Fig. 71. Portrait of Peter Apianus.
Kepler tells us of an Apianus globe which he saw on a journey from Würtemberg to Gratz, noting that it was so constructed that the stars could be removed at pleasure from the sphere.[347] Of this particular globe nothing seems now to be known. It is thought hardly probable that the one referred to by Kepler is that fine celestial Apianus globe (Fig. [72]) belonging to the K. B. Hof- u. Staats Bibliothek of Munich. There seems to be scarcely a doubt that this, as its companion, a terrestrial globe, is the work of the son Philip. Repeated inquiry has not resulted in obtaining definite answer as to the dimensions of these globes nor a description of such detailed features as would here prove of interest. The photographic reproductions show them to be of remarkably artistic workmanship. Each is furnished with a heavy meridian circle, and with a similarly designed horizon circle supported by a semicircle which rests upon an elaborately constructed base.[348] The history of these globes seems not to be known, as stated above. We have an inventory of the Herzoglich-Bayrische collection of mathematical and astronomical instruments, prepared by the Jesuit, Fickler, which contains, page 147, the following entry relative to the globes to be found therein: “Folget die Tafl. Nr. 34. Daraus stehen drey grosser hulzinen Globi Coelestes, davon d. ain in einem messingen gestell, mit ainem messingem zodiaco, der dritt von mettall. 1777. Sechs grosser Globi terrestres von Holz. mit mettallinen zodiacis 1778. Zwei claine Globi der ain Coelestis der ander Terrestris, auf gedraxelten holzen fuesslen.”[349] “Next in order is table No. 34. On this there stand three large celestial globes of wood, one of which has a base of brass, with a brass horizon circle, the third of metal, 1777. There are six large terrestrial globes of wood, with metal horizon circles, 1778. Two small globes, one celestial, the other terrestrial, resting on turned wooden feet.” It will be noted, however, that there is no mention therein of Apianus globes. Kobalt tells us that Apianus “vertigte allerley mathematische instrumente, als Cosmolabium, Globos duos Caeli et Terrae maximos, und Planisphaerium,” “constructed many kinds of mathematical instruments such as astrolabes, two large globes celestial and terrestrial and planispheres.” This same author gives us the information that “in der k. b. Central-Bibliothek befinden sich zwei grosse, von Apian ververtigte und von Johann Mielichs gemalte Globi Coelestes et Terrestres, worauf folgende Inschrift zo lesen ist, ‘Illustrss Seren. Principi ac Domino D. Alberto Com. Pal. Rheni. Sub. Inf. que Bar. Duci Domino suo Clementissimo Globum hunc geographicum cels. ejus jussu juxta veterum ac recentium Historiographorum Observationes Traditionesque Descr. et Ded. Philippus Apianus M. D. Anno Salutis 1576.’” “In the K. B. Central Library there are two large globes celestial and terrestrial constructed by Apianus and painted by Johan Müelichs, on which is the following inscription: ‘To the Most Illustrious, Most Serene Prince and Lord D. Albert Count of the Rhenish Palatinate, etc. His Most Clement Lord this celestial globe by his command, fashioned according to the observations and traditions of both ancient and modern historiographers dedicates Philip Apianus in the year of Salvation 1576.’”[350] It seems, therefore, probable, from the above citation, that it was the son Philip who constructed these Munich globes. It was in the year 1552 that he followed his father as professor of mathematics in the University of Ingolstadt and like his father soon won distinction for himself as cartographer, producing his famous Bayrische Landtafeln as his first work of note. It seems further probable that shortly after this work he became interested in globe construction, in which line of activity he made for himself a place of first rank.
Fig. 72. Globes of Philip Apianus, 1576.
The celestial globe referred to above has represented on its surface the several Ptolemaic constellations, exquisitely colored, and the stars have been given names in Greek, Latin, and Arabic. The terrestrial globe map is considerably injured, especially in the polar regions, but the continental and other outlines are all clearly traceable. Three large compass roses, of ornamental pattern, are placed along the Line of Demarcation. The coast outline of Europe is, in the main, well done, as is that of Africa and the New World. The Nile and the Niger rivers no longer find their source in the same common lake. The representations of the far eastern regions indicate that Apianus had a fairly good knowledge of the records of the Holland explorers.
A fine example of the metal worker’s art of this period may be found in a silvered bronze celestial globe (Fig. [73]) belonging to the Morgan collection recently placed in the Metropolitan Museum of New York. On the meridian circle we find the maker and date legend reading “Gerhard Emmoser, sac. caes. meis horologiarius, F. Viennae 1579.” The sphere, which can be opened on the line of the ecliptic, has a diameter of about 13 cm. Within has been placed a delicately constructed mechanism by means of which the sphere is made to rotate once in twenty-four hours on its equatorial axis, the key winding stem for this machinery projecting at the north pole through an engraved hour plate with pointer. With its meridian and its horizon circle it is adjusted to make one revolution in three hundred and sixty-five days. A stationary ring, about 2 cm. in width, which closely surrounds the horizon circle and in its same plane, fits the instrument as a calendar. This ring has engraved on its surface crossing lines, one for each day of the year, to each month there being assigned its proper number of days or lines, as, for example, “October habet 31 dies,” “November habet 30 dies.” As the sphere with its circles revolves, a pointer attached to the horizon circle indicates on the calendar ring each day of each month in succession. The surface of the sphere is exquisitely engraved with representations of the several constellations, the name of each being given in Latin. The instrument is made to rest upon the back of a winged horse in silvered bronze, this in turn standing upon an artistic circle base. It is well preserved and is a choice example of such instruments, which in this period were in particular favor.
Fig. 73. Silver-Gilt Globe of Gerhard Emmoser, 1573.