Imagery

Metropolitan Museum of Art

Seated satyr with silvered eyes. Bronze, silver inlay (eyes). second quarter of the 16th century.

Metropolitan Museum of Art

Guanyin. Red stoneware with gilding. 1710–13.

Metropolitan Museum of Art

Captain Spavento. Hard-paste porcelain. ca. 1760, decoration 19th–20th century.

Metropolitan Museum of Art

The forger standing by an anvil pulling a man in chains, from "The various operations of alchemy". Woodcut. ca. 1540–50.

Metropolitan Museum of Art

The Alchemist's Laboratory from Heinrich Khunrath, Amphiteatrum sapientiae aeternae. Engraving. n.d..

Metropolitan Museum of Art

Wang Xizhi watching geese. Handscroll; ink, color, and gold on paper. ca. 1295.

Metropolitan Museum of Art

The Judgment of Paris. Oil on beech. ca. 1528.

Metropolitan Museum of Art

Francesco d'Este (born ca. 1429, died after 1486). Oil on wood. ca. 1460.

Metropolitan Museum of Art

Tabouret with Winged Griffins and Benedictions. Earthenware; molded, modeled, glazed in turquoise. 12th century.

Metropolitan Museum of Art

Mortar. Bronze. ca. 1550.

Wikimedia Commons

Ouroboros auf der Grabplatte des Philosophen Gottfried Herder, gestorben 1803. Kirche St. Peter und Paul in Weimar.

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A black sun with a face descends behind the horizon of a marshy landscape; representing the state of putrefaction in alchemy; from Salomon Trismosin's 'Splendor solis'. Watercolour painting. Iconographic Collections Keywords: Salomon Trismosin

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A king about to drink polluted water; in background, the same king in bed, attended by doctors practising uroscopy. Rare Books Keywords: urine, examination; Uroscopy; Michael Maier

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First published in 1617, Michael Maier's alchemical emblem book contains a preface on ancient music and the Greek myth of Atalanta and Hippomenes and consists of 50 engraved emblems, each accompanied by a discourse and an epigram in verse set to music in the form of a fugue for three voices—Atalanta, or the vox fugiens; Hippomenes, or the vox sequens; and Pomum objectum or vox morans.

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First published in 1617, Michael Maier's alchemical emblem book contains a preface on ancient music and the Greek myth of Atalanta and Hippomenes and consists of 50 engraved emblems, each accompanied by a discourse and an epigram in verse set to music in the form of a fugue for three voices—Atalanta, or the vox fugiens; Hippomenes, or the vox sequens; and Pomum objectum or vox morans.

Wikimedia Commons

First published in 1617, Michael Maier's alchemical emblem book contains a preface on ancient music and the Greek myth of Atalanta and Hippomenes and consists of 50 engraved emblems, each accompanied by a discourse and an epigram in verse set to music in the form of a fugue for three voices—Atalanta, or the vox fugiens; Hippomenes, or the vox sequens; and Pomum objectum or vox morans.

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Page de couverture de l'Atalanta Fugiens

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Title page from the 1702 edition of the Mutus Liber, in Jo. Jacobi Mangeti ... Bibliotheca chemica curiosa, seu rerum ad alchemiam pertinentium thesaurus instructissimus: quo non tantum artis auriferae ... verum etiam tractatus omnes virorum ... ad quorum omnium illustrationem additae sunt quamplurimae figurae aeneae. Tomus primus (at the end)

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Detail from the second sarcophagus shrine from the tomb of Tutankhamun, showing a giant deity: Ra and Osiris united in one body in the underworld. The serpents encircling the god's head and feet are manifestations of the protective serpent god Mehen and the earliest example of the ouroboros motif. Eighteenth Dynasty, 14th century BC.

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The ouroboros (serpent eating its own tail) from the Chrysopoeia of Cleopatra, an early alchemical text. Symbol of eternal return and cyclical transformation.

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Memorial stele for Jean Gebser beside the Reformed church in Wabern near Bern.

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Memorial plaque for Jean Gebser at Kramgasse 52 in Bern.

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Cover of René Guénon's 1927 book Le Roi du monde.

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Cover of the 1935 Poetisches Taschenbuch from Verlag Die Rabenpresse, associated with Hans Gebser.

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Cover of The Golden Book, April 1930

Project archive

Cover of the 2002 Tarcher/Penguin edition of Valentin Tomberg's Meditations on the Tarot, extracted from the project's reference PDF.

Project archive

Cover of Owen Barfield's Saving the Appearances: A Study in Idolatry, prepared from the project's local scan staging image for the incoming book ingest.

Old Babylonian terracotta plaque c. 1800-1750 BCE, British Museum. Depicts a nude winged goddess (likely Ishtar/Inanna or Ereshkigal) standing on lions, flanked by owls. The most iconic ancient Mesopotamian goddess image.

High relief of a hero (Gilgamesh or Enkidu) mastering a lion, from the facade of the Palace of Sargon II at Khorsabad (Dur-Sharrukin), c. 8th century BCE. Louvre, Room 229 (Cour Khorsabad), AO 19861.

Metropolitan Museum of Art

Horse and rider startled by a snake. Bronze. early 16th century.

Metropolitan Museum of Art

Pendant with a Youth Playing a Lyre and Riding an Elephant. Enameled gold set with diamonds and rubies and with pendant pearls. probably second half 19th century.

Metropolitan Museum of Art

Chalcedony scaraboid in silver ring. Chalcedony, silver. mid-5th century BCE.

Metropolitan Museum of Art

Terracotta neck-amphora (jar). Terracotta. ca. 460–450 BCE.

Metropolitan Museum of Art

Terracotta hydria (water jar). Terracotta. ca. 340–330 BCE.

Metropolitan Museum of Art

Terracotta oinochoe: chous (jug). Terracotta. ca. 430–420 BCE.

Metropolitan Museum of Art

Marble head of a goddess. Marble. 4th century BCE.

Metropolitan Museum of Art

Ten marble fragments of the Great Eleusinian Relief. Marble. ca. 27 BCE–14 CE.

Metropolitan Museum of Art

Glass cameo: Dionysos and a nymph. Glass ? opaque on blue [sic]; purple [CSL]. 1st century BCE–3rd century CE.

Metropolitan Museum of Art

Terracotta bell-krater (bowl for mixing wine and water). Terracotta. ca. 440 BCE.

Metropolitan Museum of Art

Lower part of a marble relief with two goddesses. Marble, Pentelic. 1st–2nd century CE.

Metropolitan Museum of Art

Terracotta oinochoe (jug). Terracotta. mid-4th century BCE.

Metropolitan Museum of Art

Terracotta bell-krater (bowl for mixing wine and water). Terracotta. ca. 440 BCE.

Metropolitan Museum of Art

Terracotta column-krater (bowl for mixing wine and water). Terracotta. ca. 550 BCE.

Metropolitan Museum of Art

Terracotta column-krater (bowl for mixing wine and water). Terracotta. ca. 460–450 BCE.

Metropolitan Museum of Art

Terracotta hydria: kalpis (water jar). Terracotta. ca. 460–450 BCE.

Metropolitan Museum of Art

Orpheus and Eurydice. Pen and brown ink, brush and brown wash, over black chalk; framing lines in pen and brown ink. 1763–1856.

Metropolitan Museum of Art

Orpheus and Eurydice. Engraving. ca. 1500–1506.

Metropolitan Museum of Art

Panel with the Triumph of Dionysos. Wool, linen; tapestry weave. 4th–6th century.

Metropolitan Museum of Art

Orpheus. Pen and brown ink. early 16th century.

Metropolitan Museum of Art

Bracelet Bell. Bronze.. 1st century CE.

Metropolitan Museum of Art

Canopic Jar (with lid 30.8.54). Travertine (Egyptian alabaster). ca. 1349–1336 B.C..

Metropolitan Museum of Art

Canopic Jar (07.226.1) with a Lid Depicting a Queen (30.8.54). Travertine (Egyptian alabaster), blue glass, obsidian, unidentified stone. ca. 1349–1330 B.C. or shortly thereafter.

Metropolitan Museum of Art

Shabti of Siptah. Travertine (Egyptian alabaster), paint. ca. 1194–1188 B.C..

Metropolitan Museum of Art

Shabti of Seniu. Glazed steatite, paint. ca. 1525–1504 B.C..

Metropolitan Museum of Art

Isis and Horus. Cupreous metal, precious metal inlay. 664–30 B.C..

Metropolitan Museum of Art

Statuette of Isis with the infant Horus. Faience. 332–30 BCE.

Metropolitan Museum of Art

Shabti of Yuya. Cedar, paint, Egyptian blue. ca. 1390–1352 B.C..

Metropolitan Museum of Art

Book of the Dead for the Chantress of Amun, Nauny. Papyrus, paint. ca. 1050 B.C..

Metropolitan Museum of Art

Statuette of Isis and Horus. Blue faience. 400–200 BC.

Metropolitan Museum of Art

Shabti of Siptah. Travertine (Egyptian alabaster). ca. 1237–1200 B.C..

Metropolitan Museum of Art

Osiris. Cupreous metal. ca. 664–30 B.C..

Metropolitan Museum of Art

Isis and Horus. Wood. 664–30 B.C..

Metropolitan Museum of Art

Book of the Dead Papyrus with Chapters 100 and 129. Papyrus, ink, paint. 664–30 B.C..

Metropolitan Museum of Art

Mourning Isis. Wood, paste, paint. 332–30 BCE.

Metropolitan Museum of Art

Osiris. Cupreous metal. 664–30 BC.

Metropolitan Museum of Art

Osiris. Cupreous metal. 664–30 BC.

Metropolitan Museum of Art

Osiris. Cupreous metal. 664–30 B.C..

Metropolitan Museum of Art

Osiris. Cupreous metal. 664–30 B.C..

Metropolitan Museum of Art

Osiris. Cupreous metal. 664–30 B.C..

