On a second pair of De Mongenet’s globes, referred to by Marcel, the dedications and inscriptions differ slightly from those given above. On the terrestrial gores we find “Illustr. Ac Rever. D. D. CL. A. Bauma Arch. Bis.,” and the signature, “Elaborabat Francis. De Mongenet. V. E. V.” On the celestial gores we read “Illustr. Ac Rever. D. D. CL. A. Bauma Arch. Bis. E. V.,” the signature “Elaborabat Franciscus De. Mongenet. V.,” and the privilege “Cum privilegio Pont. Max. Sqe. Ven.” Citing again Marcel’s opinion, the Claudio de la Baume referred to was Archbishop of Besançon, and the letter “V” placed after the name of the globe maker doubtless refers to Vesoul, his birthplace; the letters “E. V.” may stand either for “Excusum Venetiis,” indicating the city in which the work was done, or for “Enea Vico,” the name of the actual engraver of the gores, who is known as having been at that time an engraver of medals, being now especially remembered for his medals of the first twelve Emperors of Rome.[293]
The gores of the first edition were printed from engraved wooden blocks; the second were printed from engraved copper plates which exhibit a very superior workmanship, and it is to be noted that many more names appear on the terrestrial gores than on those of the first edition. Ruscelli, in his edition of Ptolemy of 1561, makes mention of “a little globe, published lately by Francesco Mongonetto Borgonone,”[294] which allusion would seem to indicate a reference to the second edition and to its issue near 1561. Although this second edition contains more names than does the first, it gives little indication that the author had knowledge of discoveries subsequent to the first edition. Like Mercator he represents North America as separated from Asia, as before noted, by a wide expanse of ocean, to which no name has been given, and like Mercator he lays down a large austral continent. His globes could hardly have been received with as much favor as were those by his Flemish contemporary, since they were so small as to appear like mere playthings.
Of the first edition, other than those gores to be found in the New York Public Library, a set of the terrestrial and the celestial gores is in the British Museum, and of the terrestrial in the Germanisches Nationalmuseum of Nürnberg.
Of the second edition, copies of the unmounted gores may be found in the Bibliothèque Nationale, in the British Museum, in the private library of Prince Trivulzio of Milan. A mounted pair of the second edition may be found in the Osservatorio Astronomico of Rome (Fig. [65]), and in addition a second example of the celestial globe, which is described as having excellent mountings of brass, so arranged as to make possible a revolution of the globe both on an equatorial axis and an axis of the ecliptic. Its horizon circle is supported by two brass semicircles, the whole resting on four wooden columns of modern construction, and these in turn resting on representations of lion’s paws in bronze. An example of the mounted terrestrial globe is said to belong to the collection of Sr. Bazolle of Belluno, which example once belonged to the Counts of Pilloni.
Fig. 65. Globes of François de Mongenet, 1560, and of Gian Francesco Costa, 1784.
Attention has been called to the peculiar gore map of Santa Cruz,[295] and to the fact that his method of construction seems not to have won favor. We, however, find among the map makers of Italy, in the period of which we are now speaking, one Antonius Florianus,[296] who, if not copying the plan of Santa Cruz, followed closely his scheme. His map, of which numerous copies are known (Fig. [66]), seems to have been prepared for mounting on a ball, although no such mounted example can now be located. With the poles as centers, and with a radius equal to one quarter of the circumference of the sphere he proposed to construct, he drew his equatorial circles, which thus gave him two hemispheres, respectively, a northern and a southern; in the same manner he drew his parallels at intervals of ten degrees, using for each the common polar centers. In each of the hemispheres he drew thirty-six sectors, each sector being made to represent ten degrees of longitude, and they were so shaped mathematically that their combined width at the equator would equal the circumference of the sphere of which the selected radius, referred to above, represented one quarter of that circumference. When prepared for mounting, the vacant space between the several sectors could be cut away, leaving the thirty-six engraved sectors, on which the world map appeared, to be pasted on the surface of the sphere. The scheme which Florianus devised was practically that employed by Werner in his equivalent cordiform projection, and likewise that of Finaeus and Mercator.[297]
