An illustration from the notebook of William James. Brazil, 1865.

Typology of labels from James Gregory’s mineral collection. The Tricottet Collection. (via thetypologist)

In God’s wildness lies the hope of the world.

John Muir


Paul Klee, Zwillinge, 1930

Klee suffered from a wasting disease, scleroderma, toward the end of his life, enduring pain that seems to be reflected in his last works of art. One of his last paintings, Death and Fire, features a skull in the centre with the German word for death, “Tod”, appearing in the face. He died in Muralto, Locarno, Switzerland, on 29 June 1940 without having obtained Swiss citizenship, despite his birth in that country. His art work was considered too revolutionary, even degenerate, by the Swiss authorities, but eventually they accepted his request six days after his death. His legacy comprises about 9,000 works of art. The words on his tombstone, Klee’s credo, placed there by his son Felix, say, “I cannot be grasped in the here and now, For my dwelling place is as much among the dead, As the yet unborn, Slightly closer to the heart of creation than usual, But still not close enough.” He was buried at Schosshaldenfriedhof, Bern, Switzerland.

Sales Book of Sample Buttons, 18th century. Folding envelope: paper. France. Via Cooper Hewitt

The Tree of Life ~ Gustav Klimt

Moorish remains in Spain; being a brief record of the Arabian conquest of the Peninsula - Calvert, Albert Frederick, 1872-1946. Veiw the book, here.
“The tilework on the Bukhara madrasa is an example of the stylized geometric strap-work—typically based on star or polygon shapes—that is emblematic of traditional Islamic ornamentation. This form of design is known as girih patterns, from the Persian word for “knot.” It is generally believed that such designs were constructed by drafting zigzag outlines with only a straightedge and a compass. But Lu perceived something more: “I saw five-fold and ten-fold stars, which immediately aroused my curiosity about how these tilings had been made.” He wondered how Islamic craftsmen had been able to design such elaborately symmetrical patterns centuries before the advent of modern mathematics.” 
- From this article.

Adolfo De Carolis for Corrado Govoni’s first collection of poems. Firenze, 1903

Claudia Drake, The Search for Home, 2009 (via urgentalchemy)