W. B. Yeats, Minutum Mundum Fundamentum Coloris (1895).
Ink and watercolor on paper.
Better known as a poet, Yeats was deeply interested in mysticism and symbolism. This diagram reflects his attempt to connect philosophy, personality, and cosmology through geometry and color.
Ralph 124C 41+ : A Romance Of The Year 2660 by Hugo Gernsback. The Stratford Company, 1925. Cover by Frank R. Paul.
Gernsback is better known for his magazines and his inventions, but his novel (first published in 1911) is genuinely interesting. Like his magazines it's crammed full of future predictions - television, videophones, tape recorders, radar, synthetic clothes, solar energy, space flight.
Alas it's not that well written. It's a plodding melodrama and critics have been very unkind to it. But it is a landmark in American science fiction and if you can get past the endless exposition it's a fascinating read. The 'future' really was first codified in the Edwardian age.
This black-and-white engraving is part of Robert Fludd's symbolic cosmology, portraying God without reducing Him to human form.
In his 1626 work, 'Philosophia sacra et vere Christiana, seu meteorologia cosmica', Fludd approaches God through two aspects based on our understanding: the hidden and the manifest.
Fludd was an Oxford-educated physician, natural philosopher, and esoteric writer. He tried to interpret medicine, cosmology, astrology, alchemy, and Christian theology within a single system of thought.
In this distinction, the hidden aspect represents the concealed principle before creation, while the manifest aspect describes the divine activity that emerges during creation through light, order, and the visible world.
That's why light and darkness aren't merely visual contrasts here. The radiant areas represent God's revealed creative activity, while the deep shadows and cloud-like masses symbolize the unseen principle.
Fludd had previously explained the universe as the macrocosm and humanity as the microcosm. In other words, he believed there was an ordered connection between the greater world and the lesser world. This engraving is also part of that same system.
Here's the link to the page with the engraving: https://t.co/HenSDtvRig
“The imaginary is what tends to become real.”
— Andre Breton
André Breton at the Dada festival in Paris holding a sign designed by Francis Picabia (1920)