The Monuments of Historic Cairo

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American Research Center in Egypt Conservation Series

1

The Monuments of Historic Cairo A MAP AND DESCRIPTIVE CATALOGUE

Nicholas Warner

An American Research Center in Egypt Edition

The American University in Cairo Press Cairo New York

Illustrationcredits: Aga Khan Trust for Culture: fig. 37; Archivio di State di Torino: pl. 2; author's drawing: figs. 1, 14, 15, 39, 40 (part), 41 (part), 42 (part), 43 (part), 44 (part), 45 (part), 46, 47 (part], 48; author's photo: fig. 38; author's collection: figs. 8, 9, 10,11, 12, 13, 26, 30, pls. 7, 8, 9, 10, 11, [all photos Boulos Isaac]; Bernard Quaritch Ltd., London: fig. 17 [photo John Stone]; Bibliothique Nationale: pls. 1, 3; Comit6 and SCA archives: figs. 32, 33, 34 (part), 35, 41 (part), 42 (part), 43 (part), 44 (part),45 (part), 47 (part); Deutsches Archiologisches Institut, Abteilung Kairo: fig. 24 [photo Abdel Nasser el-Tayyib/Peter Windzhus]; Folger Shakespeare Libraiy,Washington D.C.: fig. 16; The Nour Foundation: pl. 4; private collection, France: 45 (part); private collection, Washington D.C.: fig. 25; Rare Books and SpecialCollections Library, the American University in Cairo: figs. 2, 4, 5, 6, 7, 18, 19, 20, 21, 22, 23, 27, 28, 29, 31, 34 (part), 42 (part), pls. 6, 13, 15, [photos Francis Dzikowski], pl. 12 [photo Mustafa Abd al-Hamid], 43 (part), 44 (part), 45 (pard;

1Sarah Searight: p . 14; Staatliche Museen zu Berlin, Kupferstichkabinett: fig. 3 [photo Jbrg P. Anders]; Walters Art Museum, Baltimore: pl. 5

First published in 2005 byThe American University in Cairo Press 113 Sharia Kasr el Aini, Cairo Egypt420 Fifth Avenue, New York, NY 10018 www.aucpres.com

Copyright a 2005 by American Research Center in Egypt, Inc. 2 Midan Kasr al-Dubara, Garden City, Cairo, EgyptMailStop 1256/001/1AC Emory University Briarcliff Campus, Atlanta, GA 30322

Introduction copyright ) 2005 by Nicholas Warner

All rights reserved. No part of this publication may be reproduced, stored In a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior written permission of the publisher,

This publication was made possible through support provided by the Office of Environment and Infrastructure/Environment and Engineering (EIIEE), USAID/Egypt, United States Agency forInternational Development, under the terms of Grant No. 263-G-00-93-00089-00 The opinionsexpressed herein are those of the author and do not necessarily reflect the views of the U.S. Agency for International Development,

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Contents

Foreword Jere L. Bacharachand Robert K. Vincent, Jr. vii

Introduction:

Cartography, Architecture, and Urbanism

Note on Sources, Cartography, and

Acknowledgments ix

Preface xii

in Cairo, AD 1500-2000 1

Architectural Drawings 82

Descriptive Catalogue .87

Glossary 192

Abbreviations 194

References 195

Index of Buildings by Number 202

Index of Buildings by Name 220

Index of Buildings by Date 243

Maps 251

Foreword

1996, in response to a call for a competition for sub-grants by the American

Research Center in Egypt, Nicholas Warner submitted a proposal to draw a

group of maps documenting Cairo's registered monuments within their urban

context. ARCE's Egyptian Antiquities Project, funded by the United States

Agency for International Development, was less than three years old at the time,

and underway had tended to concentrate on

In and the proposals thus far approved

'bricks-and-mortar' conservation.

The Cairo Mapping Project, as it was called, was different. The materials were

limited to pen and paper; the staff comprised a single talented cartographer-archi

tect working out of his home with field help from an assistant, and the inspectors

of the Supreme Council of Antiquities, who literally opened doors for him. This

project satisfied the broader mission of the Egyptian Antiquities Project grant: to

document Egypt's material culture in order to make its preservation possible.

Historic Cairo had not been comprehensively mapped since 1950, and the con

text of the more than four hundred registered monuments that lie within its area

had changed significantly over the course of nearly half a century. Intervening

events, moreover, lent a particular urgency to the project, including a 5.9-magni

tude earthquake in October 1992 that had damaged many of Cairo's monuments, a

significant rise in the level of atmospheric pollution, the elevation of the city's

the simple that history tends unobserved,groundwater levels, and fact to be

ignored, forgotten, and lost when it lies in the context of a living city. By docu

menting the architecture of Historic Cairo, the Cairo Mapping Project sought to pre

serve that history-in a manner different from the physical preservation undertak

en by other EAP projects, but no less valuable. How many of the buildings

described by medieval historians of the city such as Maqrizi are now dust while

their words live on?

The completed Monuments of Historic Cairo has proved more ambitious than

any of us, including its author, originally envisioned: its introduction traces the his

vii

tory of how Cairo has been imagined and represented over the course of five hundred years; the maps themselves document not only the registered monuments that lie within the district as well as their context; they also show nearly 150 unrgistered, historically important buildings. The accompanying catalogue describes these monuments and, for the first time, brings together more than a century of scholarly research into this architectural heritage; it traces the conservation of many of these buildings by the Comite de Conservation des Monuments de tArt Arabe, as well as by institutions that have sustained the Comite's mission of architectural preservation.

