The Creation of Light: William Blake and Francisco de Holanda 

Fiat Lux: The Perception of Spacetime and the Fallen Imagination 

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Introduction: Cosmos as Masterpiece

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Francisco de Holanda, self-portrait (c. 1573), the artist presenting his book

As many critics have pointed out, the remarkable work of the Portuguese Renaissance artist Francisco de Holanda “seems to predict another singular genius: William Blake, whom it predates by two centuries” (Michael Benson, Cosmigraphics: Picturing Space Through Time). Equally remarkable is the fact that many of Holanda’s most astonishing paintings were only discovered a few decades ago. As Benson notes in his compelling examination of visual depictions of the creation of the universe and of Holanda’s work in particular (a rarity in itself in Western academic studies, as there is still almost nothing written about this pioneering figure):

Perhaps the most extraordinary set of pictures depicting space-time’s origins dates from 1573. Discovered in the mid-20th century in an obscure notebook in the National Library of Spain, it was painted by the Portuguese artist and philosopher Francisco de Holanda, a student and lifelong friend of Michelangelo.

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FEARFUL SYMMETRY: William Blake and Sacred Geometry, by Rod Tweedy

The Human Form Divine: Sacred geometry and its relationship to our physiology

 

Section 1: The Nature of Sacred Geometry

Measuring Urizen: The geometry of geometry

This first section explores what is meant by “sacred geometry”, studying and measuring its terms in relation to the study of physiology, the ‘science of life’. It therefore provides a sort of “geometry of geometry”. This seems apposite: the very idea of measuring is after all embedded in the word “geometry”, which comes from the ancient Greek words Geos, meaning “Earth”, and Metron, meaning “to measure”. The act or assumption of measurement is therefore contained within the system that is used to measure reality. Urizen thereby inscribes itself in the very utensils it uses to explore the deep: as Neil Postman acutely observed, “within every technology there is embedded an ideology” (Technopoly: The Surrender of Culture to Technology). These sorts of isomorphic (or “fractal”) repetitions and self-reflections constitute one of the defining characteristics of sacred geometry.

Sacred geometry is usually understood as the science and study of the fundamental patterns, shapes, forms, proportions, and ratios that constitute the basic nature of physical, physiological, and psychological reality. In ancient traditions, these geometries were considered ‘sacred’ because they recurred with such remarkable frequency and on so many different levels, thereby seeming to suggest a ‘hidden order’ to the world. As Skinner notes, “geometry and numbers are sacred because they codify the hidden order behind creation”. As such, they were sometimes considered to reveal the “mind” of God: as Galileo succinctly put it, “Mathematics is the alphabet with which God has written the universe.”

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