A friendly visit to the house of mourning (1812)
Galileo Galilei (1564–1642)
Autograph notes on the satellites of Jupiter, 14–25 January 1611
On this scrap of paper (an unfolded envelope), Galileo recorded the positions of four satellites of Jupiter over a period of several nights. He had observed the moons with the aid of his newly constructed telescope and published his findings in his revolutionary book The Starry Messenger (1610). He then worked to define more precisely the periods of the orbits of the Jovian moons, setting up his telescope night after night and making notes such as these. In a radical departure from his university training, Galileo insisted that scientific theory be grounded in observation and physical evidence rather than reliance on ancient authority.
The Morgan Library
Joseph Heller’s chart outline for Catch-22. Check out the full gallery of Famous Authors’ Handwritten Outlines.
A glimpse into the process of writing, courtesy of some of the great authors of our time. The precision and organization of some of these outlines is astounding; would you have know that a rigid grid such as the one above could yield as fluid and engrossing a novel as Cath-22?
I SEE A DARKNESS
A page out of Robert Fludd’s “Utriusque Cosmi, Maioris scilicet et Minoris, metaphysica, physica, atque technica Historia”
Not sure if he is also the artist who made this beautiful plate, which apparently depicts the primordial darkness, expanding off the plate into infinity. All those attempts to “break the frame” / “expand the frame”..
The beautiful 1620’s solution:
“Et sic in infintum”
More great illustrations:
b/w though, and ~260MB:
(pictured above: pg. 18/657)
Fludd in the internet archive: http://archive.org/stream/utriusquecosmima02flud#page/n3/mode/2up (again: 700 pages, bring some snacks. I couldn’t locate the page pictured above, maybe different edition.)
Bonnie with the moves:
Final page of the manuscript for “The Dead” by James Joyce
Currently on view at Sprüth Magers London is Working Papers: Donald Judd Drawings 1963–93. The show consists of 33 drawings made when Judd was creating exclusively three-dimensional objects, offering an extended insight into the artist’s work during this period. Judd is considered a central figure of Minimalism, and although he strongly rejected the association, his explorations of volume, space, and the elimination of the artist’s ‘hand’ were pioneering efforts for Minimalists. Judd abandoned painting to work with three-dimensional objects in 1963, exercising a vocabulary of forms that he had established such as “stacks,” “boxes,” and “progressions,” which focused on the relationship between the object, the viewer, and the environment.
Feuillet, Origin of Eighteenth-Century Dance Notation or Choreography
Newton’s notebook pages
Karl Marx’s economic and philosophical manuscripts of 1844