The twentieth-century English poet W.H. Auden wrote that "poetry makes nothing happen: it survives in the valley of its saying." Like poetry, The Monuments of Historic Cairo is in a sense nothing more than a record, documenting a moment of a city. It is certain, moreover, that the passage of another fifty years will require another map, another bibliography to trace the writings of a new generation of architectural historians, another survey of the monuments that have fallen, been rehabilitated, or simply survived. But for those who have studied the city, worked here, passed through it, or simply imagined Cairo from afar, there is a subtle poetry inherent in these maps: the lines that recorddashed and dotted monuments which survive only as memories, the shaded polygons that frame inaccessible and unknown interiors, the bracketed numbers that ominously signal a monument's uncertain future or actual demise, the prefixes ("U" for "unregistered") that draw attention to hitherto ignored or overlooked structures. Most evocative, perhaps because of what they conceal, are the large swathes of hatching that describe a living city dating back more a thousand years, in which hundreds of thousands of Cairenes, like millions before them, live and work, shop, pray, venerate their saints, celebrate births and weddings, raise families, and mourn their dead.

We hope that the publication of The Monuments of Historic Cairo will encourage others to study the city and to see value in preserving its heritage. The poetry of these maps lies in making Cairo's memory survive, and it is their "saying" that constitutes Nicholas Warner's achievement.

Jere L. Bacharach and Robert K. Vincent, .lr. The American Research Center in Egypt, Cairo

viii FOREWORfD

Acknowledgments

result of an iniitiative by the United States Congress, generous fund

ing for the preservation of Egypt's cultural heritage was made available

to the American Research Center in Egypt (ARCE) through the United

States Agency for International Development (USAID) in 1993. Under

this grant from USAID, a broad program of work was initiated encompassing the

breadth of Egypt's history, including the prehistoric and pharaonic periods, as

well as Greco-Roman, Coptic, Islamic, and Jewish contributions. The results of the

program have been far-ranging and have yielded far greater successes than antic

ipated. Unprecedented in size and scale for an overseas conservation program, its

full implications arc only now being realized. This volume marks the beginning

a series of publications that represent the culmination of the program of work.

We hope that through them others may share in the academic and technical

results of these projects.

ARCE gratefully acknowledges this funding as a significant contribution by the

United States of America to Egypt's rich cultural history as embodied in its monu

ments. None of this work would have been accomplished without the extraordinary

interest and support given to ARCE by literally hundreds of people. To all of them we

owe our thanks and gratitude. While space does not permit mention of everyone to

whom thanks is owed, we wish to thank the principals involved for their assistance.

The Supreme Council of Antiquities, led by the Minister of Culture, His

Excellency Farouk Hosni, is our collaborator in conservation and over the years of

ARCE's conservation projects its many members have been crucial to their concep

tualization, conduct, and completions. They include successive Secretary Generals

of the SCA Abdel Halim Nur El-Din, Ali Hassan, Gaballa Ali Gaballa, and Zahi

Hawass. Also assisting were successive Directors of the Islamic and Coptic Sector

Fahmy Abdel Halim, Abdullah EI Attar, and Abdullah Kamel Musa and the Director

of Foreign Missions Department Magdi El Ghanlour

Asa

ix

Without the foresight and persistence of former American Ambassador to

Egypt Frank G.Wisner, who marshaled support for conservation, and Senate staff member Jim Bond, who was the architect of a plan that stimulated an interested

US Congress to generously provide the funds for the "preservation and restora

tion of Egyptian antiquities," none of these projects or volumes would have come

to pass. Later American Ambassadors to Egypt Robert Pelletreau, Edward Walker, Daniel Kurtzer, and David Welch continued the tradition of strong personal inter

est and support.

USAID, the agency responsible for administering the grant to ARCE, has not been

a faceless bureaucracy. Instead, through partnership, teamwork, and ready assistance

they have been instrumental to the implementation of these projects. In this capac

ity we thank successive Mission Directors Henry Bassford, John Westly, Richard

Brown, Bill Pearson, and Kenneth Ellis; successive USAID Deputy Directors Toni

Christiansen-Wagner,' Anne Arness, and Mary Ott; successive USAID Asspciate

Directors Fred Guymont, Alvin Newman, Mark Silverman, and Anthony Vance;

USAID Program Officers Thomas Dailey, Jean Durrette, and Thomas Rishoi; USAID

Contract Officers Leo Pizzario, James Dunlop, Gary Kinney, Carleton Bennett, Philip

Tresch, Pamela Morris, and Sami Farag; USAID Environment Office Directors Rick

Rhoda, Jim Goggins, George Deikun, Alan Davis, Glenn Whaley, and Richard

Edwards. USAID Project Officer Seifalla Hassanein deserves special recognition as

the sole person contributing to the project for its entirety.

Projects do not operate by themselves. They are staffed by people who, in this

case, have been driven by a sense of mission. They have put in years of hard work

and dedication and thus deserve proper acknowledgment for both their sense of

duty and their zeal for protecting Egypt's heritage. Sincere appreciation is extend

ed to the ARCE staff who participated as team members in the various conserva

tion projects. They are ARCE Oversight Committee members James Allen, Norbert

Baer, Betsy Bryan, Richard Fazzini, Charles Hertzer, Janet Johnson, Jack Josephson,

Richard Martin, David O'Connor, Carol Redmount, Everett Rowson, Anne Russman,

John Shearman, Carl Smith, and Jerry Vincent; successive ARCE Directors Terry

Walz, Mark Easton, Robert Springborg, Irene Bierman, Jere Bacharach, and Gerry

Scott; ARCE USA staff members Elaine Schapker, Catherine Clyne, Suzanne Thomas, Carolyn Tomaselli, and Candy Tate; ARCE Cairo staff members including

successive Deputy Directors Ibrahim Sadek and Amira Khattab; Finance Manager

Hussein Abdul Raouf and Office Manager Amir Khattab; ARCE EAP Staff Project Director Robert (Chip) Vincent; successive Technical Directors William Remsen and Jaroslaw (Jarek) Dobrowolski; Project Manager Michael Jones; successive Grant

Administrators Cynthia L. Shartzer and Janie Abdul Azia; successive Publication

Directors Brian Green, Charles Dibble, and Kelly Zaug; Technical Adjuncts Alaa El

X ACKNDWLED6ME NTS

Habashi and Hoda Abdel Hamid; successive Chief Accountants Hussein Abdel

Raouf, Khaled El Saharty, and Ibrahim Ali Ibrahim; successive Assistant Grant

Administrators Barbara Breuning and Dahlia Elwy; Administrative Assistant

Mariam Sami; and successive Executive Secretaries Rania Sultan, Niveen Serry, and

Marwa Shebata.

