 employed various engravers to work on the plates of the atlas, but only two have signed their work: Frederik Hendrik van den Hove, author of the frontispiece, and Johannes van Loon, who engraved ten charts. All of the designs of the classical constellations were taken from the ones created by Jan Pieterszoon Saenredam. The current chart, which appears as Plate Six in the atlas, is unsigned.

's 'Tychonic system', which was an attempt to combine what he saw as the geometrical benefits of Copernican heliocentrism with the philosophical benefits of the Ptolemaic system. This map shows the Sun orbiting the Earth, and the planets as orbiting the Sun. 

Double-page engraved copperplate celestial chart, with contemporary hand-colour in full.

’ stunning ‘Harmonia Macrocosmica’ (1660), was the only celestial atlas published during the Golden Age of Dutch 

, and probably the finest celestial atlas ever realized. This is one of twenty-one sumptuous Baroque style charts that majestically represent the three competing astronomical models of the day: the Ptolemaic, Tychonic and the Copernican. 

This map illustrates 

’s theory of the cosmos that shows an attempt to bring together Claudius Ptolemy’s geocentric (Earth-centred) Solar System and Nicolaus Copernicus’ competing heliocentric (Sun-centred) Solar System. Brahe agreed with the Copernican model arranged the orbit of the the five planets – Mercury, Venus, Mars, Jupiter, and Saturn – around the sun. However, he thought that Ptolemy was correct in that the moon, sun, and stars orbited the earth.

This map was included in Cellarius’s ‘Harmonia Macrocosmica’ of 1660, published by 

, who in the same year also included the work as the last volume in his own ‘

’s theory of the cosmos, which combines elements from both Ptolemaic geocentric (Earth-centered) and Copernican heliocentric (Sun-centred) models.

Cellarius' Map of Tycho Brahe’s Theory of the Cosmos