Metropolitan Museum of Art

Osiris. Cupreous metal. 664–30 B.C..

Metropolitan Museum of Art

Isis and Horus. Cupreous metal. 664–30 B.C..

Metropolitan Museum of Art

Isis and Horus. Cupreous metal. 664–30 B.C..

Metropolitan Museum of Art

Book of the Dead of Khamhor. Papyrus, ink. ca. 630 B.C..

Metropolitan Museum of Art

Orpheus, returning from Hades without Eurydice. Partially patinated iron. 1893–99, struck in the 20th century.

Metropolitan Museum of Art

The Orpheus Cup. Gold: cast, embossed, and engraved; enamel: ronde-bosse and painted; rubies. 1641–42, the jeweled elements on the lid in the form of animals, amorini holding bow and quiver, and the statuettes of Orpheus and Diana, Prague, ca.1600.

Metropolitan Museum of Art

The Return of Persephone. Oil on canvas. ca. 1890–91.

Battle between Alexander and Darius, Pompeii, House of the Faun (VI,12,2), esedra. Alexander the Great attacks the chariot of Darius of Persia. Probably a copy (125-120 BC) of a Greek painting by Phi

Battle between Alexander and Darius, Pompeii, House of the Faun (VI,12,2), esedra. Alexander the Great attacks the chariot of Darius of Persia. Probably a copy (125-120 BC) of a Greek painting by Phi

Reconstructing the Antikythera Mechanism exhibition by Nick Andronis at WA Museum Boola Bardip, 2023

Reconstructing the Antikythera Mechanism exhibition by Nick Andronis at WA Museum Boola Bardip, 2023

Aerial image of Bayreuth Festspielhaus (view from the southeast)

Southern front of the Bayreuth Festival Theatre (Festspielhaus) after restoration in 2016

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South rose window of Cathédrale Notre-Dame de Chartres with Gothic stained glasses.

South rose window of Cathédrale Notre-Dame de Chartres with Gothic stained glasses.

<b>Catalogue Entry:</b> <p>This is an unfinished replica of David’s Death of Socrates (Salon of 1787; Metropolitan Museum of Art, New York). The left section is nearly complete, lacking only bars on t

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<p>Inscription: INPRAEDIS LABERIORVMTABIRIANI ET PAVLINI (CIL VIII 24019) </p> It identifies the building as belonging to the member of the gens Laberia.

Part of Orpheus Mosaic in Tzippori (Sepphoris). Detail showing Orpheus with animals. Larger version: <a href="//commons.wikimedia.org/wiki/File:Orpheus_Mosaic_in_Tzippori.jpg" title="File:Orpheus Mosa

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Engraved rendering of Plato's cave, used here as a visual companion to initiation, philosophical awakening, and the ascent from shadow to intelligible form.

<div class="description"> Plato's Allegory of the cave</div>

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Ia Orana Maria (Hail Mary)

National Archaeological Museum, Athens

The Ninnion Tablet, c. 370 BCE. Red clay votive plaque, the only surviving original artwork definitively depicting the Eleusinian Mysteries' initiation rites. Shows Iacchus leading a procession of initiates received by Demeter and Persephone. Found at Eleusis in 1895. Height 44.5 cm, width 33 cm. Photo by Marsyas.

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The ruins of the Telesterion (Hall of Initiation) at the archaeological site of Eleusis. The visible remains show the rock-cut foundations and poros stone elements of the successive building phases, from the Peisistratean era (c. 540 BCE) through the Roman period. The building measured approximately 51.5 meters per side. Photo by TimeTravelRome.

Antikensammlung Berlin (Altes Museum)

Detail from an Apulian red-figure hydria by the Varrese Painter, c. 340 BCE. Depicts Demeter enthroned with Metanira, a scene from the Homeric Hymn to Demeter in which the goddess, disguised as an old woman, is received at the house of Celeus and Metanira at Eleusis. Antikensammlung Berlin (inv. 1984.46). Photo by Bibi Saint-Pol.

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Overhead photograph of the medieval labyrinth set into the floor of Chartres Cathedral, France. A classical symbol of pilgrimage, liminality, and initiatory passage.

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Roman bust of Janus, the two-faced god of transitions, beginnings, endings, and doorways. Vatican Museum.

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Mithraic tauroctony relief from the Louvre. Mithras slaying the cosmic bull — the central icon of the Mithraic Mysteries. Photo by Jastrow, CC BY 2.5.

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View looking down the processional Sacred Way at the archaeological site of Eleusis, Greece. The road along which initiates walked during the annual procession from Athens. Photo by Furius, CC0.

Terracotta bell-krater depicting Dionysos with satyrs and maenads, ca. 450 BCE. Attributed to the Methyse Painter.

Terracotta statuette of Eros, Greek Eretrian, 3rd century BCE.

Metropolitan Museum of Art

Chinese musicians. Soft-paste porcelain. ca. 1755.

Metropolitan Museum of Art

River landscape. Folding fan mounted as an album leaf; ink on paper. .

Metropolitan Museum of Art

Bodhisattva. Wood (foxglove) with traces of pigment and gilding; single woodblock construction. 11th–12th century.

Metropolitan Museum of Art

The Inside of a Mosque, the Dervishes Dancing (Aubry de La Mottraye's "Travels throughout Europe, Asia and into Part of Africa...," London, 1724, vol. I, pl. 16). Etching and engraving. 1723–24.

Metropolitan Museum of Art

Vajrabhairava mandala. Silk tapestry (kesi). ca. 1330–32.

Metropolitan Museum of Art

Hevajra Mandala. Ink and distemper on cloth. 16th century.

Metropolitan Museum of Art

Thangka. Distemper on cloth. late 18th century.

Metropolitan Museum of Art

Shiva and Parvati Playing Chaupar: Folio from a Rasamanjari Series. Opaque watercolor, ink, silver, and gold on paper. dated 1694–95.

Metropolitan Museum of Art

Buddha Amoghasiddhi with Eight Bodhisattvas. Distemper on cloth. ca. 1200–50.

Metropolitan Museum of Art

Chakrasamvara Mandala. Distemper on cloth. ca. 1100.

Metropolitan Museum of Art

Manjuvajra Mandala. Black stone. 11th century.

Metropolitan Museum of Art

Shiva. Sandstone. mid- 7th century.

Metropolitan Museum of Art

Bodhisattva Avalokiteshvara. Sandstone. second half of the 7th century.

Metropolitan Museum of Art

Linga with Face of Shiva (Ekamukhalinga). White marble. 9th century.

Metropolitan Museum of Art

Standing Shiva or Temple Guardian (Dvarapala). Stone. ca. first half of the 10th century.

Metropolitan Museum of Art

Buddha Protected by a Seven-headed Naga. Sandstone. late 12th–early 13th century.

Metropolitan Museum of Art

Shiva Linga. Sandstone. 7th–8th century.

Metropolitan Museum of Art

Crowned Bodhisattva. Sandstone. 3rd–early 4th century.

Metropolitan Museum of Art

Bodhisattva Avalokiteshvara. Copper alloy inlaid with silver and glass or obsidian. second quarter of the 8th century.

Metropolitan Museum of Art

Bodhisattva Avaolkiteshvara. Copper alloy. second half of the 7th–early 8th century.

Metropolitan Museum of Art

Jain Digambara Tirthanhara Standing in Kayotsarga Meditation Posture. Copper alloy. 12th century.

Metropolitan Museum of Art

Seated luohan (arhat) in a grotto. Lapis lazuli. 18th–19th century.

Metropolitan Museum of Art

Seated luohan with a servant. Malachite. late 18th–early 19th century.

Metropolitan Museum of Art

Landscape in the style of Fan Kuan. Hanging scroll; ink and color on silk. early 12th century.

Metropolitan Museum of Art

Base for a mandala. Cloisonné enamel. first half 15th century.

Metropolitan Museum of Art

Page of Calligraphy from an Anthology of Poetry by Sa`di and Hafiz. Ink, opaque watercolor, silver, and gold on paper. late 15th century.

Metropolitan Museum of Art

Landscape. Hanging scroll; ink on satin. dated 1649.

Metropolitan Museum of Art

Portrait of a Sufi. Ink, opaque watercolor, and gold on paper. first quarter 17th century.

Metropolitan Museum of Art

Portrait of a Sufi. Ink, opaque watercolor, and gold on paper. first quarter 17th century.

Metropolitan Museum of Art

Kitab suwar al-kawakib al-thabita (Book of the Images of the Fixed Stars) of al-Sufi. Ink, opaque watercolor, and gold on paper. 18th century.

Metropolitan Museum of Art

Page of Calligraphy. Ink, opaque watercolor, and gold on paper. early 16th century.

Metropolitan Museum of Art

"Laur and Chanda in the Forest", Folio from a Chandayana (or Laur Chanda). Ink, opaque watercolor, and gold on paper. ca. 1525–50.

Metropolitan Museum of Art

Calligraphic Plaque. Steel; forged and pierced. probably late 17th century.

Metropolitan Museum of Art

Folio from a Qur'an Manuscript. Ink, opaque watercolor, and gold on paper. probably early 15th century.

Metropolitan Museum of Art

Pyxis (Cylindrical Container). Stonepaste; luster-painted on incised, opaque white glaze. late 11th–early 12th century.

Metropolitan Museum of Art

Nan va Halva (Breads and Sweets). Ink, opaque watercolor, and gold on paper Binding: leather. ca. 1690.

Metropolitan Museum of Art

Calligraphic Galleon. Ink and gold on paper. dated 1180 AH/1766–67 CE.

Metropolitan Museum of Art

"Dancing Dervishes", Folio from the Shah Jahan Album. Ink, opaque watercolor, and gold on paper. recto: ca. 1610; verso: ca. 1530–50.

Metropolitan Museum of Art

"A Man Complained to Da'ud of a Sufi Mystic Drunk", Folio from a Kulliyat (Complete Works) of Sa'di. Ink, opaque watercolor, and gold on paper. 19th century.

