Volume Ii Part 6 (1/2)
The celestial globe, mounted practically the same as the terrestrial, contains the following legend: ”Ecce damus methodo Ptolemaica seu Orteliana coelestium siderum quotquot hodie extare comperimus schemata, situs et ut decet reperiuntur perfecta. Sunt enim ex descriptionibus Hipparchi, Ptolomei, Alphonsi, Copernici, per Tyconem Brahe ad trutinam examinata, nec non Joannis Bayeri, qui Uranometriam per imagines in tabulis aeneis expressit. Et nunc per me D. Silvestrum Amantium Moroncelli Fabrianen Abbatem Bened. Congreg. Silv. calamo descripta coloribusque effigiata adattataque ad Ann. 1716.” ”Observe that we give after the method of Ptolemy or Ortelius the settings of the stars of heaven, as far as they have, to the present, been discovered, and as far as their positions have been made known. We have employed the descriptions of Hipparchus, Ptolemy, Alfonso, and Copernicus, as tested and confirmed by Tycho Brahe, and also by the observations of Johannes Bayer, who expressed the star system (of Tycho Brahe) objectively in bra.s.s tables, now by myself D. Silvester Amantius Moroncelli of Fabriano, Benedictine Abbot of the Silvestrin Congregation. All these have been expressed in letters and represented in colors, and accommodated to the year 1716.”
There is given a second legend of some importance reading, ”Tabula continens quantum quovis proposito anno vel addendum vel demendum sit longitudini affixarum. Stellae enim spatio septuaginta Annorum et quinque mensium unic.u.m gradum secondum Asterismorum ordinem super Polum Zodiaci progrediuntur ab Occasu ad Orientem. Ex hujusmodi Regula invenitur Sidera migra.s.se a Mundi creatione usque ad hunc annum 6915, Gr. 98, M. 47, S. 20. Et ab adventu D. N. J. C. usque ad hunc annum 1716, Gr. 24, M. 30, S. 25.” ”Table noting how much must be added to or subtracted from the longitude of the fixed stars in any given year. The stars move from west to east one degree in the s.p.a.ce of seventy years and five months according to the order of the constellations of the zodiac. From this rule it is found that the stars have moved from the creation of the world a period of 6915 years to the present 98 degrees, 47 minutes and 20 seconds, and from the advent of Our Lord Jesus Christ to this year 1716, 24 degrees, 30 minutes, and 25 seconds.”
In addition to the above-mentioned examples of Moroncelli's work, there may be cited a number of allusions to others which cannot now be located. Fiorini notes first a fine cosmographic sphere designed to represent both the terrestrial and the celestial, having a circ.u.mference of 2.62 palms, and probably constructed for the patrician family Trevisiani.[77] It appears that it later pa.s.sed into the hands of Prince Lucio Odescalchi of Milan, and in the year 1849 was taken to Rome, after which it appears that all trace of it was lost. It is said to have been a very artistic piece, brilliantly colored with numerous pictures executed in miniature, and to have been dated 1690. The anonymous biographer of Moroncelli, whose account exists only in ma.n.u.script and is frequently cited by Fiorini, notes that Moroncelli constructed a ma.n.u.script globe for Queen Christina of Sweden.[78] This has been thought by Porti to be the globe just referred to, but the ident.i.ty is doubtful. Again Fiorini makes allusion to the probable existence at one time of a pair of Moroncelli's globes in the Monasterio Biblioteca of S.
Benedetto of Fabriano, and of still another pair in the Collegio De Vecchi of the same city, but of these nothing at present is known.[79]
The anonymous biography likewise alludes to one of his celestial globes which he constructed and dedicated to Cardinal Alessandro Albani of Urbino. In this the author undertook, like certain others of his day, to subst.i.tute for the Greek mythological characters or figures representing the several constellations, pictures of biblical objects and characters, or of individuals selected from Christian martyrology.[80] While this particular globe cannot now be located, there is a small one of similar character which belongs to the Accademia Etrusca of Cortona, having a diameter of about 27 cm., its map being partly in ma.n.u.script and partly printed. There is the following author and date legend: ”Sacrometria omnium asterismorum coelestium figuris Aecclesiasticis reformatorum a Rev. Abb. D. Sil. Amantio Moroncelli Fabrianen. Silvestrino Ann. 1710.”
”Sacred measurements of all the heavenly stars expressed in ecclesiastical notation by the Rev. D. Silvester Amantius Moroncelli of Fabriano, a Silvestrian, in the year 1710.” A brief descriptive legend reads, ”In hac coelesti sphaera Stellae affixae majori quam hactenus numero et accuratiori industria delineantur novis asterismis in Philomateoru gratiam de integro additis: quae omnia secondum Astronomorum Principis Thyconis Brahe et aliorum observationem verae suae Longitudini ac Lat.i.tudini ad annum Christi 1636 rest.i.tuta sunt.”
