Among those interested in geography, in astronomy, and particularly in the construction of armillary spheres in this period very special mention should be made of Antonio Santucci. For some time he served Prince, later Grand Duke, Ferdinand de’ Medici as his cosmographer. It was during this period of service that he restored the famous terrestrial globe of Egnazio Danti which was a particularly creditable piece of work. In the year 1582 he constructed a large armillary sphere composed of wooden rings, very artistically gilded and painted, representing in particular the orbits of the planets. This the Prince is said to have presented to one Battaglioni of Naples; further than this fact nothing seems to be known of this particular example. In the year 1606, we are informed, he collected and sent to the Grand Duke a number of valuable maps relating to Europe, Asia, Africa, and the West Indies, and to the several separate countries of Europe. In the year 1619 he published, through the favor of Duke Ferdinand, a treatise on comets and the new stars appearing between the years 1577 and 1607. What is probably the finest of all his spheres belongs to the Museo di Strumenti Antichi of Florence, which has been restored and interestingly described by the distinguished scholar, Ferdinand Meucci.[374] As an instrument intended to represent the entire universe, though constructed for display rather than for use, it remains one of the finest constructed in the peninsula during the century. The largest of its nine concentric circles has a diameter of 220 cm., the smallest a diameter of 70 cm., and at the common center is a terrestrial globe having a diameter of 60 cm. Each of the nine great circles or spheres has its own smaller circles representing the equator, the ecliptic, the colures, and the polar circles, the ninth having also the tropics and the hour circle. The eighth, representing the starry heavens, has its ecliptic four times the width of the corresponding circles of the other spheres. Meucci states, in his detailed description, that there are no less than eighty-two armillae or rings, large and small, to which, he adds, eight larger ones might be added, these being cut in half and arranged somewhat in the form of a cup, the lower half supporting the horizon circle, the upper half serving as a support for an adjustable cover of the entire instrument. This arrangement suggests that it was the author’s intention to have these last-named half circles represent the empyrean or home of the celestial spirits, a thought supported by the fact that at the common intersecting point of the upper half of these circles is placed a disc on which is represented the Deity in the act of contemplating his creation. The whole instrument is topped by a cross.