Metropolitan Museum of Art

Landscape. Folding fan mounted as an album leaf; ink on gold paper. mid-17th century.

Metropolitan Museum of Art

Landscape. Handscroll; ink on paper. 1680.

Metropolitan Museum of Art

Bodhisattva Manjushri. Gilt copper alloy. .

Metropolitan Museum of Art

Bodhisattva Avalokiteshvara (Guanyin). Wood (wiillow) with traces of pigment; single woodblock construction. dated 1282.

Metropolitan Museum of Art

Bodhisattva. Marble with pigment. 12th–13th century.

Metropolitan Museum of Art

Head of Shiva. Sandstone. ca. 10th century.

Metropolitan Museum of Art

Guru Dragpo, Padmasambhava’s Fierce Emanation. Distemper on cotton. 18th century.

Metropolitan Museum of Art

Vasudhara Mandala. Distemper on cloth. Dated to 1777 (Samvat 897).

Metropolitan Museum of Art

Buddha Seated in Meditation. Copper alloy with gilding. 16th century.

Metropolitan Museum of Art

Landscape. Hanging scroll; ink on satin. Dated 1599 (or 1659).

Metropolitan Museum of Art

Rain of Flowers Through the Four Stages of Meditation. Handscroll; ink and color on silk. 1866.

Metropolitan Museum of Art

Buddhist monk Bodhidharma (Chinese: Damo). Rhinoceros horn. 17th century.

Metropolitan Museum of Art

Zen Master with Meditation Staff, and Chinese-Style Landscapes. Set of three hanging scrolls; ink on paper. probably late 1620s–1644.

Metropolitan Museum of Art

Bhairava. Gilded copper, rock crystal, paint. 16th century.

Metropolitan Museum of Art

Mahakala, Protector of the Tent. Distemper on cloth. ca. 1500.

Metropolitan Museum of Art

Mandala of the Sun God Surya. Distemper on cotton. likely 1379.

Metropolitan Museum of Art

Shiva. Relief print, probably from a woodblock, watercolor (hand-coloring). ca. 1850–70.

Metropolitan Museum of Art

Vaishravana, the Guardian of Buddhism and Protector of Riches. Distemper on cloth. 15th century.

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『三十二番職人歌合』、垂恵 (?)、1494年

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Geometric design from the Islamic ornamental tradition, retained here as part of the project's eastern visual corpus.

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Exhibit in the Cincinnati Art Museum, Cincinnati, Ohio, USA. This artwork is in the public domain because the artist died more than 70 years ago. Photography was permitted in the museum without restriction. See the Cincinnati Art Museum website [1]

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The use of this piece in a ritual context would have indicated that practitioners were following the methods for reaching enlightenment set forth in the Hevajra Tantra text. Nairatmya, the female consort of Hevajra, appeared to the yogi Virupa (at left) in a vision and revealed to him the contents of the text, which was then passed down through a lineage of disciples. An emanation of Akshobhya, the Cosmic Buddha of the East, Hevajra holds a skull bowl in his 16 hands. The rear pair of Hevajra'

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Vajravarahi is the tantric Buddhist counterpart to the Hindu mother goddess Varahi, identifiable by the boar head emerging above her right ear. She is a female enlightened being who emanated from the Buddhist Goddess of Perfect Wisdom. Enlightened beings transcend gender distinctions, and they can emanate as either male or female. The lithe figure dances while carrying a skull cup in her left hand. Raised up in her right hand is a ritual flaying knife with a handle in the shape of a halfvajra

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Constructing a Flying Star Chart

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Miniature painting of Sufi saint, Madho Lal Hussain [Shah Hussain] (1538–1599; right). The figure to the left is perhaps a depiction of the Hindu teenage boy, Madho Lal [not to be confused with Shah Hussain's later name], that Shah Hussain supposedly was in-love with.

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A portrait of the Punjabi poet Waris Shah (Lahore, ca.1859).

The Ajanta Caves are 30 rock-cut Buddhist cave monuments dating from the second century BCE to about 480 CE in Aurangabad district of Maharashtra state in India. Most of the Ajanta caves, and almost a

The Ajanta Caves are 30 rock-cut Buddhist cave monuments dating from the second century BCE to about 480 CE in Aurangabad district of Maharashtra state in India. Most of the Ajanta caves, and almost a

Photograph of the interior of the gallery and west pavilion of the Court of the Lions, Alhambra, Granada, 1871.

A pavilion in the restored Court of the Lions (August 2012). The polished marble floor reflects the blue of the sky. Alhambra, Granada, Spain.

State emblem of India

Lion capital of Ashoka, Sarnath

<p>Attar </p> <p>Abū Hamīd bin Abū Bakr Ibrāhīm (Persian: ابو حمید ابن ابوبکر ابراهیم) (born 1145-46 in Nishapur Iran – died c. 1221), much better known by his pen-names Farīd ud-Dīn (فریدالدین) and ‘

<p>Kamalolmolk &amp; Attar Neyshabur </p> <p>Abū Hamīd bin Abū Bakr Ibrāhīm (Persian: ابو حمید ابن ابوبکر ابراهیم) (born 1145-46 in Nishapur Iran – died c. 1221), much better known by his pen-names Fa

Panels containing Buddhist ideas and Jataka tales are common in Asian Buddhist sites. The depicted version vary marginally or significantly depending on the Buddhist sub-tradition. The above panel sho

The bhavachakra (Sanskrit: भवचक्र; Pāli: bhavacakka; Tibetan: སྲིད་པའི་འཁོར་ལོ, Wylie: srid pa'i 'khor lo) or wheel of life is a visual teaching aid and meditation tool symbolically representing saṃsā

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File:Votive Stupas - Mahabodhi Temple Complex - Bodh Gaya (18).jpg

Córdoba (Andalusia, Spain) - Mosque-Cathedral - Columns, arches and arabesques above the mihrab

Córdoba (Andalusia, Spain) - Mosque-Cathedral - Arches inside the building

Rubaiyat of Omar Khayyam, translated by Edward FitzGerald, illustrations by Edmund Dulac

Rubaiyat of Omar Khayyam, translated by Edward FitzGerald, illustrations by Edmund Dulac

This place is a UNESCO <a href="https://en.wikipedia.org/wiki/World_Heritage_Site" class="extiw" title="en:World Heritage Site">World Heritage Site</a> under the reference <a rel="nofollow" class="ext

Kailasa temple is a megalith carved out of one single basalt rock. Its construction is attributed to king Krishna I (c. 8th century). It is one of the most remarkable cave temples in India because of

Enso.jpg

Self-portrait of Hakuin Ekaku / Eisei Bunko Museum, Tokyo

<a href="https://en.wikipedia.org/wiki/Krishna" class="extiw" title="w:Krishna">Krishna</a> and <a href="https://en.wikipedia.org/wiki/Arjuna" class="extiw" title="w:Arjuna">Arjuna</a> on the chariot,

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<i>Walking on Path in Spring</i> by Ma Yuan (马远 c.1190 - 1279年）), a Chinese painter of the Song Dynasty.

Mural. Mogao Caves, Dunhuang. <p> This exposed mural is located near the modern entrance, between caves #305 and #306. It is painted on what was once the back wall of a cave, but over the centuries th

lots of buddhas

NeijingTu1.jpg

Large Chinese stone lion protects the entrance to the <a href="//commons.wikimedia.org/wiki/Category:Potala_Palace" title="Category:Potala Palace">Potala Palace</a> in <a href="//commons.wikimedia.org

Battle at Lanka, Ramayana, by Sahib Din. Battle between the armies of Rama and the King of Lanka. Udaipur, 1649–1653. "Sahib Din's illustration shows in grisly detail a fierce landmark battle. It take

The sage Valmiki, seated on the left outside his hut, talks with the divine sage Narada. First folio of the Mewar Ramayana. Private collection <p>This is a manuscript published in 1653 CE from Mewar r

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Wooden boats anchored along the ghats of Varanasi at dawn, as the rising sun reflects on the calm waters of the Ganges River. The image captures the serenity of early morning on this sacred river, whe

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Stela of the Steward Mentuwoser

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diagram from Bodleian Library Michael MS. 276, entitled Clavicolo di Salomone Re d'Israel figlio de David, an Italian language version of the "Key of Solomon" grimoire. It is a variant of the "Sigillum Aemeth" published in Athanasius Kircher's Oedipus Aegyptiacus (Rome, 1652-4, pp. 479-81.) The figure is accompanied with the following caption (in the translation of S. Liddell MacGregor Mathers 1889): This is the general pentacle, called the Great (or Grand) Pentacle It should be written on sh

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a medium-filesize version (contrasted with the huge-filesize png image) of the "amulet of Venus and Mars" from the 1600s; derived from the sigillum dei ("small seal of god") from the late-1200s grimoire Liber Juratus Honorii ("oathbound book of Honorius")

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Oedipus Aegyptiacus: Amulet of Venus and Mars; derived from the sigillum dei ("small seal of god") from the late-1200s grimoire Liber Juratus Honorii ("oathbound book of Honorius")

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Domenico Ghirlandaio: Zachariah in the Temple (detail): Marsilio Ficino, Cristoforo Landino, Angelo Poliziano and Demetrios Chalkondyles. Fresco. Santa Maria Novella, Cappella Tornabuoni, Florence, Italy. 1486-1490.

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Illustrazione delle corrispondenze universali del cosmo, con al centro l'Anima Mundi, «Integra Naturae Speculum Artisque Imago» (che significa «specchio dell'intera natura e immagine dell'arte»), da Utriusque Cosmi maioris scilicet et minoris metaphysica atque technical Historia di Robert Fludd, (Oppenheim, 1617)

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detailMarsilio Ficino (left), Cristoforo Landino (center) and Agnolo (Angelo) Poliziano (right)

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Cover and title page: J. Antonovsky. Giordano Bruno. — SPb. F. Pavlenkov ed. 1891

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Portrait of Athanasius Kircher (1602-1680), Jesuit polymath and central figure in the project's Hermetic and Egyptian strands.