”In this celestial sphere the fixed stars are depicted in greater number than previously and with more accurate care, the new stars being added for the use of the student; all of which, according to the observations of that Prince of astronomers Tycho Brahe, and of others, are given with their true lat.i.tude and longitude, and accommodated to the year of Christ 1636.” This library of Cortona possesses a ma.n.u.script of Moroncelli t.i.tled ”Sacrometria omnium asterismorum continens schemata figuris ecclesiasticis expressa Silvestri Amantii Moroncelli Fabrianensis ecc. anno 1707.” ”Sacred measurement of all the stars being a scheme expressing in ecclesiastical notation by Silvester Amantius Moroncelli of Fabriano in the year 1707.” The constellations he divides into three groups: the boreal from 1-19, the zodiacal from 20-31, the southern from 32-58, giving to each a new name. Hercules, for example, he changed to Samson; Lyra to David; Ca.s.siopeia to Eve; Virgo to Virgo Maria a.s.sumpta in Coelum. One can scarcely affirm that Moroncelli exerted a wide-reaching influence, nevertheless he has, for his day, a place of considerable prominence among globe makers.
Mr. William R. Hearst of New York possesses an exceedingly fine ma.n.u.script celestial globe which circ.u.mstances have not left it possible to identify. He has courteously furnished the photograph from which it is here shown in ill.u.s.tration (Fig. 106). Once belonging to Mr. Stanford White, it probably was purchased in Italy, pa.s.sing in the year 1907 into the hands of Mr. Hearst. In the sales catalogue of The American Art Society it is referred to as a globe of the sixteenth century. There, however, is reason for a.s.signing it to the latter part of the seventeenth century, as there is reason for attributing it to the Abbot Silvester Amantius Moroncelli. If the authors.h.i.+p is correctly attributed it may be counted one of great value. The figures of the several constellations are well colored. The mounting is of wrought iron, with gilt ornaments. The globe itself has a diameter of about 90 cm., while its entire height, including the tripod base, is about 200 cm.
[Ill.u.s.tration: Fig. 106. Ma.n.u.script Celestial Globe (Moroncelli?), Late Seventeenth Century.]
Roger Palmer (Fig. 107), Count of Castlemaine (1634-1705),[81]
published, in the year 1679, a work bearing the t.i.tle 'The English globe being a stabil and immobil one, performing what the ordinary globes do, and much more.' In this he described a globe of his own invention, having a diameter of about one foot. It does not appear that the Earl especially distinguished himself in matters either geographical or astronomical. As a diversion from his other interests which claimed his attention, he appears to have turned to the construction of a globe for which he claimed an especial superiority over all others, primarily on account of its simplicity. He set forth in his descriptive text more than twenty of its superior features, and it is interesting to note that Moxon thought well enough of the work to reissue it in the year 1696.[82] (Fig. 108.)
[Ill.u.s.tration: Fig 107. ROGER PALMER _EARL of CASTLEMAIN._ _from an Original by Sir G Kneller at Strawberry Hill._]
[Ill.u.s.tration: Fig. 108. Globe of Earl of Castlemaine, 1679.]
Coronelli gives us the following information concerning a rather remarkable globe which he had occasion to examine in the city of Augsburg, of which he made a drawing for the Venetian Academy (Fig.
109), as he tells us, afterward reproducing the same in his 'Epitome Cosmografica.'[83] This globe he says was the invention of Christopher Treffler of Augsburg and was constructed by Christopher Rad, jeweler to His Majesty the Emperor, in the year 1683. He calls it an ”Automaton Sphaeridic.u.m,” that is, a celestial globe provided with an automatic movement, so contrived as to exhibit accurately the course of the stars, and to indicate the years, months, days, hours, and minutes, together with the eclipses for seventeen years in advance. At the top of the instrument was placed a little sphere by means of which one could represent certain celestial phenomena, past and future. This mechanism, says Coronelli, is ornamented with great ingenuity, good taste, and all regardless of expense. In its construction eighteen hundred ounces of gold and silver had been used. Its height was seven feet, and at the bottom it measured four feet, the entire work rising in the manner of a pyramid above its support of four artistically designed figures. This globe, says Coronelli, which we have seen and handled, and of which we have an exceedingly high opinion, was for sale at eight thousand thaler, and had been fully described in a duodecimo volume printed by the House of Koppmeyer, in the year 1683.[84] It is not known what became of this globe which Coronelli found to be so worthy of his commendation.
[Ill.u.s.tration: Fig. 109. Globe of Christopher Treffler, 1683.]
