Rose The rose is obsolete but each petal ends in an edge, the double facet cementing the grooved columns of air--The edge cuts without cutting meets--nothing--renews itself in metal or porcelain-- whither? It ends-- But if it ends the start is begun so that to engage roses becomes a geometry-- Sharper, neater, more cutting figured in majolica-- the broken plate glazed with a rose Somewhere the sense makes copper roses steel roses-- The rose carried weight of love but love is at an end--of roses It is at the edge of the petal that love waits Crisp, worked to defeat laboredness--fragile plucked, moist, half-raised cold, precise, touching What The place between the petal's edge and the From the petal's edge a line starts that being of steel infinitely fine, infinitely rigid penetrates the Milky Way without contact--lifting from it--neither hanging nor pushing-- The fragility of the flower unbruised penetrates space William Carlos Williams
Lyte Lowys my sone, I aperceyve wel by certeyne evydences thyn abilite to lerne sciences touching nombres and proporciouns; and as wel considre I thy besy praier in special to lerne the tretys of the Astrelabie. Than for as moche as a philosofre saith, “he wrappith him in his frend, that condescendith to the rightfulle praiers of his frend,” therfore have I yeven the a suffisant Astrolabie as for oure orizonte, compowned after the latitude of Oxenforde; upon which, by mediacioun of this litel tretys, I purpose to teche the a certein nombre of conclusions aperteynyng to the same instrument.
A Treatise on the Astrolabe
- Little Lewis my son, I perceive well by certain evidences thine ability to learn sciences touching numbers and proportions; and as well consider I thy constant prayer in special to learn the treatise of the Astrolabe. Than for as much as a philosopher saith, “He wrappth him in his friend, that condescendth to the rightful prayers of his friend”, therefore have I given thee a suffisant Astrolabe as for our horizons, compounded after the latitude of Oxford; upon which, by means of this little treatise, I purpose to teach thee a certain number of conclusions pertaining to the same instrument.
- Geoffrey Chaucer (c. 1343 – 25 October 1400)
- ["the firste fyndere of our fair langage," Thomas Occleve (c. 1368–1426)
"lodesterre ... off our language," John Lydgate of Bury (c. 1370 – c. 1451)]
When the eye sees a colour it is immediately excited and it is its nature, spontaneously and of necessity, at once to produce another, which with the original colour, comprehends the whole chromatic scale. — Goethe
Philosophers have come to understand the distinction between the optical spectrum, as observed by Newton, and the phenomenon of human colour perception as presented by Goethe.
Yellow is a light which has been dampened by darkness; Blue is a darkness weakened by light.
What sorts, how vastly different in form,
How varied in multitudinous shapes they are-
These old beginnings of the universe;
Not in the sense that only few are furnished
With one like form, but rather not at all
In general have they likeness each with each,
No marvel: since the stock of them’s so great
That there’s no end (as I have taught) nor sum,
They must indeed not one and all be marked
By equal outline and by shape the same.
Moreover, humankind, and the mute flocks
Of scaly creatures swimming in the streams,
And joyous herds around, and all the wild,
And all the breeds of birds- both those that teem
In gladsome regions of the water-haunts,
About the river-banks and springs and pools,
And those that throng, flitting from tree to tree,
Through trackless woods- Go, take which one thou wilt,
In any kind: thou wilt discover still
Each from the other still unlike in shape.
De rerum natura c. 50 B.C.E
Translated by William Ellery Leonard
Beneath a canopied structure, a wiry-haired animal, perhaps a sloth, munches on a twig. A Latin text based on Jesus’s Sermon on the Mount appears above. Although the text and image seem to fit perfectly together, the different elements on the page were made thirty years apart.The elegant Roman-style lettering was written by Georg Bocskay to display his mastery of calligraphy. The text originally appeared on a plain black background. The illustration was added later by Joris Hoefnagel, who saw in the diminishing script the suggestion of recession into space, an illusion defied by the two-dimensionality of the text. He thus enclosed the letters within an architectural canopy drawn in perspective. Hoefnagel also responded wittily to the black coloration of the page, interpreting it naturalistically as nighttime: the silvery tones of the animal’s fur and the gold shimmer in the darkness.
Flemish and Hungarian illumination 1591-1596, script 1561-1562
Watercolors, gold and silver paint, and ink on parchment