The Harmonia Macrocosmica of Andreas Cellarius

3.ORBIUM PLANETARUM TERRAM COMPLECTENTIUM SCENOGRAPHIA - Scenography of the planetary orbits encompassing the Earth.    

5.SCENOGRAPHIA SYSTEMATIS COPERNICANI - Scenography of the Copernican world system.   

10.CORPORUM COELESTIUM MAGNITUDINES - The sizes of the celestial bodies [in some copies the terrestrial sphere has the continents drawn in by hand].   

15. TYPUS ASPECTUUM, OPPOSITIONUM ET CONIUNCTIONUM ETZ IN PLANETIS - The (astrological) aspects, such as opposition, conjunction, etc., among the planets.    

16. THEORIA SOLIS PER ECCENTRICUM SINE EPICYCLO - Representation of the Sun in an eccentric orbit without epicycles.    

18. THEORIA LUNÆ, EIUS MOTUM PER ECCENTRICVM ET EPICYCLVM DEMONSTRANS - Representation of the Moon showing its motion in an eccentric orbit with epicycles.    

19. TYPUS SELENOGRAPHICUS LUNÆ PHASES ET ASPECTUS VARIOS ADUMBRANS [some copies from the 1660 edition have the nonsensical reading ‘… OS ADVARIUMBRANS’] - Selenographic diagram depicting the varying phases and appearances of the Moon by (means of) shading.

source: Theological Institute, University of Utrecht


Musica Universalis.

Musica Universalis (literally universal music), also called Music of the Spheres or Harmony of the Spheres, is an ancient philosophical concept that regards proportions in the movements of celestial bodies - the Sun, Moon, and planets- as a form of musica (the Medieval Latin term for music). This “music” is not usually thought to be literally audible, but a harmonic, mathematical or religious concept. The idea continued to appeal to thinkers about music until the end of the Renaissance.

The Music of the Spheres incorporates the metaphysical principle that mathematical relationships express qualities or “tones” of energy which manifest in numbers, visual angles, shapes and sounds – all connected within a pattern of proportion. Pythagoras first identified that the pitch of a musical note is in proportion to the length of the string that produces it, and that intervals between harmonious sound frequencies form simple numerical ratios. In a theory known as the Harmony of the Spheres, Pythagoras proposed that the Sun, Moon and planets all emit their own unique hum (orbital resonance) based on their orbital revolution, and that the quality of life on Earth reflects the tenor of celestial sounds which are physically imperceptible to the human ear. Subsequently, Plato described astronomy and music as “twinned” studies of sensual recognition: astronomy for the eyes, music for the ears, and both requiring knowledge of numerical proportions.

The Musica Universalis (Harmony of the Spheres) - Ratios of Orbital Distance and Orbital Periods.

Musica Universalis (Music of the Spheres) is an Ancient Philosophical concept that regards Proportions in the movements of Celestial bodies of the Sun and Planets as a Form of Musica (the Medieval Latin name for Music).

This “Music” is not literally Audible, but a Harmonic and Mathematical relationship between our Star and it’s Satellites.

This design is inspired by theory and writings taken from Johannes Kepler’s “Mysterium Cosmographicum” (The Secret of the Universe) where he explored the relationships of Harmonies in our Solar System and sought to uncover the “Music” therein.

In this graphic, the Circles represent Orbital Resonance, which occurs when two Planets have an Orbit that are a simple Integer Ratio of each other. For example, consider the Orbits of Earth and Venus (8 : 13), which means the two Planets arrive at almost the same position after 8 Earth Orbits and 13 Venus Orbits. The underlying Circles represent relationships of Orbital Distance as calculated from each Planets semi-minor Axis - which is the shortest length in a Planets elliptical Orbit around the Sun. What is most striking, is that the mirrored structure that arises in the semi-minor Axis between:
- the first and last for Planets (both 4:1)
- the last and first Planets (both 25 : 1)
- and the fourth Planets as counted in from the 1st and last (25 : 4) - Mars from Mercury, and Saturn from Pluto

In this view of the semi-minor and Orbital Resonaces overlaid, the whole Solar System takes on the appearance of a carefully Mathematically Balanced ballet of Harmonic Relationships and shared Proportions. In some instances the Ratios and Relationships depicted here are reputed to be very accurate (in terms of Cosmological distances which are vast) coming close to 99.8%.

Alopecia and I

I’ve got Alopecia. It’s been with me since Pre-k and I expect it will accompany me through the rest of my life.

I’ve been bald

I’ve been patchy

(I painted those dragons in the background)

(That last one was when I got a henna tattoo, but it was very badly done, just take note of the irregular hair pattern)

And I’ve appeared “normal”

(I also painted the dragon on that parasol)

I’ve been asked “Who went at you with a weed-eater?”

I’ve worn wigs.

I’ve been asked if I have cancer.

I’ve been stared at endlessly.

I’ve been devastated that I’ll never be able to dye my hair or style it however I want (which mostly involves long braids and lots of flowers).

I’ve tried all sorts of weird experiments to get my hair back.

And I haven’t had a full head of hair since fourth grade.

But you know what? I never once gave up. Even when I wasn’t comfortable in my own skin, I didn’t sit down and cry. I always thought of something good my Alopecia gave me- like that I’ve still never shaved my legs and that I’ve always been allowed to wear hats to school.

When my hair fell, my spirits did not. When my scalp shone, so did my smile. And eventually, I became 100% comfortable with my own skin. I know I’m beautiful and I will never let my hair tell me otherwise.

So, thank you, Alopecia, my oldest friend. I wouldn’t take the cure for you even if they found one. I don’t know what I would do without you.

And too all else out there with painful trials in life- male, female; alopecia or acne; interior or exterior…. I hope this gives you the example you need to keep your head up.

As I have always said…

Stay strong, and smile always.


Johannes Kepler - Geometrical Harmonies in the Perfect Solids, “Harmonices Mundi”, 1619.

Kepler was convinced “that the geometrical things have provided the Creator with the model for decorating the whole world”. In Harmony, he attempted to explain the proportions of the natural world - particularly the astronomical and astrological aspects - in terms of music. The central set of “harmonies” was the Musica Universalis or “Music of the Spheres”.

Kepler began by exploring regular polygons and regular solids, including the figures that would come to be known as Kepler’s solids.
Harmony resulted from the tones made by the souls of heavenly bodies - and in the case of astrology, the interaction between those tones and human souls. In the final portion of the work, Kepler dealt with planetary motions, especially relationships between orbital velocity and orbital distance from the Sun. Similar relationships had been used by other astronomers, but Kepler treated them much more precisely and attached new physical significance to them.