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Page 219 of the first part of Vol. II of Athanasius Kircher's "Oedipus Aegyptiacus". In the chapter "Kabbalah of the Hebrews" there are calculations of the Number of the Beast based on various names of the Antichrist (Lateinos, Teitan, Lampetis, Antemos) found in the church fathers Irenaeus and Andreas of Caesarea.

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Formal portrait of Athanasius Kircher, used as a figure-facing image within the public visual corpus.

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Detail from a portrait of Athanasius Kircher (1602-1680).

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Depicted person: Athanasius Kircher

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The Bembine Table of Isis from Athanasius Kircher's Œdipus Ægyptiacus. Mensa Isiaca N. Inv. C. 7155 Museo Egizio

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pagina dal 'Cantus Circaeus' di Giordano Brunno: ruota mnemonica del porco

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Comparison of the size of two celestial bodies. Image from: Giordano Bruno, "La cena de le ceneri", 1584.

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Diagram by Giordano Bruno, entitled Figura amoris

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Diagram by Giordano Bruno, entitled Figura intellectus

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Diagram by Giordano Bruno, entitled Figura mentis

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"De rota figuli" ("The potter's wheel"), illustration from Giordano Bruno, "Triginta sigilli", 1583

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Portrait gravé de Robert Fludd

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Colorum annulus. Medicina Catholica, Seu Mysticvm Artis Medicandi Sacrarivm : In Tomos diuisum duos. In Qvibvs Metaphysica Et Physica Tam Sanitatis tuende, quam morborum propulsandorum ratio pertractatur, p.154.

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Title page of Summum Bonum

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Anatomiae ampitheatrum. Frontespizio.

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Микрокосм, гравюра в книге

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Original image description from the Deutsche FotothekGeometrie &amp; Mathematik &amp; Astrologie &amp; Optik &amp; Malerei &amp; Architektur &amp; Musik &amp; Affe &amp; Allegorie

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Original image description from the Deutsche FotothekPorträt

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Representation of the Greek deity Pan (Iouis siue Panos Hieroglyphica repraesentatio). From Oedipus Aegyptiacus (book title: Œdipus Ægyptiacus, published 1652-54 in Rome) by Athanasius Kircher (died in 1680).

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Oedipus Aegyptiacus: Hieroglyphic Monad

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Cover page of Athanasius Kircher's Mundus Subterraneus, 1664.

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Cover page of Athanasius Kircher's Mundus Subterraneus, 1664.

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De monas hieroglyphica van John Dee, hier gebruikt in de 'Chymische Hochzeit Christiani Rosencreutz' uit 1616.

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Frontispiece of the ‘Monas Hieroglyphica’ by John Dee, printed by Willem Silvius in Antwerp, 1564.

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IdentificatieTitel(s): Titelpagina voor: A. Kircher, Mundus subterraneus, 2e deel, 1664Objecttype: prent titelpagina Objectnummer: RP-P-1904-689Catalogusreferentie: Hollstein Dutch 6Opschriften / Merken: verzamelaarsmerk, verso midden onder, gestempeld: Lugt 2228Omschrijving: Een vrouw zit op een krukje en schrijft in een boek met afbeeldingen van obelisken. Naast haar op de grond liggen meetinstrumenten en een tweede boek. Mercurius en Apollo buigen zich over haar heen. Een putto houdt een port

<div class="description"> Depicts the goddess Venus, having emerged from the sea as a fully grown woman, arriving at the sea-shore. The seashell she stands on was a symbol in classical antiquity for a

<div class="description"> <a href="https://en.wikipedia.org/wiki/en:Venus_Anadyomene" class="extiw" title="w:en:Venus Anadyomene"><span title="one of the iconic representations of Aphrodite">Venus Ana

Monument to Giordano Bruno in Rome's Campo de' Fiori, marking the site of his execution and later memorialization.

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Dee's Holy Table (Enochian)

Aztec mirror that passed into the possession of Elisabethan court alchemist and astrologer John Dee. Now in the collection of the British Museum.

Title page of Fama fraternitatis.

<div class="description"> <div style="font-size:0.9em;display:inline-block;">Italian: <div style="display:inline-block" dir="ltr" lang="it"><i>Scuola di Atene</i></div></div><br><div style="font-weig

The School of Athens/Scuola di Atene fresco by the Italian Renaissance artist Raphael at the Apostolic Palace in the Vatican.

<div class="description"> <dl><dt>Print; Prints</dt></dl></div>

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An original card from the tarot deck of Jean Dodal of <a href="https://en.wikipedia.org/wiki/Lyon" class="extiw" title="en:Lyon">en:Lyon</a>, a classic <a href="https://en.wikipedia.org/wiki/Tarot_of_

Full title: <i>The Alchymist, In Search of the Philosopher’s Stone, Discovers Phosphorus, and prays for the successful Conclusion of his operation, as was the custom of the Ancient Chymical Astrologer

Full title: <i>The Alchymist, In Search of the Philosopher’s Stone, Discovers Phosphorus, and prays for the successful Conclusion of his operation, as was the custom of the Ancient Chymical Astrologer

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Major Arcanum 0, Le Mat (The Fool), from the Jean Dodal Tarot de Marseille deck (Lyon, c. 1701–1715). One of the 22 Major Arcana used as the structural framework of Tomberg's Meditations on the Tarot.

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Major Arcanum II, La Papesse (The High Priestess), from the Jean Dodal Tarot de Marseille deck (Lyon, c. 1701–1715). One of the 22 Major Arcana used as the structural framework of Tomberg's Meditations on the Tarot.

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Major Arcanum III, L'Impératrice (The Empress), from the Jean Dodal Tarot de Marseille deck (Lyon, c. 1701–1715). One of the 22 Major Arcana used as the structural framework of Tomberg's Meditations on the Tarot.

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Major Arcanum IV, L'Empereur (The Emperor), from the Jean Dodal Tarot de Marseille deck (Lyon, c. 1701–1715). One of the 22 Major Arcana used as the structural framework of Tomberg's Meditations on the Tarot.

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Major Arcanum V, Le Pape (The Hierophant), from the Jean Dodal Tarot de Marseille deck (Lyon, c. 1701–1715). One of the 22 Major Arcana used as the structural framework of Tomberg's Meditations on the Tarot.

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Major Arcanum VI, L'Amoureux (The Lover), from the Jean Dodal Tarot de Marseille deck (Lyon, c. 1701–1715). One of the 22 Major Arcana used as the structural framework of Tomberg's Meditations on the Tarot.

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Major Arcanum VII, Le Chariot (The Chariot), from the Jean Dodal Tarot de Marseille deck (Lyon, c. 1701–1715). One of the 22 Major Arcana used as the structural framework of Tomberg's Meditations on the Tarot.

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Major Arcanum VIII, La Justice (Justice), from the Jean Dodal Tarot de Marseille deck (Lyon, c. 1701–1715). One of the 22 Major Arcana used as the structural framework of Tomberg's Meditations on the Tarot.

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Major Arcanum IX, L'Hermite (The Hermit), from the Jean Dodal Tarot de Marseille deck (Lyon, c. 1701–1715). One of the 22 Major Arcana used as the structural framework of Tomberg's Meditations on the Tarot.

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Major Arcanum X, La Roue de Fortune (Wheel of Fortune), from the Jean Dodal Tarot de Marseille deck (Lyon, c. 1701–1715). One of the 22 Major Arcana used as the structural framework of Tomberg's Meditations on the Tarot.

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Major Arcanum XI, La Force (Strength), from the Jean Dodal Tarot de Marseille deck (Lyon, c. 1701–1715). One of the 22 Major Arcana used as the structural framework of Tomberg's Meditations on the Tarot.

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Major Arcanum XII, Le Pendu (The Hanged Man), from the Jean Dodal Tarot de Marseille deck (Lyon, c. 1701–1715). One of the 22 Major Arcana used as the structural framework of Tomberg's Meditations on the Tarot.

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Major Arcanum XIII, (unnamed) (Death), from the Jean Dodal Tarot de Marseille deck (Lyon, c. 1701–1715). One of the 22 Major Arcana used as the structural framework of Tomberg's Meditations on the Tarot.

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Major Arcanum XIV, Tempérance (Temperance), from the Jean Dodal Tarot de Marseille deck (Lyon, c. 1701–1715). One of the 22 Major Arcana used as the structural framework of Tomberg's Meditations on the Tarot.

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Major Arcanum XV, Le Diable (The Devil), from the Jean Dodal Tarot de Marseille deck (Lyon, c. 1701–1715). One of the 22 Major Arcana used as the structural framework of Tomberg's Meditations on the Tarot.

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Major Arcanum XVI, La Maison Dieu (The Tower), from the Jean Dodal Tarot de Marseille deck (Lyon, c. 1701–1715). One of the 22 Major Arcana used as the structural framework of Tomberg's Meditations on the Tarot.

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Major Arcanum XVII, L'Étoile (The Star), from the Jean Dodal Tarot de Marseille deck (Lyon, c. 1701–1715). One of the 22 Major Arcana used as the structural framework of Tomberg's Meditations on the Tarot.

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Major Arcanum XVIII, La Lune (The Moon), from the Jean Dodal Tarot de Marseille deck (Lyon, c. 1701–1715). One of the 22 Major Arcana used as the structural framework of Tomberg's Meditations on the Tarot.

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Major Arcanum XIX, Le Soleil (The Sun), from the Jean Dodal Tarot de Marseille deck (Lyon, c. 1701–1715). One of the 22 Major Arcana used as the structural framework of Tomberg's Meditations on the Tarot.

