’ atlas consisted of a collection of the best maps, refined by himself, combined into one map or split across multiple pages of the same size. The atlas incorporated fifty-three charts from various cartography masters with additional maps provided by Ortelius. Previously, groupings of maps were only created for individual one-off orders. In the Ortelius atlas, however, the maps were standardized, all similar in style and size arranged logically by continent, region, and state.

The atlas opens with an elaborate engraved architectural title showing five allegorical female figures of the continents with Europe at the top, Asia and Africa on the sides, America, and the bust of Magellanica representing the yet unexplored southern continent ‘terra incognita’. At the foot is a laudatory poem by Ortelius dedicated to Philip II of Spain. The atlas contains 156 double-page engravings (151 map sheets, 2 costume plates, 3 views), hand-coloured throughout, and numerous hand-coloured woodcut initials. All the maps were drawn in manuscript by Ortelius and engraved by Franz Hogenberg. The maps are decorated with beautiful renaissance-style cartouches and adorned with ships, sea or mythological monsters, coats of arms, masks, medallions, birds, various characters and other beautiful motifs. In the bibliography, all the cartographers whose work was reprinted in the atlas were referenced and documented. 

Ortelius played a pivotal role in disseminating the revelations of the important explorations and cartographical works of his time. The enthusiasm he and his colleagues felt for their task is suggested in the quote from Cicero at the bottom of the world map, which may be loosely translated: "How can human affairs be taken seriously by one who contemplates the great world and all eternity?".

 (1527–1598) was one of the most innovative publications of the Renaissance. It was the first true atlas in the modern sense of the word, and as such, it introduced an entirely new and standardised 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 is generally considered one of the leading figures of the golden age of Netherlandish cartography (approximately 1570s–1670s) and an important geographer of Spain during the age of European exploration.

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.

' masterwork Theatrum Orbis Terrarum, was one of the most influential publications produced in the Renaissance. As the first true atlas of its kind, the work had no precedent. Its comprehensive coverage of the world, the uniform excellence of its maps, the standardised style and format, the extensive use of the vernacular for marketing, its scholarly citations, and its massive classical appendix made it an immediate best seller with numerous editions reissued in the following decades. 

This 1603 Latin edition was published by Jean Baptista Vrints is one of the most complete issues of the atlas, including both the supplemental 'Parergon' and 'Nomenclator'. Collectively, these materials played a pivotal role in bridging classical conceptions of the world with the new revelations from European exploration. The importance that Ortelius felt for this task reverberates in the quote from Cicero at the bottom of the atlas’s grand world map, which may be loosely translated: "How can human affairs be taken seriously by one who contemplates the great world and all eternity?"

The ‘Theatrum’ was the first major printed work of any kind to include scholarly citations of authorities (i.e. the original mapmakers), thus introducing for the first time the concept of footnoting to Western scholarship. 

 included a massive appendix (the ‘Parergon’), consisting of a detailed classical atlas, to appeal to Renaissance Europe's fascination with the ancient world.

World map on an oval projection

Frontispiece

Dedication page

Second dedication page

Portrait of Ortelius

Map of Europe

Map of Asia

Map of Africa

Map of America

Map of the Pacific 

Map of Spain

Map of the islands around Spain

Map of the Peruvian Gold Region

Map of Great Britain

Map of Scotland 

Map of England

Map of Wales

Map of Ireland 

Azores Islands

Map of Portugal 

Map of Andalusia, Spain

Map of Valencia, Spain

Map of the Atlantic Ocean on a disk 

Map of Gaul, France

Map of Gaul and the British Isles attached to Europe

Neighbouring European regions of the Picts Pictonum

Region of the Biturigi tribe, Europe, Biturigum-Limaniae

Anjou, France

Isle de France, France

Touraine, France

Blois and surroundings, Limoges and surroundings- France

Vermadois France

Picardy, France

Provence, France

Narbonne, France, Savoie, France Provence-Alpes-Azur, France

Lorraine, France

Burgundy, France

Lower Burgundy 

Germany

Lower Germany 

Luxembourg

Gelderland, Netherlands

Diocese of Liège, Belgium

Brabant Province, Belgium

Namurcum, Belgium

Namur, Hainaut, Belgium

Artesia, Belgium

Flanders, Belgium

Zealand 

Holland

Fresia

Fresia West

Fresia East

Kingdom of Denmark 

Schleswig-Holstein, Germany

Holstein and Oldenburg, Germany

Westphalia, Germany

Saxony, Germany

Mansfeld, Germany

Henneberg, Germany + Hesse, Germany

Thuringia, Germany, Meissen Germany

Brandenburg, Germany

Fulda, Waldeck, Germany 

Braunschweig, Nuremburg, Germany

Franconia, Münsterland, Germany

Bohemia 

Silesia 

Moravia

Austria

Salzburg, Austria

Bavaria 

Bavaria- the Rhine North and South of Strasbourg

Württemberg, Germany

Basel, Switzerland and Schwaben

Switzerland

Raetia, modern Switzerland, Goritiae

Italy

Cividale del Friuli, Italy 

Verona, Italy

Milan, Italy

Cremona, Italy 

Province of Brescia

Piedmont, Italy 

Padua, Italy, Tarvisio, Italy

Udine, Rome, Lake Como

Tuscany, Italy 

Florence, Italy

Perugia and Lake Trasimeno in Umbria

Siena, Corsica, Ancona, Italy 

Abruzzi, mid East Italian mountain range

Basilicata region, Italy 

Apulia, Italy, Calabria, Italy 

Sicily, Malta, Sardinia, Corfu, Elba and Zerbia

Ischia, Italy 

Heraklion, Crete, Archipelago Islands

Cyprus

Greek Islands

Illyricum, Roman Province

Croatia 

A superb example of Ortelius' Renaissance masterwork: the first true atlas, in full contemporary hand colouring. The 1603 Latin edition published by Jean Baptista Vrints is one of the most complete issues of the 'Theatrum Orbis Terrarum' and includes both the 'Parergon' and 'Nomenclator'.

Contemporary red morocco, covers bordered and panelled in gilt and blind, covers with a large central design in gilt, spine in seven compartments with raised bands, ruled in gilt on either side of each band, compartments with a repeat decoration in gilt

Engraved allegorical general title-page with full-page engraving of the arms 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, engraved section-title to the 'Parergon' with architectural surround, engraved vignette on letterpress section-title to the 'Nomenclator'; 156 double-page engravings (151 map sheets, 2 costume plates, 3 views), hand-coloured throughout, numerous hand-coloured woodcut initials. 

Theatre of the World

Theatrum Orbis Terrarum

Ortelius' Atlas

Scene of the Temple of Daphne