The Atheneo of Brescia possesses an armillary sphere, having on one of its armillae an inscription which tells us that it was constructed by Gian Battista Alberti in the year 1688, for Count Martinengo.[85] The graduated horizon circle, on which appear the names of the sixteen princ.i.p.al winds or directions, rests upon two semicircles, which in turn rest on a support of bra.s.s ornamented by six allegorical figures. In this supporting base there has been placed a compa.s.s. Its graduated hour circle is furnished with a movable index, such as had become common in globe construction. Five prominent circles represent the equator, the tropics, and the polar circles, to which is added a zodiacal band which is graduated and bears the names and the symbolical figures of the twelve constellations, and the names of the months. Two rings for the purpose of indicating celestial lat.i.tude and longitude are placed within the above-named circles and carry representations of the sun and the moon.
A contemporary of Alberti, Giovanni Maccari of Mirandola, likewise a maker of armillary spheres, is known to us through one only, but a fine example of his work.[86] This sphere belongs to the Liceo Spallanzi of Regio Emilia. The meridian circle, having a diameter of about 16 cm., is graduated both for lat.i.tude and co-lat.i.tude by fives. Adjusted to this meridian is a circle representing the colures, likewise graduated both for lat.i.tude and co-lat.i.tude, but by tens, and adjusted to these are the polar circles, the tropics, and the equator. On the zodiacal circle are engraved the names of the twelve constellations, the names of the days, and on the inner surface the inscription ”Joannes Maccarius Mirandula.n.u.s Feccit 1689.” The supporting base is triangular in shape, having a compa.s.s placed in the center. Within the three angles of this base s.h.i.+elds have been placed, the one bearing the inscription ”Anno Domini 1689,” the second the name ”Jo Vulpis Mirandula.n.u.s Dom??,” by whom the work was probably ordered; the third has a representation of a fox, the emblem of the Volpi family. In addition to the above the base is ornamented with a bronze scroll, to the points of which are attached semicircles which support the horizon circle. This circle has a diameter of about 15 cm., on which are engraved the usual zodiacal names and signs, the names of the months, and of the princ.i.p.al winds or directions. An hour circle is placed at the south pole with a movable index, and within, at the common center of the circles, a small sphere to represent the terrestrial globe, through which the polar axis is made to pa.s.s.
In the Biblioteca Estense of Modena there may be found three armillary spheres apparently of about the same date as the two just described.[87]
One of the three bears the inscription ”Jos Ant?? Vulpes Mirandula Domin. anno Domini 1689.” The other two, somewhat larger in size than the preceding, give us no particular indication of the maker, and no exact date of construction. They may be the work of Alberti or of Maccari.
In Italy's long line of ill.u.s.trious geographers, cartographers, and globe makers none has rank in advance of P. Vincenzo Maria Coronelli (1650-1718).[88] His achievements within his field were prodigious.[89]
While, as noted above, there is wanting the evidence that his influence was extended in striking manner into transalpine countries, he seems at least to have won the enthusiastic recognition of contemporary men of science, as one worthy of honor for his great achievements.
He was a native of Ravenna (Fig. 110), a member of the Franciscan Order of monks, serving in the last years of his life as its general. It was in his young manhood that he went to Venice, which city became the scene of the greater part of his literary and scientific activities.
[Ill.u.s.tration: Fig. 110. Portrait of P. Vincenzo Coronelli.]
More than four hundred maps were drawn, engraved, and printed by him in the Franciscan Convent located on one of the Venetian islands, and known as the Gran Casa del Frari, where he lived with other brothers of the Order. It was in this convent that Coronelli founded, in the year 1680, the first geographical society, to which he gave the name Accademia Cosmografo degli Argonauti,[90] which in its organization followed somewhat that of certain other learned societies owing their origin to the literary and scientific activities of the renaissance period. Its members.h.i.+p, in the course of years, included men of distinction in other cities of Italy and in the North; men famous for their achievements and for their interest in geographical science, literary men, men who held high rank in Europe's aristocracy, cardinals, prelates, princes, and monarchs.[91] The society became one of the most active of the period, and the list of publications which issued from its press, each bearing the argonautic emblem or device--a s.h.i.+p on a terrestrial globe with the motto ”Plus Ultra” (Fig. 111)--is a long one.[92]
[Ill.u.s.tration: Fig. 111. Emblem of the Venetian Accademia Cosmografica degli Argonauti.]
