In 2012, a woodcut print for a c. 11 centimeter globe was discovered in an ancient volume in the University Library in Munich. This pivotal 1 million US$ globular world map, which only differs marginally from four other extant woodcut copies, attracted worldwide media attention. This discovery ignited the search for the date and the origin of an enigma in the form of an intricate secretive small Renaissance map. The aforementioned had been acquired inserted in a French adapted and unauthorised copy of the Introduction to Cosmography dated 1507 and printed in Lyon. The son of a Dutch American immigrant from Flusching, H. C. Kalbfleisch bought it in Paris in 1881 and brought it to New York. The author offers key evidence that this secretive map is an important misinterpreted and misdated cultural historical prototype which antedates five later woodcut copies: gores in Munich UB, Minnesota-Hauslab, Christie's, SL Munich and Offenburg. He proves that its size and scale are inspired by a calculation of Leonardo da Vinci as described in one of his Codices, and applied on the 1504 Ostrich Egg globe discovered in London 2012. The research methodology used is stemmatics as developed by the German scholar K. Lachmann applied on ancient maps and the evaluation of the scientific aspects and architectural, historical and artistic design. Evidence was offered that the Introduction to Cosmography printed in France in which the engraved map was loosely inserted, together with two additional copper engravings, was printed prior to March 1508. The map research leads to the Benedictine monk and German cartographer, globe constructor and astrologist Donnus Nicolaus Germanus. The latter was the first who constructed a terrestrial and a celestial globe for the library of the Pope Pius IV. The two additional copper engravings lead to the Dutch born medical doctor and astrologer Guillelmus de Wissekerke, supplier of astrological instruments for French kings and the Duke of Milan. The artistic decorator for these copper engravings L. Boulengier was from the city of Albi in France, a possible key stepping-stone to the Papacy in Rome. The cathedral in Albi stood as an architectural symbol against the Cathars. Boulengier drew his inspiration from the Gothic flamboyant style of that world heritage cathedral in his home town Albi. He decorated these engravings on behalf of the powerful and art-loving Florimond de Robertet, Secretary of State for three subsequent French kings including King Francis I, 1515. Robertet was a client of Leonardo da Vinci. A date on two of S. Missinne 240 the three artistic prints is a key date for the royalty of France. The French king Louis XII lost the succession of his House Valois-Orléans to the House of Valois-Angoulême after failing to produce a male heir to the throne. The author concludes that the small globular map naming America is America's oldest Birth Certificate. A printed letter-early 1508-by Martin Waldseemüller provides the date. The small map precedes by more than eight years the large woodcut wor...

ABSTRACT:This paper reports in detail on the image-based modelling and unwrapping approach used to create a two-dimensional projected map of an astonishing ostrich egg globe from AD 1504. This miniature egg globe is not only the oldest extant engraved globe, but it is also the oldest post-Columbian globe of the world and the first ever to depict Newfoundland and many other territories.

Leonardo da Vinci must have been aware that Columbus discovered new territories in the West. Until now, no material evidence had been found to substantiate this assumption. Here we show that Leonardo not only read Amerigo Vespucci's letter (derived from a painted star constellation), but that he even drew a map including the New World, a drawing which was previously interpreted as a depiction of the Moon. Finally, Leonardo engraved his notion of this new continent on an ostrich egg globe (now known as the Da Vinci Globe) and made a copper cast of this. Both the cosmographic and cartographic clues demonstrate that Leonardo da Vinci knew about the fourth continent, to be named "America" in 1507, less than a decade after Columbus embarked upon its shores. This expansion of Leonardo's cartographic legacy comes at a time of increased interest for such multidisciplinary insights, as the world commemorates in 2019 the 500 th anniversary of his death.

The author discusses a previously unknown early sixteenth-century renaissance handmade anatomical miniature skull. The small, naturalistic skull made from an agate (calcedonia) stone mixture (mistioni) shows remarkable osteologic details. Dr. Saban was the first to link the skull to Leonardo. The three-dimensional perspective of and the search for the senso comune are discussed. Anatomical errors both in the drawings of Leonardo and this skull are presented. The article ends with the issue of physiognomy, his grotesque faces, the Perspective Communis and his experimenting c. 1508 with the stone mixture and the human skull. Evidence, including the Italian scale based on Crazie and Braccia, chemical analysis leading to a mine in Volterra and Leonardo's search for the soul in the skull are presented. Written references in the inventory of Salai (1524), the inventory of the Villa Riposo (Raffaello Borghini 1584) and Don Ambrogio Mazenta (1635) are reviewed. The author attributes the skull c. 1508 to Leonardo da Vinci.

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