| Born | 1527 (Antwerpen) |
| Died | 1598 (Antwerpen) |
| Nationality | Belgium |
| Profession | cartographer, historian, engraver, publisher |
| Notable works | Theatrum Orbis Terrarum |
How does the world fit between two book covers? In the years before 1570, this was a practical question in Antwerp: the shipowner Gillis Hooftman bought maps for his business, but the large rolls were unwieldy in the counting house. His young confidant Jan Radermacher later recalled that he himself had suggested standardizing the maps and having them bound into a book; he had entrusted the commission to a dealer he had known for years, Abraham Ortelius.
Ortelius was actually named Abraham Ortel and had Latinized his name in the scholarly fashion; he was a Fleming from Antwerp, born in 1527. His father, a merchant with roots in Augsburg, died around 1535; responsibility for his mother and sister fell to the son at an early age. In 1547, the Guild of Saint Luke, the painters' guild, registered him as a map colorist - he colored what others had engraved, traded in books, prints, and maps, and traveled regularly to the Frankfurt Fair. There, in 1554, he met the cartographer Gerard Mercator; during a journey together in 1560, his famous colleague is said to have urged him to make maps himself.
The answer to the problem from the counting house appeared in Antwerp on May 20, 1570: the Theatrum Orbis Terrarum, the Theater of the World. Fifty-three map sheets in a single format, each plate engraved specifically for the book, with an explanatory text on the reverse of every sheet - this is why the work is regarded as the first modern atlas, although the word atlas itself did not come into circulation until Mercator's map collection of 1595. Equally new was the bound-in Catalogus Auctorum, the catalog of authors, in which Ortelius named 87 authors, including the 33 cartographers whose maps he had used; in a trade where publishers copied one another without a word, this list of sources amounted to a revolution in honesty.
The first sheet in the book is the “World Map Typus Orbis Terrarum,” engraved by Frans Hogenberg. The Earth lies in an oval between bands of clouds; across the south stretches the merely conjectured southern continent, Terra Australis, and in the cartouche below, a sentence from Cicero asks, in essence, what could still seem great to a person who had the whole world before his eyes. The catalog also lists the same map in a hand-colored version under the title “Typus Orbis Terrarum, map of the world, from Ortelius's 'Theatrum Orbis Terrarum', Antwerp, 1570.” Coloring, Ortelius's first craft, was a luxury surcharge for the atlas. According to the account books of the Plantin printing house in Antwerp, a buyer paid 36 guilders for a colored and bound copy in 1588; the color could double the price of the book.
The Theater of the World grew from one edition to the next and appeared in seven languages; in the mid-1570s, Philip II of Spain, whose dominions then included Antwerp, appointed Ortelius his geographer. Yet Ortelius was most attached to the part he designed himself. From 1579 onward, the Theatrum included an appendix, the Parergon, Greek for supplementary work. This first historical atlas consisted of maps of the ancient world that the antiquarian and collector compiled from classical authors. On the “Map of Ancient Egypt,” based on his own map of Egypt from 1565, the Nile runs through yellow-tinted land like a densely inscribed ribbon; a meander border frames the sheet like an ancient ornament. For “The Expedition of Alexander the Great, from the 'Theatrum Orbis Terrarum', 1603” - the year belongs to a much later edition of the work - he traced Alexander's campaign according to the ancient accounts; an inset shows the walled sanctuary of the oracle of Ammon, while in the accompanying text Ortelius lamented that the ancient authors had been more interested in Alexander's habits than in the geography of his conquests.
The strangest insight of his life appears in a dictionary of ancient and modern place names, the Thesaurus Geographicus of 1596. America, Ortelius wrote, had been torn away from Europe and Africa by earthquakes and floods; the traces of the rupture became visible when the coastlines of the continents were compared on a world map. He himself was thinking of deluges. In doing so, he described the fit of the coastlines some 300 years before Alfred Wegener's theory of drifting continents. Two years later, in 1598, Abraham Ortelius died in Antwerp; his epitaph in the city's Abbey of Saint Michael calls him “Quietis cultor sine lite, uxore, prole,” a lover of peace, without quarrel, wife, or offspring. The copperplates passed in 1601 to the publisher Jan Baptist Vrients, who continued the Theater of the World; the year in the title of the Alexander map comes from his Latin edition of 1603.
What Jan Baptist Vrients took over in 1601 was more than a stack of copperplates - it was also Ortelius's fundamental idea that maps belong together. That idea resurfaces in our order books. The orders for Ortelius received by Meisterdrucke have so far included several of his maps with striking frequency. In a sense, the Theater of the World is thus returning to its original form; what began as a bound collection in 1570 is now reunited as a group on a wall. The lover of peace would probably have been delighted.
