The present example is a reissue (1708) by the publishing partnership of Gerard Valk (1652–1726) and Peter Schenk the Elder (1660–1711).



 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 Nineteen in the atlas, is signed by Johannes van Loon.

This map of the moon phases shows Earth in the centre with concentric rings that indicate the orbits of the Moon and then the Sun around it, following the Ptolemaic model of the Cosmos. In the corners, two smaller diagrams show another twelve Moon phases on the right, and a further thirty-six on the left. The latter diagram follows Johannes Hevelius's ‘Selenographia sive lunae descriptio’, the first book published that was devoted to the moon (1647).

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

’s 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 beautiful engraving shows us Cellarius's chart of the eight Moon phases.

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 ‘

' interprets new discoveries on the moon by Johannes Hevelius.

Cellarius' Map of the Phases of the Moon