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Major Arcanum XX, Le Jugement (Judgement), from the Jean Dodal Tarot de Marseille deck (Lyon, c. 1701–1715). One of the 22 Major Arcana used as the structural framework of Tomberg's Meditations on the Tarot.

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Major Arcanum XXI, Le Monde (The World), from the Jean Dodal Tarot de Marseille deck (Lyon, c. 1701–1715). One of the 22 Major Arcana used as the structural framework of Tomberg's Meditations on the Tarot.

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Engraved image of the Emerald Tablet from Heinrich Khunrath's Amphitheatrum Sapientiae Aeternae (1609). The Emerald Tablet (Tabula Smaragdina) is the foundational Hermetic text containing the formula "as above, so below," which Tomberg identifies as the basis of the method of analogy in Meditations on the Tarot.

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Text of the Emerald Tablet (Tabula Smaragdina) as printed by Johannes Petreius. The Latin text of the Emerald Tablet contains the formula of analogy — "quod est superius est sicut quod est inferius" — that Tomberg takes as the epistemological foundation of Meditations on the Tarot.

Metropolitan Museum of Art

Albrecht Dürer's celebrated 1504 engraving of Adam and Eve. The serpent coils around the Tree of Knowledge between the two figures. Relevant to Tomberg's reading of the serpent's promise in Meditations on the Tarot Letter IX, where he constructs a scientific creed in parallel to the Nicene Creed and argues that empirical science delivers on the serpent's promise on the horizontal plane.

Eliphas Levi's Baphomet engraving from Dogme et Rituel de la Haute Magie (1856). The Sabbatic Goat: winged, androgynous, half-human/half-goat figure with the torch of intelligence between its horns.

19th-century artistic rendering of the interior of the Library of Alexandria by O. Von Corven, based on archaeological evidence. The emblematic image of lost knowledge in the Western imagination.

Illustration by Yahya ibn Mahmud al-Wasiti from the Maqamat of al-Hariri, 1237 CE, depicting scholars at an Abbasid library. BNF MS Arabe 5847. The most frequently reproduced image of medieval Islamic intellectual life.

Frontispiece engraving from Anderson's Constitutions of the Free-Masons (1723), the founding document of speculative Freemasonry. Shows the Grand Master presenting the constitutions, with Masonic regalia and architectural symbolism.

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Référence bibliographique : Beraldi, DORÉ (Gustave), 69 Référence bibliographique : IFF19 DORÉ (Gustave), 198 Appartient à l’ensemble documentaire : Est19Doré Langue : sans contenu linguistique Éditeur : ()

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Référence bibliographique : IFF19 DORÉ (Gustave), 73 Appartient à l’ensemble documentaire : Est19Doré Illustration Image de presse Langue : sans contenu linguistique

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Appartient à l’ensemble documentaire : Est19Doré Illustration Langue : sans contenu linguistique

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Référence bibliographique : IFF19 DORÉ (Gustave), 78 Appartient à l’ensemble documentaire : Est19Doré Langue : français Éditeur : ()

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Appartient à l’ensemble documentaire : Est19Doré Illustration Langue : sans contenu linguistique

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Appartient à l’ensemble documentaire : Est19Doré Illustration Langue : sans contenu linguistique

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Appartient à l’ensemble documentaire : Est19Doré Illustration Langue : sans contenu linguistique

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Illumination from Hildegard of Bingen's visionary corpus depicting the angelic hierarchy.

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Mosaic Icon with the Akra Tapeinosis (Utmost Humiliation), or Man of Sorrows. Mosaic icon, Byzantine, late 13th–early 14th century; icon of Saint Catherine (reverse), late 13th–early 14th century; case, late 14th–17th century1. Mosaic icon, various colored stones, silver, and gold on wood; case, wood, metal, paper identification and silk wrappings for the relics; icon 13 x 19 cm (5 1/8 x 7 1/2 in.) without frame, 23 x 28 cm (9 x 11 in.) with silver frame; case 98.7 x 97.1 cm (38 7/8 x 38 1/4 in.

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12th-century rectangular illuminated painting depicting God's creation of the world

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This triptych icon was probably commissioned by a lay person for private prayer and meditation. It could be folded and shut when not in use. The scenes represented from left to right are: The Crucifixion (left); The Resurrection and Anastasis (center); and Adoration of the Miracle-Working Icon of the Vladimir Mother of God (right). Small portable icons such as this were common to later Russian religious practice.

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Hildegard von Bingen receives a divine inspiration and passes it on to her scribe.

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Hildegard von Bingen receives a divine inspiration and passes it on to her scribe.

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Primeira iluminura do Liber scivias Domini

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Cropped from :Image:Meister des Hildegardis-Codex 001.jpg.

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Appartient à l’ensemble documentaire : Est19Doré Illustration Langue : français Éditeur : ()

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File:Le Morte d'Arthur.jpg

File:Merlin taketh the child Arthur into his keeping.jpg

Beowulf (Cotton MS Vitellius A xv - f134r). "eotenas ylfe orcneas" line 112 at the bottom of the page named ogres, elves, and devil-corpses, and inspired Tolkien to create a variety of races includin

The first folio of the heroic epic poem Beowulf, written primarily in the West Saxon dialect of Old English. Part of the Cotton MS Vitellius A XV manuscript currently located within the British Librar

Cruddy scan of an illustration in a book

scan of cover of publication

Blake Marriage of Heaven &amp; Hell h p3 detail

Blake Marriage of Heaven &amp; Hell i p3 detail (1827) Fitzwilliam Museum

<div class="description"> <p><a href="//commons.wikimedia.org/wiki/William_Blake" title="William Blake">William Blake</a>'s <i>Newton</i> (1795), colour print with pen &amp; ink and watercolour. </p>

"The Lamb", from <i>Songs of Innocence and of Experience, Shewing the Two Contrary States of the Human Soul. [London, W. Blake, 1794] 54 plates. col. ill. 19 cm. Library of Congress reference: Rosenwa

Title page of the Tulk-Rothschild-Blunt copy of William Blake's Songs of Innocence and of Experience

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<p>Image from the <a href="//commons.wikimedia.org/wiki/Book_of_Kells" title="Book of Kells">Book of Kells</a>, a 1200 year old book. Illuminated TU in <i>"Tunc accedentes discipuli"</i> in Folio 74 r

<p>Image of page from the Book of Kells, a 1200 year old book in public domain. </p> <a href="https://en.wikipedia.org/wiki/Category:Illuminated_manuscript_images" class="extiw" title="en:Category:Ill

Botticelli Inferno XVIII

<i>The Arming and Departure of the Knights</i>. Number 2 of the <a href="https://en.wikipedia.org/wiki/Holy_Grail_tapestries" class="extiw" title="w:Holy Grail tapestries">Holy Grail tapestries</a> wo

Frontispiece of The Thirde Book of The Faerie Queene by Edmund Spenser, contayning the legend of Britomartis or of chastity. Edited by Thomas Wise and displayed in a series of designs by Walter Crane.

<div class="description"> <dl><dt>Book; Books</dt></dl></div>

Illustration for <i>The Rime of the Ancient Mariner</i>. The Mariner up on the mast in a storm.

Illustration 1 for <a href="https://en.wikipedia.org/wiki/Miguel_de_Cervantes" class="extiw" title="en:Miguel de Cervantes">Miguel de Cervantes’s</a> “<a href="https://en.wikipedia.org/wiki/Don_Quixot

<p>Plate I of Gustave Doré's illustrations to Miguel de Cervantes' <i>Don Quixote</i>. From Chapter I. </p><p>The ordering of images in this edition is a little complex: There are numerous additional

<a href="https://en.wikipedia.org/wiki/Gustave_Dor%C3%A9" class="extiw" title="w:Gustave Doré">Gustave Doré's</a> illustrations to Dante's Inferno, Plate LXV: Canto XXXI: The titans and giants. "This

<a href="https://en.wikipedia.org/wiki/Gustave_Dor%C3%A9" class="extiw" title="w:Gustave Doré">Gustave Doré</a>'s illustration to Dante's <a href="https://en.wikipedia.org/wiki/Inferno_(Dante)" class=

<div class="description"> Illustration for <a href="https://en.wikipedia.org/wiki/John_Milton" class="extiw" title="en:John Milton">John Milton’s</a> “<a href="https://en.wikipedia.org/wiki/Paradise_L

<div class="description"> Illustration for <a href="https://en.wikipedia.org/wiki/John_Milton" class="extiw" title="en:John Milton">John Milton’s</a> “<a href="https://en.wikipedia.org/wiki/Paradise_L

Chaucer's Canterbury Tales in the Ellesmere MS at Huntington Library, Los Angeles

Folio 153v of the Ellesmere Manuscript, an early 15th-century illuminated manuscript of Geoffrey Chaucer's Canterbury Tales, owned by the Huntington Library, in San Marino, California (EL 26 C 9). The

The Red Book - Liber Novus.jpg

The Red Book by Carl Jung, 2009.jpg

Ink Illustration form 1930 edition from Moby Dick

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folio 32 of Nag Hammadi Codex II, with the ending of the Apocryphon of John, and the beginning of the Gospel of Thomas

Codex V of the Nag Hammadi library, p. 17, featuring the start of the Gnostic Apocalypse of Paul

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Close-up of wheat ears at sunrise, shot with 105mm macro lens. Golden warm light. The visual anchor for "an ear of grain cut in silence." Photo by Dietmar Rabich / Wikimedia Commons, CC BY-SA 4.0.

Metropolitan Museum of Art

Tree of life pitcher. Glass. ca. 1865–85.

Metropolitan Museum of Art

Figure group symbolic of Astronomy. Oak and beech, carved and painted. ca. 1775.

Metropolitan Museum of Art

Celestial globe with clockwork. Case: partially gilded silver, gilded brass; movement: brass, steel. 1579.

Metropolitan Museum of Art

Studiolo from the Ducal Palace in Gubbio. Walnut, beech, rosewood, oak and fruitwoods in walnut base. ca. 1478–82.

