Participating in Homo Faber 2024 felt like coming full circle. Not only could I showcase my craft as a globe-maker, but I was back in the city that first initiated me to the world of art.
I talked a bit about what it all meant for me in this article.
The event, lasting a full month, was intense—thousands of visitors came through daily, asking me about every aspect of globe-making.
Here, I’d like to share the ten questions I received most frequently, questions that reveal just how curious people are about this unique and meticulous craft.
What Material is the Globe Made From?
Starting with an all-time classic, visitors to the exhibitions never failed to ask something along the lines of “What is the globe made of?”
People often assumed it was metal and more than one even bet on plastic (!).
In fact, I only use wood and plaster as traditional materials to craft my globes, as opposed to plastic and artificial resins.
Wood is especially important for a dual reason.
First, wood is the fundamental material Vincenzo Coronelli, legendary globe-maker and author of the 1693 tome Epitome Cosmografica, advised to use. Following his precepts down to the minute detail, I can craft globes just like the ancient globe-makers did.
Secondly, the specific kind of wood I use, which can only be found in the woods near Venice, is a special material that is lightweight yet sturdy enough to handle intricate detailing.
Apart from wood and plaster, I also use two other materials to build my globes: chalk and jute fibre.
While high-quality chalk ensures a smooth and perfectly even surface, eco-friendly natural jute fibre lends the globe its peculiar resilience.
How Are the Maps Applied to the Globe?
Many visitors imagined that applying maps to the globes was the easiest part of my job. But that’s not the case. The process is quite hands-on, demanding an almost sculptural approach.
Each map is etched onto special copper plates, a process requiring absolute attention to detail. Then, the maps are hand-printed with an oil-based ink able to reproduce even the smallest element virtually to perfection.
Applying the maps, called ‘gores’ at this stage, is by no means an easy task.
First, I soak the printed map in water for several hours before carefully stretching it over the sphere, using an organic glue based on an original recipe by Vincenzo Coronelli.
This step is particularly challenging, as it requires turning a two-dimensional map into a three-dimensional surface without damaging the paper - accurately aligning all 12 pieces.
Afterwards, I go over the details, painting the maps using hand-crafted watercolours made in Assisi, which ensure peerless purity and vividness.
During my stay at Homo Faber 2024, I had the pleasure of directing a workshop where visitors could try and produce their very own globes, starting from map-making.
Learn about it here.
Are the Maps Modern or Historical?
A frequent question was whether the maps I use are current or historical.
The answer is both: while most globes I craft are precise reproduction of the earth as we know it today, the most ambitious globe I crafted so far, which is also the one showcased at Homo Faber, represents something else.
This globe is a loyal reproduction of the world as described by Dante Alighieri, arguably the greatest mind among all medieval intellectuals.
The author of La Divina Commedia described in his masterpiece the geography of the world as it was conceived by Westerners of the time.
In this ancient representation, heavily influenced by the Christian faith, the northern (boreal) hemisphere, where men live, is bounded to the east by the Ganges River and to the west by the Pillars of Hercules.
The southern (austral) hemisphere is instead completely covered by water and thus not inhabited by humans. According to Dante, here a large island can be found, from which a massive mountain towers in the middle of the boundless ocean: the mountain of the Purgatory.
What Types of Paper Are Used, and Why?
Naturally, the choice of paper is crucial to create the right maps for my globes.
While paper might seem a fairly simple item to get, 17th century globes were made using a special kind of paper that is no longer produced.
That is why I worked with artisans from the city of Fabriano to reproduce an ancient loom. This instrument can create the original Fabriano papers that Coronelli and other globe-makers had at their disposal at the time.
While not being an easy feat, this enabled me to use authentic 17th-century paper to create my globes.
Visitors were often surprised by how much the texture and quality of the paper contribute to the final aesthetic, especially on historical-style globes where an authentic feel is essential.
What Drew You to Become a Globe Maker?
It is a question I love to answer, as my journey started in Venice, where I discovered Vincenzo Coronelli’s book, Epitome Cosmografica, as well as the rich tradition of Venetian globe-making.
Thankfully, I have been lucky enough to find an original copy of this priceless book, written in 1693, which truly represents a testament of artistic vision from the past.
As an artisan and a passionate lover of history, the curiosity that landed on me was unbearable.
it was not long after my discovery that I decided my next quest would be to study the art of globe-making directly from the source, attempting to recreate techniques that have been long lost to time.
After years of efforts, progress, and failures, I eventually achieved my goal, crafting the very first 17th-century Venetian Globe after 300 years.
Do You Work Alone?
In a way, yes. Globe-making is often solitary, demanding a quiet workspace where I can focus for hours, sometimes days, without interruption.
But saying that I only work alone would be a huge overstatement. In fact, my work would not be possible if I didn’t find a large network of artisans and people all over Italy, with whom I shared my passion.
Thanks to them, I was able to find – or recreate – the original materials and techniques I needed to craft the globes: Fabriano Paper, Assisi Watercolours, handmade goldleaf, and many other founding elements of my globes would simply be impossible to obtain otherwise.
For this reason, while I ultimately craft globes alone, closed off in my studio, the process that enables me to do so is profoundly and intrinsically social.
Personally, I find this fact fascinating: despite all my best efforts, reviving the past is a feat that can only be achieved with cooperation, sharing a common belief and vision.
This perspective also enabled me to enjoy Homo Faber to its fullest.
Spending every day interacting with over 1,500 visitors, I shared my process and saw their fascination firsthand. Doing so for a whole month was not easy, but the energy of these conversations was contagious, and it made me realise how valuable it is to connect directly with people.
Will You Teach Globe-Making Workshops?
As I mentioned, I had the chance to lead daily workshops at Homo Faber, sponsored by Mazda. During these sessions, participants could create small globes, engaging with the step-by-step process from engraving to assembly.
The workshops sold out almost instantly, and each participant took home a hand-crafted globe, a piece of the experience and a connection to the craft.
Seeing so much enthusiasm, I’m considering organising something similar again in the future, but that remains to be confirmed.
How Can We Learn More About Globe-Making?
Many people wanted to know where they could find more resources on Venetian cartography and the tradition of globe-making.
I often recommended researching the works of historical figures like Vincenzo Coronelli or exploring ancient cosmography in general. The richness of historical sources is deep and, despite being often hard to find, remains invaluable.
For those interested in my own work, the path to follow is considerably easier.
Consult my blog or social media profile, where I share my daily craft and give updates on my projects.
Needless to say, I often talk about globe-making lore in depth, as a way to spread knowledge and appreciation for this beautiful craft.
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