So great had become the fame of Coronelli as early as the year 1685, that he was honored with the t.i.tle Cosmografo della Serenissima Republica, and was granted an annual allowance of four hundred florins, and a copyright privilege protecting him in his right to print and publish any of his works for a period of twenty-five years.[93]
We have no definite information as to the circ.u.mstances attending Coronelli's first interest in globe construction. It appears that his first work in this line, a pair of large ma.n.u.script globes, opened immediately to him a path to fame, for these had come to adorn the library of the Duke of Parma to whom the French Cardinal, d'Estrees, in the year 1680 had occasion to pay a visit and they immediately won the cardinal's interest. A pair of such globes, thought he, for so runs the story, would be a source of great delight to His Majesty the French King, Louis XIV. Learning that the construction of still larger globes was altogether possible, but that their removal from Italy to France would be attended with great difficulty, he persuaded Coronelli to accept an invitation to take up a residence in Paris, there to direct the construction of a terrestrial and a celestial globe, sparing neither labor nor expense that they might be worthy of presentation to the Grand Monarch. If Olearius could construct a globe ten feet and more in diameter for Duke Frederick of Holstein, and Weigel one of similar dimensions for the demonstration of his theories, why, thought Coronelli, should I not undertake the preparation of those at least fifteen feet in diameter, which in all the details of globe construction should be made to surpa.s.s any that had hitherto been conceived? The author himself has given us the first though brief description of his completed work,[94] and the royal astronomer, La Hire, supplemented this description in his little volume published in the year 1704, when the globes had been placed in the Chateau Marly.[95] In the author's own account he alludes to the globes as having been constructed at Paris under his direction, and by order of the Most Eminent Cardinal d'Estrees, for the service of His Most Christian Majesty. Great care was especially exercised in the construction of the machinery designed for the rotation of the spheres, the author being especially proud of the fact that, so delicate was this mechanism, each could be set in motion by a single finger. He further gives us to understand that each sphere was so well fas.h.i.+oned ”one could design upon its surface all the degrees in the manner in which a turner designs any circle on a ball without having it removed from the turner's lathe,” and that the material of which they were constructed was so solid and so well joined that each was able to sustain the weight of thirty men. Each was furnished with a door through which a considerable number of persons might enter at one time, their presence within affecting in no wise the solidity of construction. Each was covered with fine canvas so carefully laid on that none of the joints could be seen, giving a surface smooth as ivory.
The meridian and horizon circles were of bronze, the whole being supported by columns which were richly ornamented. In the base, between the four columns supporting the meridian circles, large compa.s.ses were placed, being so designed as properly to indicate the needle's declination.
On the celestial globe the greater and the lesser circles were represented in gilt bronze, and were so graduated for both lat.i.tude and longitude, ascension and declination, that it was made easy for an astronomer to pa.s.s from one co-ordinate to the other without the aid of trigonometry. On a fine background of ultramarine the several constellations with their respective figures were represented, each of the planets and fixed stars being gilded in order to give it due prominence. The author so designed his star map as to represent the appearance of the heavens at the time of the birth of the Grand Monarch,[96] as is told in the following dedication engraved on a bra.s.s tablet and attached to the surface of the sphere: ”A l'Auguste Majeste de Louis le Grand l'Invincible, l'Heureux, le Sage, le Conquerant. Cesar Cardinal d'Estrees a consacre ce globe celeste, ou toutes les etoilles du firmament, et les planetes sont placees au lieu mesme, ou elles estoient a la naissance de ce Glorieux Monarque, afin de conserver a l'eternite une image fixe de cette heureuse disposition, sous laquelle la France a receu le plus grand present, que le ciel ait iamais fait a la terre. M.DC.Lx.x.xIII.” ”To His August Majesty Louis the Great, the Invincible, the Happy, the Wise, the Conquering. Cesar Cardinal d'Estrees has dedicated this celestial globe, on which all the stars of heaven and the planets are placed in the same position in which they were at the birth of the Glorious Monarch, in order to preserve throughout eternity a fixed image of that happy disposition under which France has received the most n.o.ble present which Heaven has ever made to earth.”
On the terrestrial globe, which in its general features resembled the celestial, the seas were painted blue and the land white, that the several names and legends might appear the more distinct. A portrait of the King was placed above a cartouch containing the dedication, resembling that on the celestial globe, reading ”A l'Auguste Majeste de Louis le Grand l'Invincible, l'Heureux, le Sage, le Conquerant. Cesar Cardinal d'Estrees a consacre ce globe terrestre, pour rendre un continuel hommage a sa Glore, et a ses Heroiques Vertus, en mostrant les pays ou mille grandes Actions ont este executees et par Luy Mesme, et par ses Ordres, a l'estonnement de tant de nations, qu'il avroit pu soumetre a son empire, si sa Moderation n'eust arreste le Cours de Ses Conquestes, et prescrit des bornes a Sa Valeur, plus grande encore que sa Fortune. M.DC.Lx.x.xIII.” ”To His August Majesty Louis the Great, the Invincible, the Happy, the Wise, the conquering. Cesar Cardinal d'Estrees has dedicated this terrestrial globe, in order to render perpetual homage to His Glory and to His Heroic Virtue in representing the countries wherein a thousand great acts have been performed both by Himself and by his Order, to the astonishment of all nations, which He would have been able to bring under his subjection if his moderation had not restrained the course of his Conquests and prescribed bounds to his Courage yet greater than his Fortune. M.DC.Lx.x.xIII.”