Milanesi, Marica (Author)
The terrestrial globe of the gigantic globe pair made by Vincenzo Coronelli for Louis XIV features a multilayered text, which could be studied from many points of view: I have examined here its special geography, i. e. what we would call now its geographical contents from a regional or local angle. In particular, I have chosen as subject of this paper the representation of animals and human beings living on land (anything pertaining to waters -- from winds and tides to boats, fishes, sailors, sea battles, or havens -- being the field not of Geography but of Hydrography). The mass of information painted and written on its surface makes the globe one of the most valuable surviving sources of information about late XVIIth century court culture, particularly in the fields of special geography and early natural history. It is my opinion that the scientific contents of the globe were much more important, in their evaluation by the public, than its symbolic meaning. This one has received by some scholars much more stress than it deserved. Personal preferences of the King are reflected in the decorative-informative system of the globe: its painted menagerie, its hunting human figures, its boats, was made to satisfy his personal curiosities, as documented by other sources. The globes were really designed for the Mirror Gallery of Versailles, as Coronelli states, and painted by the artists working at the palace. Of the original stands, planned but never realised, we have only a print by Coronelli. It shows that the globes were meant for a wide, elongated space.
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