Abstract
The cordiform projection employed by Oronce Fine, Gerard Mercator and Abraham Ortelius may have had a hermetic meaning. The focus in this paper is on Ortelius, for recent studies have suggested connections between Ortelius, Christopher Plantin and a clandestine religious sect in Antwerp, called the Family of Love (Family of Charity), whose emblem was the heart, source of divine illumination and of Free Will. It is argued that Ortelius's contemporaries in the radical religious circles of northern Europe would have perceived the Theatrum orbis terrarum in such a light. As Guillaume Postel's evaluation of Ortelius's work demonstrates, the atlas was considered a talismanic book based on the power of the images.
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