Maris Pacifici In Ortelius brought out his Nomenclator Ptolemaicus and started his Parergon a series of maps illustrating ancient history, sacred and secular. He also published Itinerarium per nonnullas Galliae Belgicae partes at the Plantin press in , and reprinted in , in Hegenitius, Itin. In he published Maris Pacifici , the first dedicated map of the Pacific to be printed. Caesaris omnia quae extant, Leiden, Raphelingen, , and the Aurei saeculi imago, sive Germanorum veterum vita, mores, ritus et religio.
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The publication of the Theatrum Orbis Terrarum in marked an epoch in the history of cartography. Shape and contents set the standard for later atlases, when the centre of the map trade moved from Antwerp to Amsterdam. The Theatrum consists of two elements; text and maps. Ortelius reduced the best available maps to a uniform format. Further, the Theatrum was the first major printed work of any kind to include scholarly citations of authorities i.
Beside this he added the names of many other carthographers and geographers to his list. This "Catalogus auctorum tabularum geographicarum", is one of the major peculiarities of the atlas. Ortelius and his successors kept his list of map authors up-to-date. In the first edition of the list included 87 names. In this posthumous edition of , it contained names.
Nomenclator Ptolemaicus. Ortelius interest in history is seen in the addition of the Nomenclator Ptolemaicus, with its own title page , this was a list of place names, areas, islands, etc. The atlas also contains De Mona Druidum Insula Epistola, a six folio page letter by the British geographer Humphrey Llwyd with a description of the islands of Anglesey and Man. All Latin editions contained these scientific appendices which Ortelius apperantly regarded as unnecesary in most other editions.
The first edition including his bibliography. Abraham Ortelius was one of the most prominent citizens of Antwerp, at a time when this city was a major trading centre of Europe, and indeed of the world.
His first biography was written shortly after his death in the form of a book of mourning, entitled Insignium huius aevi poetarum lacrymae, in obytum Cl.
Abrahami Ortelii, Antverpiani. Its author was his good friend Francis Sweertius, and it appeared in This Latin edition of was the first edition including a summarised version of this bibliography of Ortelius and the section is followed by a engraved full-page memorial to Ortelius incorporating a small circular portrait of him.
In fact, this collection of maps of the ancient world was so significant that it became the model for all historical atlases published throughout the seventeenth century. Unlike the Theatrum, which consisted of existing maps reduced by Ortelius, the maps in the Parergon were drawn by Ortelius himself.
As a scholar of antiquity, a dealer in antiques, and a visitor to ancient sites, he was well prepared to execute the maps and all the maps from the Parergon reflect his passion for the ancient world.
Abraham Ortelius himself drew all his maps in manuscript before passing them to the engravers Frans Hogenberg, Ambrosius and Ferdinand Arsenius. The heirs of Ortelius sold the copperplates, and the publication rights in , to Jan Baptist Vrients, who added some new maps.
Theatrum orbis terrarum, Antwerp: Jan Baptist Vrients, Mounted on guards throughout. With full period hand-colouring throughout. Hand-coloured engraved allegorical general title, with full-page engraving of the arms of Philip II of Spain on the verso, engraved full-page memorial to Ortelius incorporating a small circular portrait of him, full-page engraved portrait of Ortelius by Phillip Galle, hand-coloured engraved section-title to the Parergon with architectural surround, uncoloured engraved vignette on letterpress section title to the Nomenclator.
The front and back cover are richly tooled with center piece. The gilt has been faded but is partly still visible. With expert restoration at board edges. Throughtout the book the upper right margin with light foxing and several pages with expert marginal reinforcement of paper, with the usual light browning of paper.
Altogether a very attractive copy, with broad margins, very attractive original colouring and attractive binding. Examples in bright original colouring and still in a fine contemporary, and richly tooled binding are rare now-a-days. Marcel v. Broecke estimates that copies of this edition are printed. The Theatrum It was the first true atlas in the modern sense of the word, and as such, it introduced an entirely new and standardized method for the study of geography.
For the first time in one volume, all parts of the globe were treated in a comprehensive and uniform manner, and thus it presented as complete a picture as was then possible of the whole world. Ortelius published editions of his atlas not only in Latin, the traditional language of the scholarly elite, but in the six major European vernaculars: German, Dutch, French, Italian, English and Spanish. The Theatrum was therefore equally at home in the library of a scholar in Paris, a country gentleman in Kent, or a merchant in Grenada.
This widespread dissemination had profound results in an age when geographical knowledge was in a rudimentary state: the information laid out in the Theatrum became the universally accepted vision of the world. Another strategy used to make the atlas more accessible to the public was the inclusion of beautiful embellishments in the popular mannerist style, thus appealing to contemporary aesthetic tastes, and aligning the Theatrum with the other great artistic accomplishments of the age.
In speaking of the maps in the Theatrum, the noted art historian, James A. Ortelius played a pivotal role in disseminating the revelations of the important explorations and cartographical works of his time. Later, together with his sister, he became a seller of books, prints and maps.
Travelling widely, especially to the great book fairs, his business prospered and he established contacts with the literati in many lands. On one such visit to England, possibly seeking temporary refuge from religious persecution, he met William Camden whom he is said to have encouraged in the production of the Britannia. A turning-point in his career was reached in with the publication of a World Map in eight sheets of which only one copy is known: other individual maps followed, and then - at the suggestion of a friend - he gathered together a collection of maps from contacts among European cartographers and had them engraved in uniform size and issued in as the Theatrum Orbis Terrarum Atlas of the Whole World.
Philip sent him a golden necklace worth one thousand ducats. He died on the 28th of June at the age of Map colouring. Luke as "afsetter" or colourist of maps and prints. Ortelius was never married and lived with his sister Anna, a situation that would not change throughout his life.
Real prosperity arrived with the publication in of his atlas, and it was his sister Anne who took over the task of colouring, and remained a competent colourist for the rest of her life. Incidentally, most map colouring at this time was done by children.
A sampling of the maps included in this atlas: Since the important map of Japan and the island of Korea was included in the Theatrum and it was for the first time Japan was "decently" mapped, both position and shape. Since the middle-ages Japan was depicted as Chipangu or Zipangu. The Portuguese reached Japan in Till in all foreigners, except the Dutch and Chinese, had to leave the country.
At the time missionaries offered the most cartographic information about the country. The data from the Jesuits was accordingly revised by the official Portuguese cartographs, like Fernao Vaz Dourado. He gave Japan the shape of the back of a tortoise, like it was depicted already in the second half of the sixteenth century.
Thanks to the close contacts between Ortelius with Luis Teixeira, the most modern map in was added to the Theatrum, the orientation of the island Honsyu is not optimal yet, but the shape, now probably derived form autochthonous examples, has made a considerable improvement. With a letter dated at February 2, Texeira sent to Ortelius "dos piesas de las descriptiones de la China y del Japan.
At the same time he promised a map of Brazil, but only the map of Japan and Korea was used for the Theatrum since The map is the first reasonably accurate and recognizable European depiction of Japan. Little was known of this mythical and remote island.
Korea is shown as an island and even less was known about it.
Theatrum orbis terrarum
Content[ edit ] The atlas contained virtually no maps from the hand of Ortelius, but 53 bundled maps of other masters, with the source as indicated. Previously, groupings of disparate maps were only released as custom lots, to individual order. In the Ortelius atlas, however, the maps were all in the same style and of the same size, printed from copper plates, logically arranged by continent, region and state. In addition to the maps he provided a descriptive comment and referrals on the reverse.
Theatrum Orbis Terrarum