Metropolitan Museum of Art

Figure of Arithmetic with Pythagoras (one of a pair). Stained glass. late 18th–mid-19th century.

Metropolitan Museum of Art

Dish with IHS monogram, armillary sphere, and Portuguese royal arms. Hard-paste porcelain with underglaze cobalt blue decoration (Jingdezhen ware). ca. 1520–40.

Metropolitan Museum of Art

Capricorn (section of a zodiac frieze). Bronze. 1582.

Metropolitan Museum of Art

Assembly of male and female scholars gathered around an open book, in the middle ground a man holds aloft an armillary sphere, another group of scholars in the background. Engraving. ca. 1515–27.

Metropolitan Museum of Art

An Emblem of Europe. Mezzotint. September 4, 1798.

Metropolitan Museum of Art

Apollo and Diana. Engraving. ca. 1503–5.

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Woman Examining an Armillary Sphere. Etching. 16th century.

Metropolitan Museum of Art

Woman Examining an Armillary Sphere. Etching. 16th century.

Metropolitan Museum of Art

Celestial Musician (Gandharva). Slate. 11th century.

Metropolitan Museum of Art

Rock of the Philosphers, or Mount Parnassus, many ancient philosophers gathered in groups at the base of the mountain in the foreground, Diogenes in his barrel to right and Archimedes in center studying an armillary sphere in the middleground, an angel in the sky to left, the mountain in the background, a large cloud at the top of the mountain with the assembly of the gods. Etching; second state of two. ca. 1661.

Metropolitan Museum of Art

Twelve animals of the Chinese zodiac. Jade (nephrite). 18th–19th century.

Metropolitan Museum of Art

Charles Maurice de Talleyrand Périgord (1754–1838), Prince de Talleyrand. Oil on canvas. 1817.

Metropolitan Museum of Art

Ewer Base with Zodiac Medallions. Brass; engraved, inlaid with silver and copper. first half 13th century.

Metropolitan Museum of Art

Coin with Gemini Zodiac Sign. Silver. dated 1027 AH/1618 CE.

Metropolitan Museum of Art

Inkwell with Twelve Zodiac Medallions. Brass; cast, inlaid with silver and copper. late 12th–early 13th century.

Metropolitan Museum of Art

Textile with Birds and Horned Quadrupeds Flanking a Tree of Life. Silk; warp faced plain weave. 11th–12th century.

Metropolitan Museum of Art

Flask with Zodiac Medallions. Stonepaste; molded, blue-glazed, overpainted, and gilded. first half 14th century, with additions first half 20th century.

Metropolitan Museum of Art

Inkwell with Zodiac Signs. Brass; cast, inlaid with silver, copper, and black compound. early 13th century.

Metropolitan Museum of Art

Inkwell in the Form of Atlas Holding a Globe. Copper alloy. first half 16th century or later.

Metropolitan Museum of Art

Temple Pendant with Two Birds Flanking a Tree of Life (front) and Geometric Lead Motifs (back). Gold, silver, and enamel worked in cloisonné. ca. 1000–1200.

Metropolitan Museum of Art

Temple Pendant with Two Sirens Flanking a Tree of Life (front) and Confronted Birds (back). Cloisonné enamel, gold. 11th–12th century.

Metropolitan Museum of Art

Temple Pendant with Two Birds Flanking a Tree of Life (front) and Geometric and Vegetal Motifs (back). Cloisonné enamel, gold. 11th–12th century.

Metropolitan Museum of Art

One of a Pair of Temple Pendants, with Two Birds Flanking a Tree of Life (front) and Leaf and Rosette Motifs (back). Cloisonné enamel, gold. 11th–12th century.

Metropolitan Museum of Art

One of a Pair of Temple Pendants, with Two Birds Flanking a Tree of Life (front) and Leaf and Rosette Motifs (back). Cloisonné enamel, gold. 11th–12th century.

Metropolitan Museum of Art

Set of twelve zodiac animals. Earthenware with white slip. 8th century.

Metropolitan Museum of Art

Seated woman representing Astrology. Red wax. mid-1570s.

Metropolitan Museum of Art

Moveable rotating calendar mounted on elaborate wave-base with rabbit crest. Woodblock print (surimono); ink and color on paper. 1795, year of the rabbit.

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Antico Stemma del Seggio di Forcella

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An Archytas curve, an intersection of a torus and a cylinder. Made in Blender.

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This image is a cropped version of Raphael's fresco The School of Athens, showing the figure of Pythagoras.

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The 'Nova de Universis Philosophia' (edition 1591) by the Italian humanist and Neoplatonist Francesco Patrizi. Part of the table of contents, listing works by Zoroaster, Plato, Hermes Trismegistus ('Corpus Hermeticum' and the 'Asclepius') and others.

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Iamblichus, copper engraving by Johann Theodor de Bry for the "Tractatus posthumus de divinatione &amp; magicis præstigiis" by Jean-Jacques Boissard (1528–1602), Oppenheim, 1615. National Library of Spain. The caption reads: Utilis fuerat nobis nescire futura: Cogor enim irato fata Valente pati These lines are attributed to Jean-Jacques Boissard. The words translate as something like: "It would have been useful for us not to know the future: For I am forced to suffer the wrath of fate."

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La Dorotea, de Lope de Vega, 1632; página 186, en la que aparece nombrado Juan Bautista de Vivar.

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Marsilio Ficino explains Platonic philosophy to the Serristori family: In this painting by Egisto Sarri, the florentine philosopher Marsillo Ficino (1433-1499) the Tuscan patrician family Serristori, still existing to this day.

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Platonic philosophers: Plato, Plotinus, Augustinus

Better version of Goethe-Color-Wheel.jpg, sharpened

Hero's Aeolipile, 1st century AD, Alexandria (reconstruction).jpg

Leibniz_binary_system_1703.png

Llull Ars Magna wheel (1517 edition)

This is a page from the declassified documents of <a href="https://en.wikipedia.org/wiki/MKULTRA" class="extiw" title="en:MKULTRA">MKULTRA</a>. The documents were "provided by the Central Intelligence

File:OSSInsignia.gif

File:Planetarischen Weltentwicklungsstufen, Rudolf Steiner.jpg

Rudolf Steiner blackboard sketch from a lecture context, retained as a figure-linked diagram rather than a formal portrait.

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The Great Chain of Being from Didacus Valades' Rhetorica Christiana (1579). Depicts the hierarchical cosmological order from God through angels, humans, animals, plants, to minerals.

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Diagram of Jeremy Bentham's Panopticon prison design (1791). The all-seeing architectural form — a material embodiment of Gestell.

Metropolitan Museum of Art

Winslow Homer. Bronze. 1876, cast 1923.

Metropolitan Museum of Art

Socrates and Xantippe. Hard-paste porcelain. 1750.

Metropolitan Museum of Art

Head of a Bearded Elder. .1Terracotta on a bleu turquin marble socle. 1768.

Metropolitan Museum of Art

Rothschild lamp. Bronze, on a later wood base. ca. 1510–20.

Metropolitan Museum of Art

Death of Socrates. Pen and brown ink, red chalk and gouache. 19th century.

Metropolitan Museum of Art

The Death of Socrates. Pen and brown ink, brush and brown wash, over red chalk heightened with white gouache.. ca. 1749.

Metropolitan Museum of Art

The bust of Plato, in a niche. Etching and engraving; only state. ca. 1620.

Metropolitan Museum of Art

The bust of Plato, in a niche. Etching and engraving; only state. ca. 1620.

Metropolitan Museum of Art

The Death of Socrates. Pen and black ink, with brush and gray wash, over black chalk; lightly squared in black chalk. ca. 1782.

Metropolitan Museum of Art

The Death of Socrates. Oil on canvas. 1787.

Metropolitan Museum of Art

Johann Joachim Winckelmann (1717–1768). Oil on canvas. ca. 1777.

Metropolitan Museum of Art

Pilate Washing His Hands. Oil on canvas. 1663.

Metropolitan Museum of Art

Herman Doomer (ca. 1595–1650). Oil on wood. 1640.

Metropolitan Museum of Art

Aristotle with a Bust of Homer. Oil on canvas. 1653.

Metropolitan Museum of Art

Study of Two Heads. Oil on wood. ca. 1609.

Metropolitan Museum of Art

Old Woman Praying. Oil on canvas. late 1630s or early 1640s.

Metropolitan Museum of Art

Medal: Self-portrait. Bronze (Copper alloy with chocolate brown patina).. model ca. 1566 or 1571 (cast 18th or 19th century).

Metropolitan Museum of Art

The Death of Socrates. Pen and black ink, over black chalk, touches of pen and brown ink; squared in black chalk. ca. 1786.

Metropolitan Museum of Art

The Death of Socrates. Etching. 1790.

Metropolitan Museum of Art

Death of Socrates. Black chalk. ca. 1782–92.

Metropolitan Museum of Art

John Milton, Age 21. Engraving. 1747.

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Photographic portrait of Martin Heidegger in the 1920s.

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Street mural of Aldous Huxley on Dzielna Street in Warsaw.

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Alternate view of the Aldous Huxley street mural on Dzielna Street in Warsaw.

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Portrait of Simone Weil reproduced on the cover of Cahiers de Simone Weil, volume 4.

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Facsimile page featuring Martin Heidegger from Bekenntnis der Professoren.

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Early photographic portrait of Frances Yates.

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Photographic portrait of René Guénon with Frithjof Schuon during Schuon's 1938 visit to Cairo.

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Title page of an 1945 English translation of Introduction générale à l'étude des doctrines hindoues by René Guénon.

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British philosopher, author, poet, critic, and member of the Inklings.

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Photographic portrait of Pierre Hadot in Paris.

see filename

These busts of the Ancient Greek theatrical writers are in front of the National garden and were moved from Kotzia square.

