Maps of the Invisible

This intricate engraving from Robert Fludd’s 'Philosophia Moysaica' (1638) presents a complex cosmological model of the universe based on the interplay of light and darkness. At the base, the figures of Dionysus and Apollo represent the dualistic forces of destruction and creation, while the central diagram maps the emanation of divine light into the material world. Fludd’s work sought to reconcile biblical scripture with Hermetic philosophy and early scientific observation, making this image a key artifact of the 17th-century intellectual landscape.

This hand-colored engraving presents a complex allegorical figure representing the spiritual state of man within a mystical or alchemical framework. The figure is divided between light and dark, symbolizing internal transformation, while the radiant heart containing a dove signifies divine presence and the 'new birth' described in the German text. Such imagery was central to early modern esoteric traditions, illustrating the microcosm of the human soul as a site of cosmic struggle and enlightenment.

This circular emblem, titled 'SYMBOLA HORI', is taken from Athanasius Kircher's monumental work 'Oedipus Aegyptiacus' (1652–1654). It depicts the Egyptian deity Horus as an allegorical figure representing the manifest world and the divine triad. The figure holds a complex staff featuring a serpent and a bird, while a triangle and globe appear behind him, illustrating Kircher's syncretic interpretation of Egyptian mythology as a precursor to Christian and Hermetic truths.

This intricate frontispiece depicts the author, Athanasius Kircher, being guided by the angel Cosmiel on a celestial journey. The scene integrates the divine, represented by the Hebrew Tetragrammaton in the clouds, with the scientific, shown through a detailed diagram of the Tychonic planetary system. It perfectly encapsulates the 17th-century Jesuit worldview, where theological truth and empirical astronomical observation were harmonized.

This woodcut depicts a male figure inscribed within a circle and a pentagram, illustrating the Renaissance concept of the human body as a microcosm of the universe. Astrological symbols are placed at the extremities and center, linking human anatomy to celestial influences and geometric perfection. This image is a quintessential example of early modern efforts to harmonize science, art, and occult philosophy.

This elaborate frontispiece depicts the mythological hero Oedipus confronting the Sphinx, symbolizing the scholar's quest to solve the riddles of ancient Egypt. Above them, winged personifications of Experience and Reason hold a list of languages and scientific disciplines, representing the polymathic approach of Athanasius Kircher. The background features idealized Egyptian architecture, reflecting the 17th-century European fascination with the mysterious origins of civilization.

This intricate engraving serves as the central visual argument for Robert Fludd's 'Philosophia Moysaica' (1638). It presents a complex cosmological diagram illustrating the relationship between the divine, the celestial, and the terrestrial realms through a series of interlocking circles and symbolic figures. Fludd, a prominent Hermetic philosopher and physician, used such imagery to synthesize biblical narrative with contemporary scientific and mystical thought, representing the unfolding of creation from the divine unity.

This woodcut depicts the 'Isis multimammea,' a syncretic deity combining elements of the Egyptian Isis and the Ephesian Artemis. The figure is adorned with multiple breasts symbolizing universal fertility, a turreted crown representing her role as a protector of cities, and various animals that signify her dominion over nature. This illustration from Athanasius Kircher's Oedipus Aegyptiacus reflects the 17th-century fascination with ancient mystery religions and symbolic interpretation.

This intricate frontispiece from Athanasius Kircher's 'Magnes sive de arte magnetica' (1641) features the double-headed eagle of the Holy Roman Empire, dedicated to Emperor Ferdinand III. The eagle's body serves as a shield for the title, while its talons hold symbols of power and scientific instruments, reflecting Kircher's attempt to unify imperial authority with the study of magnetism. Below, a detailed cityscape provides a terrestrial grounding for the celestial and heraldic symbols above.