To all mentioned above and those whose names are omitted due to lack of

space, thank you for all your assistance. This has truly been a ground-breaking,

far-reaching project that has been executed to everyone's credit. Your combined

efforts have contributed to the conservation of Egypt's cultural heritage. You have

made a difference.

The American Research Center in Egypt

ACKNOWLEDGMENTS xi

Preface

Workbegan on The Monuments of Historic Cairo in 1996. The adjective 'Historic' is currently used to describe an area of the city that has hitherto been commonly referred to as 'Islamic' or 'medieval:' The new

designation is employed primarily to avoid confusion with the physically distinct area of 'Old' or 'Coptic' Cairo that lies to the south of the main urban nucleus, but also to avoid the suggestion that the city's urban development was somehow arrested at the end of the Mamluk period. The preference of such adjectives as 'old' and 'historic' over religiously exclusive terminology also represents a shift to a more neutral (but equally value-laden) descriptive vocabulary. The area in question contains the densest concentration of buildings from the Tulunid, Fatimid, Ayyubid, Mamluk, and Ottoman periods in the entire urban mass of Cairo. The objective of the map that is presented here is to provide, within its chosen boundaries, a comprehensive record of the plans of all significant architectural remains in relation to the current urban fabric, drawn at a metric scale of 1:500 and reproduced here at 1:1250. This includes not only registered and deregistered monuments

(a total of 409 buildings inclusive of 73 deregistered sites), but also buildings of

Iwould like to thank the Egyptian Antiquities Project of the American Research Center in Egypt for their backing of the project and the Supreme Council of Antiquities for providing access to buildings and archives in their care. I am also grateful to Dr. Horst Jarttz for allowing me to draw in the peace of the Swiss Institute for Architectural and Archaeological Research in Cairo, Professor Andri Raymond for checking data on unidentified akalas, and the staff of the Rare Books and Special Collections Library of the American University in Cairo for their help. My deep appreciation is extended to Mohamed Abul Amayem for sharing his unrivaled knowledge of Cairo with me, and Ahmad 'Ah Gab for his patient assistance in surveying and drawing. Thanks are also due to the many tolerant cairenes who allowed me to measure their homes and workshops. I am forever in debt to my wife, Sabina Ikram, for her unflagging support over the many years it took to bring this work to fruition

I SeeMinistry of Culture, Arab Republic of Egypt, Historic Cairo (Cairo: Supreme Council of Antiquities, 2002). See also UNESCO, International Symposium on the Restoraftmn and Conservation of Islamic Cairo (Paris, UNESCO World Heritage Centre Working Document, 2002), 2 n. 2 (http:lwww unesco.org/whe/ eventn/cairoo2c2.pdfl

xii

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historic or architectural significance that are either not registered on the Index of

Monuments, or were registered subsequent to its publication in 1947 (a total of 136

buildings). For example, buildings such as the mosque of al-Shuhada (U6) are not

listed monuments but merit incorporation on the map by virtue of their historic and

architectural importance. Other structures, such as the mosque of al-Rifa'i (U103) or

the Islamic Museum (U46) have been registered only in the last fifty years but have

not been numbered in sequence with the 1947 Index. The numbering system

employed here uses the numbers of the 1947 Index for registered monuments still

standing, numbers in parentheses for deregistered or destroyed monuments, and a

separate U-prefix series of numbers for both unregistered buildings and buildings

registered after 1947. The choice of which of the multitude of unregistered buildings

to represent has been a personal one, and can by no means be considered definitive.

The decision of how best to represent this information was influenced in no

small part by the map of Rome published by Giambattista Nolli in 1748. This plan

replaced the traditional perspectival or iconographic view of the city with a sys

tematic ichnographic representation in which a clearly legible distinction is made

between public and private spaces for the first time. In Nolli's work, the plans of all

public buildings (such as churches) are shown so that they can be understood as

interior spaces in continuity with the streets and squares that figure the city. Private

space, within urban blocks, is shown with dense hatching that provides a strong

visual contrast (a 'ground' for the figuration) and analogue for 'closed' areas. Noll's

plan of Rome was the result of an enormous collaborative survey begun in 1736, and it includes a series of indexes that refer to the various monuments, workshops,

vineyards, and gardens to be found within the city. The map that is published here

fortunately did not have to start from a tabula rasa, but I have employed a similar

graphic convention to distinguish between monuments, or significant structures,

and the remainder of the urban fabric. The absolute distinction between private and

public space on Nolli's plan has, however, been eroded in two ways. First: the

buildings that are shown include prominent examples of domestic architecture;

second: not all new public buildings (such as modern mosques, generally of little

areifoc tral interest) are shown. This is, nevertheless, the first time that Cairo has

been mapped in such a manner at a scale that permits the viewer not only to relate

individual monuments to their context, but also to appreciate how they relate to

one another in some detail.

2 For the complex process of registering Islamic Monuments in Cairo, see A. El Habashi and N. Warner, "Recording the Monuments of Cairo: An Introduction and Overview" Annalts Islamologiques32 (1998), 81-99- The collection of data included here on deregistered monuments was assisted by a grant from the Barakat Trust (UK).

PREFACE xiii

It was always intended that the map should depict the current state of the urban

fabric. To do this required the assembly of base maps. These were the 1:5CC-scale

Cadastral Survey maps published by the Survey of Egypt in the 1930s, supple

mented by 1:1000-scale city maps from the 1912 and subsequent editions for

peripheral areas and information absent from the Cadastral Survey. As work pro

gressed, however, it became clear that many more changes in this fabric than

expected had occurred since the base maps were drawn. These alterations take the

form of new setbacks in building lines and isolated new urban units of a standard

pattern (mainly schools or residential blocks). The overall street pattern, however,

has remained relatively unaffected. Such changes were documented through a

walking survey and by reference to a 1:5000-scale series of maps of the city pro

duced in the 1970s. This exercise also demonstrated the value of simultaneously

documenting the earlier, now demolished, configuration of the city, which gave

meaning to otherwise unintelligible surviving fragments. The map therefore uses

the convention of a dotted line to represent vanished blocks and streets (as well as

individual plans of 'lost' buildings). The result is a kind of cartographic palimpsest

that can be read on two temporal levels: the city as it was at the turn of the twen

tieth century and as it is at the beginning of the twenty-first century.

