The Magical Calendar is one of the most amazing pieces of art and information available in Western Hermeticism.
Published in 1620, the Magical Calendar contains tables of correspondences arranged by number from one to twelve. They are based in part on extensive tables in Agrippa, book 2, chapters 4-14 but go well beyond anything in Agrippa, especially sigils. The engraving was executed by the brilliant Johannes Theodorus de Bry who illustrated other important occult works such as those of Robert Fludd. The author was Johann Baptista Großchedel. Carlos Gilly has identified the original manuscript on which the printed Magical Calendar was based as British Library manuscript Harley 3420.
Adam McLean published a wonderful study of it in The Magical Calendar: A Synthesis of Magical Symbolism from the Seventeenth-Century Renaissance of Medieval Occultism (available via amazon.com)
The unreal is more powerful than the real. Because nothing is as perfect as you can imagine it. Because its only intangible ideas, concepts, beliefs, fantasies that last. Stone crumbles. Wood rots. People, well, they die. But things as fragile as a thought, a dream, a legend, they can go on and on. If you can change the way people think. The way they see themselves. The way they see the world. You can change the way people live their lives. That’s the only lasting thing you can create.
Russian and Soviet propaganda & advert posters [1917-1991]
Alexander McQueen, Spring 1999
prosthetic legs carved out of solid wood for Aimee Mullins
Andrew Bolton: McQueen made this ensemble with carved prosthetic legs for Aimee Mullins. Mullins is a world-class Paralympic athlete, and she modeled the boots for his 1999 show, No. 13.
Aimee Mullins: They were solid wood, solid ash, so there’s no give in the ankle. So any kind of a runway walk that I had practiced went out the window. And then suddenly they laced me into this leather bodice, and there were some spinning discs in the floor of the runway, which I had, while practicing in these wooden legs, you know … was very conscious of how to avoid them. But now that my neck was secured in this almost neck-brace position, I couldn’t look down. I couldn’t even see where the spinning discs were. And I just remember thinking, “Okay, you’ve done the Olympics. You’ve done harder things than this. You can do this. You can survive it.”
And you know, the fact is, nobody knew that they were prosthetic legs. They were the star of the show—these wooden boots peeking out from under this raffia dress—but in fact, they were actually legs made for me.
His clothes have always been very sensuous, and I mean the full gamut of that. So hard and strict and unrelenting, as life can be sometimes. And then this incredibly romantic swishing of the raffia.In McQueen’s Words
“When I used Aimee [Mullins] for [this collection], I made a point of not putting her in … sprinting legs [prostheses for running]… . We did try them on but I thought no, that’s not the point of this exercise. The point is that she was to mould in with the rest of the girls.”
i-D, July 2000
Maybe I can find work in Alexander McQueen’s medical devices division after med school? #goals