Image Gallery

A botanical illustration of a plant featuring a large, textured taproot with horizontal hairs, several palmately lobed green leaves on reddish-brown stems, and a tall central spike bearing reddish-brown speckled inflorescences.

Voynich Manuscript - High Resolution Scans

A botanical illustration of a plant. It features three blue, star-shaped flowers with central yellow/white circular patterns; one large flower atop a central stalk and two smaller ones on lateral branches. The plant has large, fleshy, green and brownish leaves with heavily serrated or 'toothed' edges, resembling a succulent or thistle-like species. The base consists of a thick, sprawling brown root system with multiple bifurcating branches.

Voynich Manuscript - High Resolution Scans

A full-page botanical illustration featuring a plant with several large compound leaves consisting of many small, rounded green leaflets. The central stem branches upward into a cluster of blue and white cup-shaped flowers or seed heads. The base of the plant shows a detailed, intertwined root system in a reddish-brown hue.

Voynich Manuscript - High Resolution Scans

A Blemmyes: a headless human figure with facial features located on its torso, framed within a colored rectangle.

Bodleian Library MS. Bodl. 614

A medieval manuscript illumination depicting the philosophers Plato and Socrates. Plato is shown standing on the left in a red robe and blue cap, gesturing towards Socrates. Socrates is seated at a high-backed chair, wearing a tall conical hat, and is actively writing on a tilted desk using a quill and a penknife. Their names are inscribed in gothic script above their heads.

Bodleian Library MS. Digby 46

A complex alchemical emblem depicting the Rebis—a two-faced, androgynous crowned figure—standing upon a dragon within a landscape. The figure is flanked by the 'Arbor Solis' (Sun Tree) on the left and 'Arbor Lunae' (Moon Tree) on the right. The diagram is heavily annotated with Latin and German labels referring to alchemical processes and elements like Ignis (Fire), Aqua (Water), Terra (Earth), and Aer (Air).

Alchemica (German MS 1)

An intricate manuscript volvelle, a rotating paper instrument used for astronomical and calendrical calculations. It features concentric circles with numerals, Latin month names, and zodiac signs, surrounded by Middle English cardinal direction labels (South, West, North, and combinations using the thorn character 'þ'). The center contains a checkered moon phase indicator.

Bodleian Library MS. Ashmole 370

Two full-length woodcut studies of a female nude, one in a three-quarter frontal view and one in profile, illustrating anatomical proportions and contours with minimal internal shading.

Dürer: Human Proportion (1528 First Edition)

Anatomical study showing two male figures—one in profile leaning forward and one frontal—connected by horizontal proportional lines. The frontal figure holds a pair of dividers in his left hand.

Dürer: Human Proportion (1528 First Edition)

Two anatomical studies of a female figure (profile and frontal views) with horizontal proportion lines, demonstrating Renaissance theories of human measurement.

Dürer: Human Proportion (1528 First Edition)

A pair of highly detailed anatomical woodcuts depicting the frontal and posterior views of a male figure. The figures are overlaid with horizontal lines and precise numerical measurements ('Teile') to illustrate Renaissance theories of ideal human proportions.

On the Symmetry of Human Bodies

Two woodcut anatomical studies of male figures illustrating human proportions. The figure on the left is depicted in profile, walking or standing with legs apart. The figure on the right is shown in a frontal view, holding a large pair of dividers (calipers) in its left hand. The figures are rendered with precise line work and hatching to define musculature and form.

On the Symmetry of Human Bodies

A precise woodcut anatomical study of the female figure, showing one figure in profile in a leaning, stepping motion and a second figure in a static frontal pose. A series of horizontal lines connects anatomical points (such as the brow, chin, breasts, navel, hips, knees, and ankles) between the two figures to illustrate geometric proportional relationships.

On the Symmetry of Human Bodies

Frontispiece of Andreas Vesalius's 'De humani corporis fabrica' showing a public dissection.

Vesalius: De Humani Corporis Fabrica (1555)

Anatomical woodcut showing the posterior musculature of a human male, standing in a landscape.

Vesalius: De Humani Corporis Fabrica (1555)

The 'Arma Artis' (Arms of the Art) alchemical emblem from the Splendor Solis manuscript. The central image depicts a heraldic shield bearing a sun with a human face, topped by a helmet, a crescent moon crown, and a radiant sun above. In the background, two men in period clothing are seen through an archway. The entire scene is enclosed within a lavishly decorated border containing detailed botanical illustrations and various animals, including an owl, a heron, and monkeys—one of which is playing a lute.

Splendor Solis: The Splendour of the Sun

A complex alchemical emblem from the Splendor Solis. The central image shows a Queen on the left standing on a moon-faced globe and a King on the right standing within a basin of fire. They are framed by an architectural arch under two celestial suns. The Queen holds a scroll reading 'Lac Virginum' (Virgin's Milk), while the King holds one reading 'Masculum Coagula' (Coagulate the Male). The entire scene is surrounded by an ornate border of flowers and birds. At the base, a predella features three vignettes of historical figures, including Alexander the Great.

Splendor Solis: The Splendour of the Sun

A reproduction of Plate 16 from the 1582 manuscript 'Splendor Solis'. The central emblem depicts a peacock inside a glass flask (cucurbit) crowned with gold, situated between two ornate architectural columns. Above the flask, a celestial chariot pulled by two birds carries the goddess Venus and Cupid. The scene is framed by elaborate genre paintings: on the left, a rural scene with a farmhouse and travelers; on the right, dancers and a rider; and at the bottom, a festive banquet with musicians playing the lute and viola da gamba. The date '1582' is inscribed in the lower corners of the inner frame.

Splendor Solis: The Splendour of the Sun

A complex alchemical emblem representing the stages of the Great Work. It features a large central sphere supported by two figures, containing symbolic imagery such as a crow (Nigredo), a white bird (Albedo), a phoenix (Rubedo), the sun and moon, and lions. Above the sphere, several celestial globes and figures of a king and queen represent alchemical principles. The entire structure is adorned with Latin banners and rests on a pedestal featuring a multi-headed dragon.

Alchymia: Comprehensive Treatise on Alchemy

An elaborate engraving of Tycho Brahe seated at a desk, gesturing toward a large mural quadrant (a brass arc mounted on a wall) used for determining the positions of stars. The background depicts the interior of his observatory, Uraniborg, with multiple levels showing assistants at work with various scientific instruments, clocks, and chemical apparatus. The foreground shows assistants recording observations and a dog sleeping at Tycho's feet.

Instruments of the Restored Astronomy

Architectural elevation and section of Uraniborg, Tycho Brahe's observatory

Instruments of the Restored Astronomy

Engraved portrait of the alchemist and physician Michael Maier at age 49. He is depicted in a ruff and doublet, holding a book, with his coat of arms in the background. The entire composition is enclosed within a decorative floral border and includes a Latin inscription at the bottom.

Symbola aureae mensae duodecim nationum

A complex cosmological engraving titled 'Integra Naturæ Speculum, Artisque imago' depicting the Great Chain of Being and the relationship between God, Nature, and Art.

History of Both Worlds: Macrocosm

Highly detailed allegorical engraving framing the title text. At the top, the three Hesperides (Egle, Arethusa, Hespertusa) and the dragon Ladon in a lush garden. On the left, Hercules with his club reaching for golden apples. On the right, Venus hands golden apples to Hippomenes. At the bottom, a race scene where Hippomenes throws an apple to distract Atalanta. To the far right, the two are seen embracing in a temple and then transformed into lions as a divine punishment.

Atalanta fugiens