 
has already been done.
And Trenton was another state.
It was a foreign state.
It was not part of the 
Venetian Republic.
And there are paper mills in
the Trenton region, which are
very famous, and they have been
studied by Kimberly.
And I don't remember very well
in the nineties eighties that we
have the catalogs of Giuseppe
Fossati Paper Mill, very well
done. And the author of the
catalog was looking for do that
before any watermarks are in
the archives of everything.
So it was going in the local
authority repository and they
found the G.F.
from those at the Oregonian
which are some of them are
similar. There is a GF with a
crown on top, which is quite
similar to our G.F., but
normally the G.F.
of Oregon had a quote that was
in a coat of arms.
I never found a gift from a
golden facade in a coat of arms,
and the papers from Trento
could not enter the Venetian
Republic at all.
In fact, I never found one of
them.
Some of the Trento paper makers
were imitating the Tuscan paper
makers. I found a document of
Toscolano paper complaining, and
he quotes the name of the paper
maker near Trento, who makes a
paper with his counterpart
Contraband.
So the trend of paper makers
were imitating the Toscolano
papers to sell them in the
Venetian Republic.
But they never entered the eye,
as far as I know.
The Venetian Republic for
printers or for writing paper.
>> Carissa Pastuch: 
Perfect. Thank you.
Why was there a cancellation of
the mandatory names on the
paper.
Formats in.
1783?
>> Dr Sylvia Pugliese: I don’t. 
I don’t  I just said there is
this problem of this, let's say, 
announcement.
It's printed from the
government saying it's no more
mandatory. In my 
opinion, it was.
I mean, they were thinking that
it was too much, I think because
if you think about the I mean,
every watermarks it's my
opinion, of course, every
watermark is a faint point for
the paper because the paper is
very, very thin where the
watermark appears.
So to have all these watermarks
on a paper maybe was a little
bit too much for the printing
or for the writing, because
these are areas where the
fibers are almost not say
nothing but very, very thin.
So they make it fragile.
And it doesn't mean that after
1782 82, all the paper makers
stopped using these names.
I mean, we found that the
papers of 1786 still the samples
from Istanbul and they still
have the names.
It's an imperialist
imperialist.
So maybe some of them were
still keeping using these these
letters, but some of them did
not anymore.
I see. I see. My opinion is a
matter of fragility of paper.
It was too fragile to have all
this.
Watermark.
But it's my opinion.
>> Carissa Pastuch: 
Thank you.
I do want to wrap up the
questions, but I think we've got
time for two more.
One, are you aware of Italian,
Greek or Ottoman papers being
exported to West Africa?
>> Dr Sylvia Pugliese: Sorry. Can 
you repeat the question, please?
>> Carissa Pastuch:  Are you aware 
of Italian, Greek or Ottoman papers
being exported  to West Africa?
>> Dr Sylvia Pugliese:
Ah, yes, Yes, there are.
That's an interesting thing
because at the beginning when I
was looking for Jesus, I found
some interesting bibliography,
even from the last the many,
many years ago, of about the
manuscripts of the Maghreb.
And they were doing a
theological description of these
manuscripts, and they were
quoting also the g f watermarks.
So that's for four G, of
course.
And then we have other studies
made by English, I think,
scholars on African
manuscripts, because now,
particularly on Africa, on
Islamic manuscripts from Africa
is growing.
So we have a lot more of of
information, which maybe 20
years ago was not available.
And they all put it I don't I
don't know about Ottoman papers
because Ottoman papers not
having watermarks is difficult
to say if it's from Persia or
from Turkey, but there are
Italian watermarks in Africa,
definitely.
One problem is that some of
these scholars were interpreting
g f not in the right way.
They were referring to work by
Antonio Federico, who is which
is a very nice work of very
nice studies about the Veneto
industry of the 19th century.
And he he has played with g f
Watermark, but he says that it
is Fratelli Galva paper mill,
which I never met, so I think it
doesn't exist. So these
scholars often quote this g f
like Fossati, but this is not
true.
This is not and so can be
Guadenzio or do that before
something.
>> Carissa Pastuch:
Perfect. Thank you.
And this last question is for
both of you.
Will these two presentations be
published as papers?
>> Dr Sylvia Pugliese: Well, the senior 
medical and I are planning to write
paper out of our crimes 
presentation.
We didn't make in time to
publish it in the Proceedings of
the Crimes Congress because
they were too short.
For us to.
Write or what we wanted to
write.
So for sure we are going to
write about the crimes
presentation and I will go on
with.
I'm very interested by now in
the ottoman of the
market. This for me, it's a very 
interesting and promising target.
So maybe I will go
deeper into this subject and I
don't know about Kurdistan.
>> No, I don't have any plans to
publish.
Well, thank you all very much.
I'm going to end the webinar in
just a second here.
If you have any further
questions, please feel free to
reach out to us through Ask a
Librarian or Carissa's email,
which she provided earlier, and
we will get back to you.
So thank you so much for
joining us and thank you for the
excellent presentations.
And we'll see you next time.
Bye.