“In the two pictures occupying the center of the ceiling, each of which is four braccia wide, are the celestial signs; these can be thrown back by means which cannot be perceived; and in a space representing the concave are to be two large spheres, one representing the earth: this will be made to descend by a concealed windlass, and will then be balanced on a support adequate to that purpose, so that when fixed, all the pictures and the maps on the cabinet will be reflected therein, each part being thus readily found on the sphere. On the other globe the forty-eight celestial signs will be arranged, in such sort that all the operations of the astrolabe may be performed most perfectly by the aid thereof. The plan of this work has proceeded from the Duke Cosimo, who desired to have all these parts of the earth and heaven brought for once fairly together in their just positions, exactly and without errors, to the end that they might be observed and measured, either apart or all together, as might be desired by those who study and delight in this most beautiful science. I have therefore thought myself bound to make a memorial of the same in this place, for the sake of Fra Ignazio; and that his ability, with the magnificence of that great Prince, who has judged us worthy to enjoy the benefits of so honorable a labor, may be made known to all the world.”[315]
Danti must have undertaken this great work shortly after his arrival in Florence, since one of his maps, to which Vasari refers, is dated 1563, and it appears that the terrestrial globe must have been finished by 1567, since the general Depositaria of that year, as cited by Badia, records that twenty lire were paid to the gold-leaf maker, Taddeo di Francesco, for the five hundred leaves of gold to be used for the globe, and there is no succeeding entry referring to this particular piece of work.[316] We know that he never completed the task which had been assigned to him. Duke Cosimo’s death occurred in the year 1575, and his son and successor, Francesco, manifested but little interest in furthering the cause of science. It was perhaps at the instance of Francesco that the general of the Dominican Order directed Danti to leave Florence, and he passed the remainder of his days in Bologna. Apparently but thirty of the fifty-seven maps which were to be made by Danti were completed at the time of his dismissal, and only the terrestrial globe. As evidence that he did not construct the celestial globe, Badia cites a letter written by Antonio Lupicini to the Grand Duke Ferdinand, dated October 27, 1587. After reference to certain great works planned by Cosimo in the last years of his life, such as those referred to by Vasari, he adds that “when it seemed that nothing else was to be seen in the room, at a certain sign these historical representations disappeared and the cosmography of the whole mechanism, constructed after the manner of Ptolemy, was uncovered; in doing so they opened the ceiling and let down the representations of the planets, resting them on a stand which came out of the floor, and from the floor also appeared a terrestrial and a celestial globe each three and a half braccia in diameter, one of which had been made by Fra Ignazio, and the model of which I myself have.”[317] The terrestrial globe, at first placed in the room for which it was intended, was later removed to the gallery, where on account of much handling it was greatly injured, and in the year 1595 the cosmographer, Antonio Santucci, was entrusted with its restoration.[318] Admired as it has been for more than three hundred years, on account of its size and excellent workmanship, repeatedly handled through all these years by careless visitors, a second restoration was undertaken a few years since by Ferdinando Meucci, director of the museum to which it finally passed. Meucci directed this work with great care, studying minutely the construction of the globe under the opportunity thus offered. Fiorini, citing information especially given him by Meucci,[319] says that the diameter of this globe is 2.04 m.; that the ball is of wood having a papier-mâché covering, protected without by a wrapping of cord and metal plates, and that it is very substantially braced within. Danti himself in describing the construction of the globe, on receiving an order for a similar one, says that “the surface of this globe is thirty-six square braccia and it is supported within by an iron frame, as a globe of this size would not stand without bracing; it represents a new invention by means of which, though large, it can be moved in every direction with a single finger, and its pole can be easily elevated or depressed.”[320] These Medici globes, it seems, attracted much attention, and not alone in Italy. Pontanus, in the preface of his edition of Hues’ ‘Tractatus de Globis,’ after a reference to the celestial globe of Tycho Brahe, six feet in diameter, adds that Ferdinand I of Tuscany possessed two globes, one terrestrial and the other an armillary sphere with circles and orbs, and that these globes were constructed by the same hand.[321] This last statement we now know to be an error, since the terrestrial globe alone was the work of Ignazio Danti, the armillary sphere being the work of Antonio Santucci.
The Biblioteca Nationale of Turin possesses a unique and highly interesting globe signed “Franciscus Bassus Mediolanensis feccit 1570,” called Basso in his day, although his name appears to have been Francesco Pelliccioni or Pilizzoni.[322] In this we have one of the finest examples of the style of constructing and ornamenting metal globes, described by Ruscelli as agemina, in which gold and silver threads and plates are forced into the engraved outlines on the surface of the ball.