The collection of planimetric data for all the buildings included on the map, either through archival research or physical survey, has posed problems (and pro

vided pleasures) throughout the duration of the work. These data were generally the

ground plan of a structure, but in certain cases where an upper plan level provid

ed more information about the nature and extent of the building, the upper-level

plan was favored (as for example in the mosque of Sulayman Agha [no. 382] where

the principal prayer space is found on the first floor). Where published plans were

available, these were checked for accuracy and completeness and revised where

necessary. Plans from the archives of the Comite de Conservation des Monuments

de 1Art Arabe were similarly checked before inclusion on the map. A total of

approximately sixty sites (including some registered monuments) that lacked archi

tectural documentation were surveyed at their significant plan level, and the results

incorporated into the map. In the case of a few buildings, access for survey pur

poses was denied. The footprints of these structures are simply shown as a densely

hatched area-a convention shared with certain deregistered monuments that no

longer exist but whose former whereabouts can be established with precision.

Once the graphic material for the map had been assembled, the thirty-one individual

map sheets were drawn by hand. My preference for hand-drawings over computer

drawings is personal, and not entirely rational. It was dictated by a desire to create

a permanent and tangible product born of pen and ink, scalpel, and sweat. The

material advantage of digital drawings, manifest in their flexibility of scale, ease of

xiv PREFACE

modification, and possibility of almost infinite adaptation were, for me, outweighed

by the aesthetic of the hand-drawing, which largely depends for its effect on a cer

tain visual irregularity; this in my mind mirrored the undoubted irregularity of

what I was striving to represent.

The map sheets are accompanied by a detailed text that gives descriptions, plan

sources, and bibliographies, to the extent available, for all the represented build

ings (identified by numbers). The latter includes both general information and

specific references to the Bulletins of the Comit6 de Conservation des Monuments

de lArt Arabe, as well as publications on more recent preservation initiatives, for

those interested in the conservation history of individual structures. Bibliographic

references are generally limited to secondary sources in European languages, how

ever, since the inclusion of references to kzitat literature, waqf documents, and the

corpus of Arabic scholarship fell outside the project's parameters. Since the map

was completed in March 2001, further publications have become available to the

scholar of Islamic architectural history, some of which have been included in the

bibliography. In an undertaking of this scale and complexity, however, there are

bound to be omissions and errors for which I alone am responsible.

The Monuments of HistoricCairo seeks to document those traces of the past that

are evident in the city's inherent structure and its architecture. 'Traces' is perhaps

the best translation of the Arabic word athar, which is most frequently used to

describe these fragments. Such an endeavor also has its own traces, and is part of

a broader representational history. To place this work in its context, therefore, I

have provided in the pages that follow a genealogy of the visual representation of

the city of Cairo and its buildings through views, maps, and architectural render

ings. These are the testament to encounters, spanning some six hundred years,

between the city and a plethora of travelers, artists, cartographers, architects, and

historians. Cities are in a state of continual evolution, however, and'so this geneal

ogy is also accompanied by a commentary on the main causes and effects of urban

change in the modern period, particularly with regard to the built heritage of the

city. Cairo is one of the great historic cities of the world, but it has often been neg

lected, perhaps because of its very size and complexity. I hope that this publication

will make the city more accessible to those seeking to comprehend its past, and will

enhance our present understanding of its morphology and architecture.

Nicholas Warner

PREFACE Xv

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Introduction CartographyArchitecture,

and Urbanismin Cairo,AD 1500-2000

Cartography: City Views and Plans

C first developed. One aspect of this fascination has been the representation ities have been a source of fascination to their inhabitants since urban livingof their outward appearance, whether by verbal or visual means. Cairo has proved no different in this respect from countless other cities throughout

the world, but has an added distinction in that it has for the past millennium been

regarded as one of the preeminent cities of the Muslim world. Within its dense and

complex matrix, the lives of sultans and slaves, scholars and soldiers, shaykhs and

merchants unfolded over the centuries. Their histories can still be deciphered in the

artifacts that survive them-perhaps most obviously in the buildings they con

structed and the chronicles they composed. Muslim historians such as al-Maqrizi

and lbi Zahir compiled urban topographic descriptions (of a genre known as khitat

after the word for 'pieces' or 'parts') that complemented the accounts of travelers

like Nasiri Khusraw and fbn Battuta. It fell, however, to a different tradition, which

developed in Europe, to qualify such texts with images, providing representations

of the city that are instantly appreciable to the eye.

The first of the European views of Cairo were derived from an aerial and entire

ly imaginary vantage point. Perhaps the earliest coherent representation appears in

the Tabulae Novae of the Florentine artist Pietro del Massalo's three manuscript

versions of Ptolemy's Geographia,lexecuted from ca. 1458 to ca. 1472 (pl. 1). Cairo

is part of a collection of encomiastic views that includes Jerusalem, Damascus,

Constantinople, Adrianople, Alexandria, and Rome, as well as other Italian cities.

I would like to thank the Barakat Trust (UK) for supporting the research undertaken for this introduction and Jere Bacharach and Irene Bierman for commenting on its drafts,

1 Now in the Bibliothique Nationale (MS Lat 4002), and the Biblioteca Apostolhca Vaticana (Vat. Lat. 5699 and Uthb.Lat. 277). The different versions have vanant details but share the same compositional character See N. Miller, Mapping the City The Language and Cultureof Cartographyin the Renaissance ilaondonjNew York: Contmuum, 2003).