Bust of Aristotle. Marble, Roman copy after a Greek bronze original by <a href="//commons.wikimedia.org/wiki/Lysippos" class="mw-redirect" title="Lysippos">Lysippos</a> from 330 BC; the alabaster mant

NBerdyaev.jpg

Bierdiajew phixr.jpg

Elk-hunting at MTK's farm Kettula. President Kekkonen at Haarikka hunting cottage on October 24th 1964.

President Kekkonen elk-hunting in Suomusjärvi, Finland on 24th November 1962.

<div class="description"> <a href="//commons.wikimedia.org/wiki/Jorge_Lu%C3%ADs_Borges" class="mw-redirect" title="Jorge Luís Borges">Jorge Luís Borges</a> 1951</div>

Portrait of <a href="//commons.wikimedia.org/wiki/Jorge_Luis_Borges" title="Jorge Luis Borges">Jorge Luis Borges</a>, by <a href="//commons.wikimedia.org/wiki/Annemarie_Heinrich" title="Annemarie Hein

Study of a musician for <i>The Golden Stairs</i>.

Portrait of Miguel de Cervantes Saavedra commonly said to be that which, according to the prologue to Cervantes' "Exemplary Novels", was painted by Juan de Jáuregui. Modern scholarship does not accept

<div class="description"> Portrait of Miguel de Cervantes Saavedra commonly said to be that which, according to the prologue to Cervantes' _Exemplary Novels_, was painted by Juan de Jáuregui. Modern s

Ellesmere Chaucer, mssEL 26 C 9, folio 153v, Tale of Melibee with portrait of Geoffrey Chaucer.

Geoffrey Chaucer, Tale of Melibee, Ellesmere Chaucer, mssEL 26 C 9, folio 153v <p>Portrait of Chaucer as a Canterbury pilgrim, <a href="https://en.wikipedia.org/wiki/Ellesmere_manuscript" class="extiw

Samuel Coleridge-Taylor (1875-1912)

Plaque on the wall outside St Mary's parish church, Ottery St Mary, Devon, commemorating Samuel Taylor Coleridge, who was born in the town in 1772.

<div class="description"> This painting depicts Confucius at his residence giving a lecture and Zengzi kneeling before him to ask about filial piety.</div>

​孔子第七十四代嫡長孫、清朝衍聖公孔繁灝畫像

MISLABELED: Source image is Henry Clark Corbin (1842-1909), a US Army general — not Henry Corbin (1903-1978), the French philosopher of Islamic mysticism. Needs replacement with actual Henry Corbin philosopher portrait.

MISLABELED: Duplicate of IMG-0343. Source image is Henry Clark Corbin (1842-1909), US Army general — not the philosopher Henry Corbin (1903-1978). Needs replacement.

"Retrato del escritor Fiodor Dostoievsky"

لوحة شخصيّة لِدوستويفسكي بريشة ڤاسيلي پيروف عام 1872.

File:Allen Dulles.jpg

File:Allen w dulles.jpg

Italiaanse schrijver Umberto Eco , kop; schrijvers

Victor Emmanuel III of Italy with son Umberto and grandson Vittorio

Cropped portion featuring poet T.S. Eliot (1888-1965) of a 1920 photograph taken by Lady Ottoline Morrell (d. 1938)

<i>Thomas Stearns ('T.S.') Eliot with his sister and his cousin</i>, by Lady Ottoline Morrell (died 1938). See source website for additional information.

<i>Title:</i> Portrait of William Faulkner <i>Abstract:</i> 1 photographic print : gelatin silver.

<i>Title:</i> Portrait of William Faulkner <i>Abstract:</i> 1 photographic print : gelatin silver.

Nikolai Fedorov by Leonid Pasternak

<div class="description"> The hiker stands as a back figure in the center of the composition. He looks down on an almost impenetrable sea of fog in the midst of a rocky landscape - a metaphor for life

<div class="description"> The hiker stands as a back figure in the center of the composition. He looks down on an almost impenetrable sea of ​​fog in the midst of a rocky landscape - a metaphor for li

Allen Ginsberg, Frankfurt Airport, 1978.

Depicted people: <a href="https://en.wikipedia.org/wiki/en:Allen_Ginsberg" class="extiw" title="w:en:Allen Ginsberg"><span title="American poet and writer (1926–1997)">Allen Ginsberg</span></a> and <

<div class="description"> <div style="font-weight:bold;display:inline-block;">Johann Wolfgang von Goethe (1749-1832)</div></div>

Georg Wilhelm Friedrich Hegel

<div class="description"> <dl><dt>Print; Prints</dt></dl></div>

<div class="description"> <p>HERACLITUS {550-480 BC} Engraving: portrait bust of Heraclitus, weeping bitter tears; by Dupin after Picart, n.d. </p> <p>Iconographic Collections</p> Keywords: burgess, p

Portrait of the poet Hesiod (?) from Akra in Boeotia, Roman copy of a Greek original, Neues Museum, Berlin

So-called <a href="https://en.wikipedia.org/wiki/Pseudo-Seneca" class="extiw" title="w:Pseudo-Seneca">Pseudo-Seneca</a>. Commonly believed to represent <a href="//commons.wikimedia.org/wiki/Category:H

German author <b>Hermann Hesse</b>

Bust of a man, so-called Homer

<i>Title:</i> Sculpture of Homer, bust portrait, facing front] / Leney sculp <i>Abstract/medium:</i> 1 print : engraving.

Collage of 72 Notable <a href="https://en.wikipedia.org/wiki/Muslims" class="extiw" title="en:Muslims">Muslim</a> Figures Across History: <p><a href="https://en.wikipedia.org/wiki/Avicenna" class="ext

makhzen Dar Lasram, la médina de Tunis مخزن دار لصرم , مدينة تونس العتيقة

Author James Joyce, on page 33 of the September 1922 <i>Shadowland</i>.

James Joyce, Île-de-France, Paris 1928; Berenice Abbott Collection, Smithsonian’s National Museum of American History

A photograph of Franz Kafka, with his signature.

A photograph of an adult Kafka.

Immanuel Kant (1724-1804)

Portrait of <a href="https://en.wikipedia.org/wiki/John_Keats" class="extiw" title="w:John Keats">John Keats</a> (1795-1821), English poet

Portrait of John Keats (frontispiece) in <i>Letters of John Keats to Fanny Brawne &amp;c.</i> (1878).

Portrait photograph of Jack Kerouac from the second edition of his novel Dr. Sax.

Portrait photograph from the first edition of the Town and the City by Jack Kerouac

Detail from <a href="https://en.wikipedia.org/wiki/John_Everett_Millais" class="extiw" title="w:John Everett Millais">John Everett Millais</a>' painting <i><a href="https://en.wikipedia.org/wiki/Ophel

<div class="description"> Depicted people: <a href="https://en.wikipedia.org/wiki/Ophelia" class="extiw" title="w:Ophelia">w:Ophelia</a> and <a href="https://en.wikipedia.org/wiki/Elizabeth_Siddal" c

<a href="https://en.wikipedia.org/wiki/John_Milton_Brannan" class="extiw" title="en:John Milton Brannan">John Milton Brannan</a> by the Mathew Brady Studio. Glass plate collodion negative, 9.5 × 7.2 ×

A portrait from the Welsh Portrait Collection at the National Library of Wales. Depicted person: <a href="https://en.wikipedia.org/wiki/en:John_Milton" class="extiw" title="w:en:John Milton"><span ti

<div class="description"> <p>Detail from <a href="//commons.wikimedia.org/wiki/File:Portrait_of_an_Actor,_copy_after_Fetti_-_Robbins-Landon_1991_p60.jpg" title="File:Portrait of an Actor, copy after F

historical person (NIETZSCHE, Friedrich) · moustache · portrait · Friedrich Nietzsche · man · man · bust (sculpture) · primary view · moustache · large moustache · eyebrow · physiognomy · portrait hea

<a href="https://de.wikipedia.org/wiki/Novalis" class="extiw" title="de:Novalis">Friedrich Freiherr von Hardenberg</a>

Weißenfels, castle Neu-Augustusburg, portrait of Friedrich von Hardenberg (Novalis)

Woodcut from a French translation of the Metamorphoses by Ovid (Bruges, 1484), printed by Colard Mansion, showing his portrait as a traveler in the Legend of the Fallen Oak (folio 43r) <a rel="nofollo

Jack Parsons 2.jpg

File:Philip K Dick in early 1960s (photo by Arthur Knight) 02 (cropped).jpg

File:Science fiction quarterly 195305.jpg

Ilya_Prigogine_1977c.jpg

<p>description : illustration de la <a href="https://fr.wikipedia.org/wiki/Mission_j%C3%A9suite_en_Chine" class="extiw" title="fr:Mission jésuite en Chine">mission chinoise des jésuites</a><br> Proven

Matteo Ricci and Paul Xu Guangqi From <i>La Chine d'Athanase Kirchere de la Compagnie de Jesus: illustre de plusieurs monuments tant sacres que profanes</i>, Amsterdam, 1670. Plate facing p. 201. <p>(

Rainer_Maria_Rilke

Rainer Maria Rilke und Clara Rilke-Westhoff kurz nach ihrer Hochzeit im Jahr 1901

Drawing, album?. Portrait. Mauláná Jalál al-Dín. Drawn and tinted on paper. <p>Jalal al-Din Rumi and Hafiz Mughal India, early 19th century Ink and watercolour on paper </p><p>The posthumous portraits

Portrait photograph of <a href="https://en.wikipedia.org/wiki/Arthur_Schopenhauer" class="extiw" title="w:Arthur Schopenhauer">Arthur Schopenhauer</a>

File:Riddhi Siddhi Ganapathi.jpg

File:Vishnu by M V Dhurandhar.jpg

1905 print of Percy Bysshe Shelley after page of <i>Women painters of the world, from the time of Caterina Vigri, 1413-1463, to Rosa Bonheur and the present day</i>, by Walter Shaw Sparrow, The Art an

Vladimir Sergeyevich Soloviev (1853-1900), russian philosopher, poet, writer. Photo by Alex Eichenwald. Moskow, 1871.