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| Born | 1527 (Antwerpen) |
| Died | 1598 (Antwerpen) |
| Nationality | Belgium |
| Profession | cartographer, historian, engraver, publisher |
| Notable works | Theatrum Orbis Terrarum |
How does the world fit between two book covers? In the years before 1570, this was a practical question in Antwerp: the shipowner Gillis Hooftman bought maps for his business, but the large rolls were unwieldy in the counting house. His young confidant Jan Radermacher later recalled that he himself had suggested standardizing the maps and having them bound into a book; he had entrusted the commission to a dealer he had known for years, Abraham Ortelius.
Ortelius was actually named Abraham Ortel and had Latinized his name in the scholarly fashion; he was a Fleming from Antwerp, born in 1527. His father, a merchant with roots in Augsburg, died around 1535; responsibility for his mother and sister fell to the son at an early age. In 1547, the Guild of Saint Luke, the painters' guild, registered him as a map colorist - he colored what others had engraved, traded in books, prints, and maps, and traveled regularly to the Frankfurt Fair. There, in 1554, he met the cartographer Gerard Mercator; during a journey together in 1560, his famous colleague is said to have urged him to make maps himself.
The answer to the problem from the counting house appeared in Antwerp on May 20, 1570: the Theatrum Orbis Terrarum, the Theater of the World. Fifty-three map sheets in a single format, each plate engraved specifically for the book, with an explanatory text on the reverse of every sheet - this is why the work is regarded as the first modern atlas, although the word atlas itself did not come into circulation until Mercator's map collection of 1595. Equally new was the bound-in Catalogus Auctorum, the catalog of authors, in which Ortelius named 87 authors, including the 33 cartographers whose maps he had used; in a trade where publishers copied one another without a word, this list of sources amounted to a revolution in honesty.
The first sheet in the book is the “World Map Typus Orbis Terrarum,” engraved by Frans Hogenberg. The Earth lies in an oval between bands of clouds; across the south stretches the merely conjectured southern continent, Terra Australis, and in the cartouche below, a sentence from Cicero asks, in essence, what could still seem great to a person who had the whole world before his eyes. The catalog also lists the same map in a hand-colored version under the title “Typus Orbis Terrarum, map of the world, from Ortelius's 'Theatrum Orbis Terrarum', Antwerp, 1570.” Coloring, Ortelius's first craft, was a luxury surcharge for the atlas. According to the account books of the Plantin printing house in Antwerp, a buyer paid 36 guilders for a colored and bound copy in 1588; the color could double the price of the book.
The Theater of the World grew from one edition to the next and appeared in seven languages; in the mid-1570s, Philip II of Spain, whose dominions then included Antwerp, appointed Ortelius his geographer. Yet Ortelius was most attached to the part he designed himself. From 1579 onward, the Theatrum included an appendix, the Parergon, Greek for supplementary work. This first historical atlas consisted of maps of the ancient world that the antiquarian and collector compiled from classical authors. On the “Map of Ancient Egypt,” based on his own map of Egypt from 1565, the Nile runs through yellow-tinted land like a densely inscribed ribbon; a meander border frames the sheet like an ancient ornament. For “The Expedition of Alexander the Great, from the 'Theatrum Orbis Terrarum', 1603” - the year belongs to a much later edition of the work - he traced Alexander's campaign according to the ancient accounts; an inset shows the walled sanctuary of the oracle of Ammon, while in the accompanying text Ortelius lamented that the ancient authors had been more interested in Alexander's habits than in the geography of his conquests.
The strangest insight of his life appears in a dictionary of ancient and modern place names, the Thesaurus Geographicus of 1596. America, Ortelius wrote, had been torn away from Europe and Africa by earthquakes and floods; the traces of the rupture became visible when the coastlines of the continents were compared on a world map. He himself was thinking of deluges. In doing so, he described the fit of the coastlines some 300 years before Alfred Wegener's theory of drifting continents. Two years later, in 1598, Abraham Ortelius died in Antwerp; his epitaph in the city's Abbey of Saint Michael calls him “Quietis cultor sine lite, uxore, prole,” a lover of peace, without quarrel, wife, or offspring. The copperplates passed in 1601 to the publisher Jan Baptist Vrients, who continued the Theater of the World; the year in the title of the Alexander map comes from his Latin edition of 1603.
What Jan Baptist Vrients took over in 1601 was more than a stack of copperplates - it was also Ortelius's fundamental idea that maps belong together. That idea resurfaces in our order books. The orders for Ortelius received by Meisterdrucke have so far included several of his maps with striking frequency. In a sense, the Theater of the World is thus returning to its original form; what began as a bound collection in 1570 is now reunited as a group on a wall. The lover of peace would probably have been delighted.