I

Fig. 1. Schematic plan of Historic Cairo and its surroundings (pre-1 BOO). Author's drawing,

The city is viewed from the north, spread

along the east bank of the Nile. It appears as a loose agglomeration of churches and

castles with campaniles, rotundas, and pitched roofs around which runs a network

of canals; a portion of the northern walls and the obelisk of Heliopolis are also included. Certain sites are identified by

4- handwritten legends, namely the Balsam

. ~ Gardens ofMatarlya to the north of the city, r tfljpnadmn the Citadel, and the fortress of Babylon. The

overall rendering is very much in the Italian

style, and the entire topography remains

suggestive rather than accurate. This con-

Ogg forms with the idea of 'chorographic representation, defined by Ptolemy as a method of conveying the quality of place rather than an exactly measured physical reality.

Massaio had never visited Egypt, and his work was extremely limited in its circula

tion. A much more widely accessible inter

pretation of Cairo's topography, however, appeared before the century was out In his book of 1486, the Peregrinationesin Terrain

Sanctam, a German pilgrim to the Holy Land, Canon Bernhard von Breydenbach,

provided the first mass-produced image of the city on the periphery of a long woodblock-printed, folding panorama of the

Fig. 2. Erhard Reuwich, Cairo. Near East that had Jerusalem as its primary focus (fig. 2) Breydenbach made his jour-Detail from the panorama of ney in 1483 in the company of an artist, Erhard Reuwich, who designed and subse-Jerusalem in Bernhard von Breydenbach's Peregrinationes quently printed the panorama. Given the obvious Christian interest in Cairo as a wayin Terram Sanctam. Woodblock station on the Holy Family's flight into Egypt, the Christian pilgrimage sites ofprint, 27.5 x 128 cm in all. From 1911 facsimile of 1486 Matarlya-the Pharaoh's Fig Tree, the Balsam Gardens, and the Chapel of the Virgin edition, Rare Books and Special Collections Library, the American University in Cairo.

2 Bernhard von Breydenbach, Peregintiones in Terrain Sanctan (Malnz: E. Reuwich, 1486). For the significance of this map, see T. Campbell, The EarliestPrinted Maps, 1472-1500 (London: British Library, 1987), 93-97. See also H.W. Davies, Bernhard von Breydenbach and His Journey to the THoly Land, 1483-4 A Bibliography (London: J. E J. Leighton, 1911).

2 INTRODUCTION

Mary-feature prominently. Also evident is a relatively accurate understanding, gained

through eyewitness experience, of the essential topographical relationships that existed

between the various distinct components of the city as seen, in this case, from the north.

The Citadel, Babylon, the principal urban nucleus of al-Qahira (or Chayru as it is here

named), Bulaq, the Pyramids, and of course the Nile, are all labeled clearly among an

otherwise random collection of domed structures and minarets. Breydenbach's book

was a bestseller, running to twelve editions in Latin, German, Flemish, French, and

Spanish over a period of only eight years.3 More than half a century was to elapse before

the next, far more ambitious and delailed, view of Cairo appeared in print.

In 1549 the Venetian publisher Matteo Pagano, in collaboration with the painter

and cartographer Giovanni Domenico Zorzi, produced a vast (nearly two meter by

one meter) woodblock print in twenty-one sections of the city of Cairo (figs. 3a and

3b).' This image continued the Renaissance tradition of depicting cities in paint and

in print as viewed obliquely from the air.5 The format is horizontal, with the city seen

from the west bank of the Nile. The locations of individual areas and elements of the

city such as Azbakiya, the Bab Zuwayla, Husayniya, the aqueduct, and major roads

are clearly indicated. Also depicted are peripheral sites such as the port of Bulaq, Old

Cairo (which developed around the fortress of Babylon), the town of Giza on the west

bank of the river, and the Pyramids. Natural features such as the Muqattam Hills to

the east of the city and the island of Roda in the Nile are clearly visible. Within the

urban conglomeration, some individual buildings stand out, such as the madrasa of

Sultan Hasan. Major thoroughfares are distinguished, as is both the ancient canal (the

Khalig al-Masri) and its more modern counterpart (the Khalig al-Nasiri) with their

multiple bridges. The disposition of the northern and eastern walls of the city and the

Citadel is indicative but topographically accurate. Pagano and Zorzi's view, however,

extends beyond a solely spatial representation of the city. Historical vignettes show

ing the arrival of the Ottoman army under Selim I at the gates of qairo in 1517 give

the work a specific temporal location as well. More prosaic quotidian scenes are also

included, such as the harvesting of dates. The view is supplemented by text in the

form of 'captions: as with Breydenbach's view, but with a much wider descriptive

intent. These captions were interpreted at length in an accompanying Latin booklets

3 Davies, Bernhard von Brcydenbach, xxxu. 4 Two studios are dedicated to this view: V. Menecke-Berg, "Eine Stadtansicht des inamlukischen Kairo

aus den 16 Jahrhundert" MDAIK 32 (1976): 113-32, and B.Blanc, S. Denoix, J.-C. Garcia, and R. Gordiam, "A propos de Ia caste du Caire de Matheo Pagano," Annales Islamologiques 17(1981): 203-85. See also N. Warner, "The True Description of Camro":A Sixteenth-Century View from Venice (Oxford: Arcadian Library-Oxforl University Press, forthcoming).

5 See I. Schulz, "Jacopo de' Barbari s View of Venice: Map Making, City Views, and Moralized Geography before the Year 1500,' Art Blullein G0(1978): 425-74

6 Foi this text and its attribution, see A Codazzi, "Una 'descrizione' del Cairo di Gugliclmo Postel," in Studi d,palcogralia, diplomahce, stora c arnldica in onort d,Cesore Manaresi (Milan: Ginffr, 1953), 169-206

CARTOGRAPHY 3

Fig. 3a. Matteo Pagano and Giovanni Domenico Zorzi, View ofCairo, 1549. Multi-sheet woodblock prin[ 98 x 197 cm. Staathche Museen au Berhn, Kupfrrstichkabinett, 924-100.

