the map drawn by hand, as the Behaim globe; or the ball was of wood with map in manuscript, as was probably the globe attributed to John Cabot. Here were beginnings, and the following century witnessed a remarkable increase of interest in globe construction.
If the actual number of globes constructed shortly before and shortly after 1500 appears to have been small, judging from the number extant, we often find additional assurance of interest in such instruments in the use that was made of them for illustrative purposes, and for decoration. Terrestrial and celestial globes, as well as armillart spheres, frequently appeared on title-pages (Figs. 26, 27), in paintings (Fig. 28), or constituted a part of the library furnishings (Fig. 29).124
Fig. 27. Second Title-page of Mauro Fiorentino’s Sphera Volgare, 1537.
Fig. 28. Holbein’s Ambassadors, ca. 1536.
Fig. 29. Library of Escorial.
Among the ducal houses, famous in Italy in this period for interest in matters geographical, none was more conspicuous than was the house of Este of Ferrara.125 We have an interesting letter dated Rome, January 17, 1509, and written by Fioramonte Brognoli to Isabel of Este, wife of Francis II, Marquis of Mantua, daughter of Hercules I, Duke of Ferrara, who was responsible for the draughting of the Cantino map of the year 1502,126 and granddaughter of Duke Borso, to whom Donnus Nicholas Germanus dedicated or addressed, in 1466, his twenty-seven Ptolemy maps.127 Brognoli, having received from the Marchioness an order for a copy of the globes, terrestrial and celestial, possessed by Pope Julius II, made reply that “the map and celestial signs which are painted on two solid spheres in the library of the Pope, of which your Excellency would like to have copies, I have ordered, and the same to be made by a good painter of the Palace, who tells me that it will take some time because the matter is quite difficult. I will not fail in care, and will provide the necessary funds, so that as soon as possible I will send them to you by a trusty messenger.”128 Again the Roman correspondent wrote, the letter bearing date February 1, 1505, “That master painter who would like to make copies of the map and the zodiac which are in the library of the Pope, about which Your Excellency wrote me some time ago, tells me that to make them with linen it will cost more than forty ducats, but to draw them on paper according to a certain design which is painted on canvas in that place, it would cost very little. I thought I would inform Your Excellency before giving the order, that I might ascertain your wishes, for I shall do exactly that which you desire.”129 February 20, 1505, the Marchioness replied from Mantua, saying that “the expense of forty ducats will not deter us, if the copy of the map and of the zodiac is well made and is similar to that found in the library of the Pope. You may order it to be made with extreme diligence and with exactness.”130
The globe of Pope Julius II, in question, must then have been constructed prior to 1505, seeing this to be the year of the correspondence to which reference has been made above. From the partial description given in the letters we are led to the conclusion that they were not engraved metal globes, but their maps were manuscript, and were well decorated by hand. The Vatican Museum is still in possession of a celestial globe which may well be one of those once belonging to Pope Julius II, the terrestrial globe having disappeared. From the interesting description of Denza131 we learn that this remaining one is a hollow wooden ball, 95 cm. in diameter. That there might be an even surface on which to draw the star map, a covering of plaster had been provided, 4 mm. in thickness. It is furnished with a somewhat elaborate base, ornamented with sphinxes with the heads of eagles and the feet of lions. Its horizon circle, supported by four quarter circles, is a band 5 cm. wide, the surface of which is divided into five concentric circles, within which are the names of the several signs of the zodiac in Latin, the names of the days of the month, and the names of the eight principal winds in the Italian language. Along the outer edge of this horizon circle is the following inscription, “Daniel Chassignet. Fecit. Romae 1617,” a name and date clearly applying only to this circle or to the globe’s mounting. It has a meridian circle within which the sphere revolves. On the surface of the ball we find represented the principal circles, that is, the equator, the tropics, the polar circles, with five meridians, and the ecliptic, its twelve signs being represented in gilded characters. The coat of arms, painted near the south pole, is not that of Pope Julius II, but of Cardinal Gian Stefano Ferrero, Bishop of Bologna, who became a supporter of Juliani della Rovere in his candidacy for the papal office, and to which office he was elected, becoming known as Julius II. Fiorini thinks it probable that the globe was presented by Cardinal Ferrero to the Pope, and that while in his possession the coat of arms was painted on its surface. It is indeed not improbable that it was originally constructed for the Cardinal. Contrary to the opinion of Denza, Fiorini’s conclusion is that the decoration of the globe is not to be attributed to Giulio Romano, a distinguished pupil of Raphael, and the arguments presented seem acceptable.132
As proof of an existing interest in globes, in Italy, in the first years of the sixteenth century, other than that given by the letters of Isabel of Este, and the globes of Pope Julius, we find an allusion to the subject by Friar Marco da Benevento, member of the order of Celestini and a renowned mathematician. In his ‘Orbis nova descriptio,’133 which he added to an edition of Ptolemy, issued in Rome in the year 1507 or 1508, he alludes to the difficulty of representing the earth upon a solid sphere, adding that the greater the size of the same the greater the difficulty there is in moving it, and that the larger the globe the more difficult it is to