Portrait of philosopher Vladimir Soloviev

Bust of a unknown sitter (know as Sophocles)

File:Bernard-Stiegler.jpg

File:Bernard-Stiegler (cropped).jpg

MISLABELED: Source image is Ingmar Bergman's grave on Fårö, Gotland — not Andrei Tarkovsky. Needs replacement with actual Tarkovsky portrait.

Retrato de Lev Nikoláyevich Tolstói

jsc2022e072268 (Sept. 7, 2022) --- At the Baikonur Cosmodrome in Kazakhstan, NASA astronaut Frank Rubio (left), Roscosmos cosmonaut Sergey Prokopyev (center) and Roscosmos cosmonaut Dmitri Petelin (ri

jsc2022e072270 - At the Baikonur Cosmodrome in Kazakhstan, NASA astronaut Frank Rubio (left), Roscosmos cosmonaut Sergey Prokopyev (center) and Roscosmos cosmonaut Dmitri Petelin (right) complete trai

<div class="description"> <p>Portrait of Virgil, found in Tunis. Half tone reproduction. </p> <p>General Collections</p> Keywords: Virgil</div>

File:Swami Vivekananda at Parliament of Religions.jpg

File:Swami Vivekananda on 21 September 1893 in Chicago Parliament of world's religions.jpg

Photograph of composer Richard Wagner, Paris, 1861 (catalog number 007); this was taken when Wagner was in France for the premiere of <i>Tannhauser</i>.<sup id="cite_ref-getty_1-0" class="reference"><

Daguerreotype of Richard Wagner

Norbert Sieber, ÖVP-Nationalrat, auf dem Wiener Erntedankfest 2008

Norbert and Margaret Wiener, at the International Mathematical Congress, Zurich 1932.

Portrait of Giovanni Pico della Mirandola

Portrait of Helena Blavatsky

Portrait of George Gurdjieff

Portrait of Valentin Tomberg

Portrait of Julius Evola

Portrait of Apuleius

Portrait of Meister Eckhart

Portrait of Isaac Luria

Portrait of Ioan Petru Couliano

Portrait of Friedrich Schelling

Portrait of Alexander Dugin

Portrait of Daniil Andreev

Portrait of Teresa of Ávila

Portrait of Emanuel Swedenborg

Portrait of William Shakespeare

Portrait of Origen

Portrait of Plutarch

Portrait of Patanjali

Portrait of Nagarjuna

Portrait of Suhrawardi

Portrait of Jakob Boehme

Portrait of Mechthild of Magdeburg

Portrait of Proclus

Portrait of Porphyry

Portrait of Johannes Reuchlin

Portrait of Samuel Liddell MacGregor Mathers

Portrait of William Wynn Westcott

Portrait of Michel Foucault

Portrait of Karl Kerényi

Portrait of Yuk Hui

Portrait of Dion Fortune

Portrait of Victor Turner

Portrait of Rudolf Otto

Portrait of Cheikh Anta Diop

Portrait of Kenneth Anger

Portrait of Jonathan Z. Smith

Portrait of Denis de Rougemont

Portrait of Gregory Bateson

Portrait of Francisco Varela

Portrait of Jeremy Narby

Portrait of Stanislav Grof

Portrait of Marguerite Porete

Portrait of Valentinus

Portrait of Vladimir Vernadsky

Portrait of Ray Kurzweil

Portrait of Nick Bostrom

MISLABELED: Source image is 'Kingsley Crag' — a grassy hillside in Scotland photographed by Peter McDermott, not the scholar Peter Kingsley. Needs replacement.

Portrait of R. Gordon Wasson

Marble portrait bust identified as Plotinus, from the Terme del Filosofo at Ostia Antica, c. 250-300 CE. Museo Ostiense.

Replacement needed for mislabeled IMG-0509. Portrait photograph of Andrei Tarkovsky (1932-1986), Russian filmmaker.

Replacement needed for mislabeled IMG-0343/0344. Portrait photograph of Henry Corbin (1903-1978), French philosopher of Islamic mysticism, mundus imaginalis.

Replacement needed for mislabeled IMG-0580. Portrait photograph of Peter Kingsley (b. 1953), classicist, author of In the Dark Places of Wisdom.

Portrait photograph of Mircea Eliade (1907-1986), historian of religion, author of Patterns in Comparative Religion and The Sacred and the Profane.

Portrait photograph of Walter Burkert (1931-2015), classicist, author of Ancient Mystery Cults and Greek Religion.

Iain McGilchrist being interviewed. Screenshot from Rebel Wisdom YouTube channel (2018).

Portrait photograph of Brian Muraresku, author of The Immortality Key (2020).

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Portrait photograph of Rudolf Steiner (1861-1925), Austrian philosopher and founder of Anthroposophy, circa 1905. Photograph by Otto Rietmann.

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Contemporary donor portrait (Stifterbild) of Nicholas of Cusa (1401-1464), c. 1480, from the hospital chapel at Bernkastel-Kues, Germany. By the Master of the Life of the Virgin.

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Portrait drawing of Carl Gustav Jung (1875-1961), Swiss psychiatrist and founder of analytical psychology, published 1912.

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Oil on canvas portrait of William Blake (1757-1827) by Thomas Phillips, 1807. National Portrait Gallery, London (NPG 212).

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Oil portrait painting of Marsilio Ficino (1433-1499), Renaissance philosopher and translator of Plato. Attributed to Cristofano dell'Altissimo.

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Oval engraving portrait of Giordano Bruno (1548-1600) by Johann Georg Mentzel, early 18th century. Considered the most authoritative likeness based on a lost original.

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Oil on canvas portrait of John Dee (1527-1608) at age 67. Ashmolean Museum, Oxford (WA1898.18).

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Ancient marble bust of Pythagoras (c. 570-495 BCE), Vatican Museum. Photograph by Andargor.

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Engraving of Mercurius Trismegistus by Jean-Louis Durant, from Pierre Mussard, Historia deorum fatidicorum, Geneva, 1675.

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Medieval illustration of Anicius Manlius Severinus Boethius (477-524 CE) from De institutione musica, 12th century, Cambridge University Library.

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Historical portrait depicting Muhyiddin Ibn Arabi (1165-1240), Andalusian Sufi mystic and philosopher.

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Painting of Ramon Llull (c. 1232-1316) by Francisco Ribalta, circa 1620.

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Oil on canvas portrait of Gottfried Wilhelm Leibniz (1646-1716) by Christoph Bernhard Francke, circa 1695. Herzog Anton Ulrich-Museum.

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Medieval manuscript illumination from the Rupertsberg Codex of Liber Scivias (c. 1175), depicting Hildegard von Bingen receiving divine inspiration and dictating to her scribe Volmar.

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16th-century wall painting fragment depicting Dionysius the Areopagite from the Pantokrator Monastery on Mount Athos, post-Byzantine Greek iconographic style. By Feofan Kritsky.

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Black-and-white portrait photograph of Massimo Scaligero (1906-1980), Italian Anthroposophist, from the 1950s.

Engraving or painting reproduction depicting Iamblichus, Greek Neoplatonic philosopher, c. unknown date (likely 18th-19th century based on source)

Portrait of Dante Alighieri, Florentine School, 16th century

Oil on panel by Gustave Moreau, 1865

Contemporary painting of Novalis, c. 1799, artist unknown

Photograph of Joseph Campbell with Jonathan Young, c. 1985, by Folkstory

Photograph of Georges Bataille circa 1943, unknown author

Black and white portrait photograph, unknown photographer, c. 1920

Portrait photograph of Aleister Crowley in OTO garments by Arnold Genthe (phototypie), published 1919

Photograph of Nicholas Black Elk with his wife Anna Brings White and daughter Lucy Black Elk in their home, Manderson, South Dakota, ca. 1910; unknown photographer

Photograph of Friedrich Nietzsche, circa 1875. Valued image on Commons.

Last known portrait photograph of Franz Kafka, probably taken in September 1923 at Wertheim Department Store in Berlin, unknown photographer

Photograph by Camille Ruf, Zurich, ca. 1918

Portrait drawing by Leonid Pasternak, unknown date

Black and white photograph by Gret Widmann, 1927

Oil on cardboard portrait by John La Farge, c. 1859

Woodcut from Liber Chronicarum (Nuremberg Chronicle), 1493, workshop of Michel Wolgemut and Wilhelm Pleydenwurff; man holding a scroll identified as Valentinus, a Gnostic teacher

Still from the experimental 1943 short film Meshes of the Afternoon by Maya Deren, showing her looking out of a window

Photograph of Norbert Wiener from M.I.T. archives

Black and white portrait photograph of Gregory Ottonovich von Mebes (G.O. Mebes), from the collection of Nicolaevsky Gymnasium Museum, c. early 20th century

Photogravure of bust of Aristophanes in the Uffizi Gallery, Florence (Roman copy, 1st century AD, marble), published 1911

Oil on panel painting by Gustave Moreau, 1891, depicting Hesiod with the Muse

Engraving of bust of Euripides, frontispiece for The Plays of Euripides (1910)

Wool on linen textile depicting Dionysus, 250-450 AD

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Neubrandenburg in Flames

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Port of Greifswals

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Elbe Landscape (with two Womaen gathering Brush)

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Rocky Reef by the Seashore

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Labeled diagram of DNA structure showing base pairs, sugar-phosphate backbone, and helical geometry.

Photograph of Pompey's Pillar and surrounding ruins of the Serapeum temenos, Alexandria, Egypt. The Serapeum housed a daughter collection of the Great Library and was destroyed by Christian mobs in 391 CE.

Ruins of Chateau de Montsegur, the Cathar fortress in Ariege, southern France. The last major Cathar stronghold fell here in March 1244; over 200 Cathar perfecti were burned alive at the foot of the mountain.