Fig. 3b. Detail Of Pagano and Zorzi, View of Cairo at actual size, showing part of the cential area of the city. Staatliche Museen an Berlin, Kupferstichkabinett, 924-100.

Scholars have disputed the precise date of Pagano's view, since it appears to con

tain elements of the city as it would have been at the end of the fifteenth century in

the time of Sultan Qaytbay. Following this contention, the vignettes of Scum's con

quest would have been added by Pagano to a preexisting 'original' view that has now

disappeared: a not unreasonable suggestion. It has also been argued that an apparent

topographical error in the placement of the aqueduct relative to the older nucleus of

Babylon-Old Cairo-Fustat (the aqueduct is shown running to the south rather than to

the north of this area) is in fact a correct representation of an aqueduct predating the

one that survives today. In the absence of any sound archaeological or textual evi

dence lbr the existence of the earlier aqueduct in the form shown on the Pagano view, this hypothesis is less convincing. It is far more likely that the aqueduct shown is that

built by al-Nasir Muhammad ibn Qalawun in 1312-13, which was renovated and

extended by Sultan al-Ghuli in 1506-7, and that it is simply located in the wrong posi

tion7 The possibility also exists that Pagano's view is a copy (with later additions) of

one of the now-vanished views of Cairo that were created for Francesco II Gonzaga's

palace in Gonzaga (1493-97) or the Palazzo di San Sebastiano in Mantua (1506-12).'

7 See K.A.C, Creswel, The Musim Architecture ofEgypt, 2- Ayyubrds and Early BarteMaaluks, AD1171-1326 (Oxford Oxford University Press, 1959), 255-59.

8 M. Bourne, -Fmneesco 11Gonzaga and Maps as Palace Decoration inRenaissance Mantua,- hnago Mundi 51 (1999): 51-58.

4 INTRDDUCTION

I

This is more plausible, although once again decisive documentary proof is lacking. What distinguishes the view, regardless of its precise date of origin and authorship,

is the appearance of Cairo as a dense mass of buildings, including numerous

mosques, tombs, and palaces, and the relative accuracy of its represented topography.

Here for the first time was an image of an eastern city, conveying a sense of its scale and complexity, to rival the historic centers of Europe. Although Pagano and Zorzi's view of Cairo survives today in only two impressions, its influence was enormous. Through numerous recensions in different formats (none as large as the original), it remained in circulation for the subsequent two hundred years as the unchallenged

image of what was still, after the Ottoman conquest, the largest city in the Middle East and North Africa.

A contrasting alternative depiction of Cairo, from a real rather than an imaginary viewpoint, did not appear in print until the eighteenth century. This view, real

ized from the Muqattam Hills that border the city to the east, was first recorded by an Italian pilgrim named Brocardo in 1556. Brocardo even included himself in the view, sketching the great city before him. The watercolor he produced is another large panorama, stretching from Babylon in the south to Matariya in the north (pl. 2)." Although not signaled by annotation, many different urban components are clearly visible in the view, situated within a landscape that is bisected by the River Nile and sparsely scattered with palms and other trees. Babylon, the island of Roda, the southern and eastern cemeteries, the Khalig al-Masri, Khalig al-Nasirl, Azbakiya, Husayniya, Bulaq, and Matariya are all recognizable. Major thoroughfares crossing and encircling the city are also included, the most comprehensible of

which are the Qasaba, Shari' Saliba, the Darb al-Ahmar, the routes through the cemeteries, and the road to Bulaq from the Bab al-Bahr. Many individual buildings in the view, such as the Niometer, the aqueduct (shown here in its correct position) and pumping station, the madrasa of Sultan Hasan, the mosques of al-Azhar and Ibn Tulun, and the city gates and walls can also be identified by virtue of their physiognomy and location. In general, courtyard mosques seem to be represented as open squares with minarets of the tiered, Mamluk, variety.

The vantage point of the Muqattam Hills used by Brocardo was also employed in

the early eighteenth century by the French Jesuit father Claude Sicard in his view of

9 The most significant of these, dating from the sixteenth century, are: Ferrando Bertellh, Cwuitation aliquot ;nszgniorum et locormnm nnartornrn erane delincatio.Drsegai, alcsnc pif, fflusfr citti efortezze del nondo, FerrandoBertellifornis (Venice, 1568?); Georg Braun and Frans logenberg, Civitates Oris Terratum, vol. 1,pl. 55 (Cologne, 1572); Sebastia Munster, Cosinograph/a(Basel, 1574); Matteo Florim, Cairns, quate olim Babylon; Aegypts marima urbs (Siena?, 1590')

10 The only study thus far is that of L. Micar, "It Cairo nell 'Chorographia' di Pellegrino Brocaidi (1556)," nl11 mando islamico: Inmagnt e irecthe, Storia della citth 46 (Milan, Electa: 1989]: 7-18.

11 Archivio di Stato di Torino, Cate topografiche efortificazioni, vol. 2 of 5 (J.I.4 folio 10).

INTRODUCTION 6

h

the city. Sicard's rendering is cruder than Brocardo's, and less informative (pl. 3).

Babylon, the nucleus of the city of al-Qahira, Bulaq, and Matariya are shown, and a

few individual structures can be distinguished, such as the obelisk at Matariya, the

Citadel, the aqueduct and pumping station, the Nilometer, and the fortress of Babylon.

The rendering of mosques and minarets remains schematic. Although Sicard's

view of Cairo, which survives in two manuscript copies," remained unpublished (as

did Brocardo's), an imitation of it was printed in 1754 by another French Jesuit who

had spent time in Egypt: Claude-Louis Fourmont. His Carte Topographique vue en

perspective des plaines d'H6liopolis et de Memphis is a copper engraving folded

within his book on Cairo (fig. 4)." Despite its obvious antiquarian bias, this view pro

vides a clear image of a contemporary Cairo that had shrunk in physical extent since

the sixteenth century. A numbered key that accompanies the view lists seventy-two

separate elements of the city, ranging from individual buildings to public spaces.