The globe, a hollow iron sphere about 56 cm. in diameter, is in an excellent state of preservation. The engraved parallels and meridians are indicated at intervals of ten degrees, the prime meridian passing through the Canary Islands. It has thus been described by the librarian, Francesco Carta:[323] “The parts of the globe in gold are the equator, the tropics, the polar circles and many mountain chains; the known and the unknown polar regions are flaked with gold. In gold are the crowns which designate the several kingdoms, the small islands and the graduated prime meridian. In gold and silver are the ships which sail the seas, the smaller being entirely of gold. The ecliptic, the meridians excepting the prime meridian, the parallels, the majority of the mountain chains of the unknown lands, the rivers, as well as the outlines of the lands and the seas. On the graduated horizon circle are the Latin names of the winds in silver capital letters. These are the twelve winds of Timostene. A graduated metal meridian passes through the poles and is attached to the rational horizon which is supported by four small pyramidal columns having quadrangular bases. At the top, and fastened to the framework of the globe with a silver ribbon, is a silver heart having extended wings, the feathers of which are of gold and silver. From this heart rises a small gilded design representing an olive branch, having leaves of gold. From the lower part of the support hang silver ribbons flaked with gold.” Practically all inscriptions are in silver capital letters, the majority being in Latin, but a few are in Italian and in Spanish. To North America which is connected with Asia, in accord with the idea so prevalent in the second quarter of the century, is given the name “Asia magna quae India borealis,” and to South America the name “America Nova.” In addition to the above inscriptions we find such as “Hispania Major,” “G. d. Anian,” “Oceanus Indicus,” “Sinus Magnus Aphricae.” In Brazil is the inscription, “His Leoni Copia.” The inscription “Terra Australis recenter inventa anno 1499, sed nondum plene cognita terra,” closely resembles an inscription similarly placed on the world map of Orontius Finaeus of 1531, which reads “Terra Australis recenter inventa sed nondum plene cognita.”[324] It does not appear that great scientific value attaches to this globe, since there clearly was no attempt to produce a terrestrial map to date. It, however, is a most interesting example of globe construction in a day when globes were so much in favor.
The Lancisiana Biblioteca of Rome possesses an artistically constructed armillary sphere, apparently the work of Giovanni Maria Barrocci, who, in the second half of the sixteenth century, achieved distinction as a maker of watches and of mathematical instruments. Fiorini gives reason for thinking this to be of about the year 1570, as well as reason for attributing the work to Barrocci,[325] finding it in an epitaph of a member of the family in which there is allusion to the construction of a celestial globe for Pope Pius V.
Two globes, one celestial attributed to Hieronymo de Boncompagni, and one terrestrial attributed to Emanuele Filiberto and probably constructed about the year 1570, are briefly referred to by Fiorini as belonging to the Osservatorio del Collegio Romano.[326] Further reference to these globes has not been obtainable, there being no mention of the same in a communication received by the author from this observatory.
The Biblioteca Nationale Vittorio Emanuele of Rome possesses two remarkably fine manuscript globes, a terrestrial and a celestial, the latter bearing the inscription “Anno Jobel[327] 1575 ad que supputatae sunt stellae.” “In the Jubilee year for which the positions of the stars have been computed.” While not giving with certainty the exact date of their construction, it seems that it could not have been later than that given in the legend. The globes bear the coat of arms of the Jesuits, which may only suggest that the maker was a member of that order. Each of these globes, or globe balls, is constructed of a wooden framework, covered with a preparation of plaster, over which has been added a coat of thick varnish. On the surface thus prepared the map has been drawn and painted in colors. Each has a diameter of about 70 cm., is mounted on a pyramidal base, 77 cm. in height, from which rises a rod 45 cm. in length, supporting two semicircles which serve as a direct base support for the iron horizon circle. The celestial globe has represented on its surface the equator, the tropics, the polar circles, the colures, the ecliptic, and the zodiac, and the figures representing the several constellations. These figures are very artistically painted, having their several names written in gold in the Latin language; some figures and names unfortunately are wanting by reason of injury to the surface of the globe. On the terrestrial globe the equator, the tropics, and the polar circles are represented, while but two meridians are indicated, the prime meridian passing through the Canary Islands while the other has been drawn ninety degrees from this, that is, cuts it at right angles at the poles.
The Biblioteca Laurentiana of Florence possesses four small armillary spheres, bearing neither date nor author legends.[328] The larger of these has a diameter of about 32 cm., is of brass, and rests upon an artistic support composed of a group of bronze satyrs. The other three, by reason of their close resemblance, appear to be the work of the same artist. Each has a diameter of about 23 cm. and a base of brass on which stands a small bronze statue, which bears on its shoulders a globe. This globe supports the several circles composing the armillary sphere. The supporting statue in one of these is clad and is represented as wearing sandals on the feet, supposedly representing the mythical Atlas. In another of these the statue is that of a man resting on the right knee with the left hand uplifted, while in the third the statue is that of a woman resting upon the left knee, having the right hand uplifted. These globes are reported as not being in good condition, but each exhibits artistic merit of a high order.
There is likewise to be found in the Biblioteca Nationale of Florence a small celestial globe of bronze, and a celestial and terrestrial globe of silver. These globes are neither signed nor dated but are thought to belong to the period now under consideration. The bronze globe has the constellations represented in relief. It is exceedingly small, having a diameter of about 10 cm. The silver globes have diameters about half the preceding, or about 4.5 cm. They are furnished with horizon and meridian circles, and have mountings which clearly are modern. The several constellations represented on the celestial globe are exceedingly well done, as are all of the decorative figures appearing on the terrestrial globe. Geographical names are necessarily few because of the size of the globe.
Attention has been called to the references which Ruscelli makes in his ‘Geografia’ to globe construction.[329] Notice may likewise here be called to a similar reference, though much more brief, made by Francesco Maurolico, a native of Messina, and often referred to as the new Archimedes, because of his great fame acquired in the field of mathematics and astronomy. In his work, published in the year 1575,[330] he devoted part of one chapter to the subject “De sphaera solida,” describing the construction of a celestial globe, and the use of the same. We have no evidence that he was ever engaged in the construction of such instruments as aids in the study of his science.