12Plan topographique des environs du Calmrr Ia moontagne des modrns au (Fire, Sedice de la Marine, atlas 64, carne 13; Carte a ogrophe da 'airs, 17)5, BibliotiqCe NationalT, des Canp Plans Rti Cd5132.

I i CAI. Fouront. Description.hlsrorique a gographique des pta/anr. diiupalisod dHMemphoo(Part 1Ce4).

CARTOGRAPHY 7

Pig. 4. Claude-Louis Founnont,

Carte Topograpiique Paren pcrspecrire des p/aim's dHeliopolis et d Alnphis,

d 1754. Copper engraving,ttldimensions 33.3 x 52 ema. Rar Books and Special Collections Library, the American University in Cairo.

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All of the views of Cairo described thus far are precisely that: views. They represent the city on a tilted ground plane, without the foreshortening demanded by the laws of perspective. This was done deliberately in order to afford the viewer a glimpse of the interior of the city with its principal streets and to bring more distant objects into focus. Although each view attests to a good general topographic understanding of the city and its salient architectural features, none can be considered to be a map in the ichnographic tradition." One last image in this category deserves mention, as it stems from the Ottoman, rather than European, tradition of representing the city. This is the group of views of Cairo that are to be found in the various surviving manuscripts of the Kitab i Bahriye, or 'Book of Maritime Matters' first composed by the Ottoman admiral Firi Reis in 1521. The Kitab i Bahriye, based in part on Italian and Spanish portolan charts, was intended primarily to provide mariners with useful information for the navigation of the Mediterranean. It also contains bird's-eye views of a number of ports around the Mediterranean and a chart of the Nile extending as far south as Cairo, which was still at the time an important entrep6t. Cairo was familiar territory to Piri Reis, since he had sailed up the river with the Ottoman fleet to assist in Selim 's attack on the capital of Egypt in 1517. Some thirty-eight extant manuscripts of Piri Reis's work survive, spanning three centuries of production, and they present at least two different views of Cairo with variant details.5 One version shows a rambling collection of pitch-roofed buildings without any enclosure (pl. 4); the other-a more elaborated image devised by book illustrators-shows the city enclosed by walls (pl. 5). In the first version, Cairo's mosques are in the Ottoman style, with characteristic Ottoman minarets, while the second portrays them more accurately in tiered, Mamluk style. Both versions view the city from the north and have details in common with contemporary European views, such as the aqueduct and its pumping station, the Khalig al-Masti, the Citadel, Bulaq, and the Muqattam Hills. Some elements, however, such as the mausoleum of Imam Shafti in the southern cemetery (with its unmistakable boat-shaped finial), are not to lie found among the Western representations. Also distinctive is the collection of different Nile boats that decorate the landscape together with palm trees. Pir Reis's manuscript views of Cairo seem to have remained in the hands of mariners or connoisseurs of book illumination and therefore were less influential than the more widely distributed European printed images of the city.

14 Ste JA. Pinto, "Orgins and Development of the ichnographic City Plan," Journal of the Society of Architectural Historians 35 (19781: 35-50.

15 For the most complete survey of the activities of Pin Res, seeS. Sourk, 'Islamic Charting in the Mediterranean," in J.B. Harley and D,Woodward, The Histny of Cartngraphy, 2 vols in 3 (Chicago: University of Chicago Press, 1987-94), vol. 2.book 2: Cartographyin re Traditional East and Southeast Asian Societis 11994), 265-79. See also S. Soucek, Pir Reis and Turkish Mapmaking after Columbus: The Khalifi PortolanAtlas. (Lonrdon: Noar Foundation-AzImuth Editions-Oxford University Press, 1996), 149-58.

INTRODUCTION 8

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In the mid-eighteenth century, oblique views began to be replaced by more

exact cartographic representations. One of the initiators of this process was an

English clergyman, Richard Pococke, who briefly visited Cairo in 1736. Although

Pococke, like his Jesuit counterparts, was interested primarily in the pharaonic

antiquities of Egypt, he subsequently published the first 'plan' of the city and its

environs in his Description of The East, And Some other Countries." Crude and

small though it is, Fococke's is the first map of the city in which most of the vertical

16 R. Pococke, A Description of The East, And Some other Countries, Volume the First: Observations an Egypt (London: W. Boyer, 1743), pl. 7.

CARTOGRAPHY 9

Fig. 5.Richard Pococke, Chomgraph of Grand Cairo, 1743. Copper engraving, 31 x 35 cn. Rare Books and Special Collections Library, the American University in Cairo.

Fig. 6. Frederik Norden, Plan de isle de Rodda, avec ses Environs, 1757. Copper engraving, 37 x 23.5 can. Rare Books and Special Collections Library, the American ilniversity in Cairo.

projection of buildings is replaced with a horizontally scaled plan (fig, 5). Pococke calls it a"Chorograph"-almost certainly a deliberate antiquarian echo of Ptolemy's distinction between chorography and geography. The settlements of Old Cairo, Giza, and Bulaq are all included, together with the Citadel and the aqueduct, as well as features such as the Muqattam Hills and the Khalig al-Masri.

Another traveler with scientific interests was in Egypt at the same time as Pococke: the Danish naval captain, Frederik Norden. Like Pococke, Norden was more interested in Egypt's pharaonic past than its Islamic remains, but unlike his contemporary. Norden never lived to see the publication of his Travels in Egypt and Naba. This finally appeared in Danish in 1755, and it was swiftly followed by French and English editions. 'Although Norden failed to document the city of Cairo with a map, he did, however, produce a plan of the island of Rodall and its environs while convalescing in Cairo for four months (fig. 6). This presents the gardens of Roda in great detail, but little else, and suggests that Norden did not stray too far from the Nile during his illness. One small detail is of greater interest: aplan of the mouth of the Khalig al-Masri as it was arranged for the annual 'Cutting of the Canal' ceremony-the breaching of the dike that was built annually across the canal that led into the city, allowing the Nile's flood waters to flow along its course and fill the urban lakes."

More informative than the maps of either Pococke or Norden was that produced by another Dane: Carsten Niebuhr. Niebuhr was a member, and the only survivor, of an expedition that left Copenhagen in 1761 under royal patronage with the goal of carrying out a scientific exploration of Egypt, Arabia, and Syria. His plan of Cairo was ultimately published in 1774 as a copper engraving. Titled "Ichnographic Plan of the City of Cairo and the Towns of Bulaq, Masr al-'Atika, and Giza,"" the map has two scales and a north-point upon it (fig. 7). East is shown at the top and the Nile is at the botitom, an orientation shared by the Pagano view. The relative positions of all settlements are given, as are cemeteries and hills.

17 Travels in Egypt and Nubia by Frederick Lewis Nordern .. S. Captain of the Danish Navy. Translated from the Original Published by connand of his Majesty the King of Den mark. And enlarged witk observariansfrom the ancient and modem authors, that have written on the Antiquities ofIEgyp, by Dr. Peter Templeiman in Two Volumes, 2 vois. (London: Davis a Rcymens, 1757). The plates used in this edition ar the same as those in the contemporary French edition,

18 Nordet, Travels in Egypt and Nubia, vol 1, pl. 24. 19 The 'Well of.Joseph' in the Citadel, which Norde, describes in detail, is marked in error aslying to the

south of the aqueduct, 20 C. Niebuhr, Reisebeschreibung nach Arabien and andernamliegenden Landerns. 2 vols. (Coperhagen:

Nicolaus MIler, 1774-78). The French edition appeared almost simultaneously: Descption de 'Arabie; fake sur des observations propres et des airs reacillis dans les lieur moims per corsten Viebuhr, 3 vols. (Amsterdam and Utrecht: S.Y. Batlde RAJ. van Schoonhoven, 1774-80).

21 Niebauhr. Description de IFArabie. "tJrbis Kabira ne non oppidonom Rulhk, Masr el Atk e Dsilse Ichnographla,' p. 13.TIis was accompanied by a long explanatory text titled "Description des Villes de Kihira, Bulk, Mast el Atik et Dsjise,' 86- l0.

10 INTRODUCTION

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Fig. 10. Plan particulier de Bouldq, from the Description dc I'Fqyptc, trat Moderne 1, pl. 24, 1809 (detail). Copper engraving, 38 x 52 cm; approximate scale 1:5000. Author's collection.

monumental Description de I'tgypre." These four maps, all of which appeared in

the first volume or the Etat Moderne series, covered not only the dense historic core

of the city but outlying areas as well. They were: a general key map of Bulaq, Cairo,

Old Cairo, Roda, and Giza (fig. 8), a detailed map of Old Cairo, Roda, and Giza (fig. 9),

a detailed map of Bulaq (fig. 10) and, most important for students of the city's

topography, a detailed map of Cairo (figs. II a and I1b).

The key map clearly shows the different nuclei of the city as they were related to

the River Nile when the water level was at its lowest. Cairo is shown with the lakes

of Azbakiya and Birkat al-Fil within it, as are Bulaq, Old Cairo and Babylon, Imbaba, and Giza. Islands and sandbanks within the river are also distinguished. The more

detailed maps of Cairo, Bulaq, and Old Cairo-Roda-Giza have numerous features

worthy of remark, of which a few will be highlighted here. The depiction of the port

of Bulaq shows a multitude of riverside warehouses backed up by a tier of wikalas

(urban caravanserai), as well as a straight, French-built, tree-lined avenue leading

east to Cairo. This was the first time that a specific map had been drawn of this area,

which was obviously quite a sizable town independent of, though related to, the

main city." The map of Old Cairo, Roda, and Giza shows the latter as a separately

walled precinct connected to Roda by a pontoon bridge. The fortress of Babylon with

its surviving Roman towers can also be discerned on this map.

In order to execute the detailed map of Cairo, which was the most complex

part of the survey, the surveyors established a base line measured by chain, and

triangulated 54 points: mosque minarets or positions located on high ground?

The city was then divided into eight distinct areas; their divisions are shown on

the map and follow major arteries or minaret triangulation points. The latter

provided the essential references for the subsequent street-by-street chain sur

vey. This map of Cairo constitutes the first systematic record of the system of

haras that made up the fabric of the city, the first precise depiction of the extent

of the fortifications of the city and the Citadel, and the most detailed image of

23 Description defligypte, a reruril des observations r de, rcheries qui ont Wtrfaites enEgypre pendant lerpldithon de A4rmir rancaisepublik par leeordres de so Majeste 'Emperewr Napoleon Ic Grand. (Paris; Imprimeric Inptiale, 1809-22). For an analysis of the cariographic output of the French Expedition, see G.Alleame, "Enter linventaire do ioeitoire ti I consuction de I meniire: Lneuvre eartegraphiqie de I'expedwition dfgypte,' in P.Bret. ed.,L'Epition d'tgypte: Une enterprise des Luiers. 1798-180), Acres du colloque international organise par IAcadrnoirdes inscriplions or belies-Ililres it lAcadimic dessoinces, soas les auspices de Ilestitrrde Franceer s Musium national d'histairc natreelle. 8-10 ujuin1998 (Paris: Technique et Documentation: 19991,279-96.

24 The general plan is drawn at scale of appeoxinately 1:20,000: the detailed plans at a scale of approximiately 1.5000,

25 The only study of this area to date is N. Hanna, An Urban Histon qf Bulaq in the Mfodtuk and Otroman Periods, Cahirs desAnnanes Islamelgiques 3 (cirs: IFAO, 9til)

26 The arca of the fortress lurther elaborated can also be seen in the more detailed plan that accompanies a perspective view in the Description dr lEgypte, Anuiquiuli V, pl. 20.

27 See Canvas trigonomoirique du Kalre, 1:2.500, Description de iEgypte, AtinModerne II, pt. 2, 58.

14 INTRODUCTION

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