Atlas holds up the sky as a punishment from Zeus. This early sculpture would help define our concept of Atlas. The symbols on the globe are signs of the Zodiac.
Sculpture in the Archeological Museum of Naples.
Grand Central Terminal
As Above, So Below, 1998
Glass, bronze, and mosaic in Grand Central North passageway
The historic ceiling in the main concourse at Grand Central Terminal reveals the night sky with golden stars that form the constellations. Grand Central becomes a metaphor for our connection with the wider world beyond New York City and As Above, So Below takes the viewer around the world to the night sky above five different continents, representing myths, civilization, heavens, and the underworld. These scenes bring to life ancient tales that demonstrate how the stories told about the heavens reflect the way we live on earth. A close look at any of the faces in the work reveal their diversity, as indeed, the people in these mosaics represent many different backgrounds. However, the artist has altered them to take on the attributes of mythical figures. The work summons the everlasting and the ephemeral, reminding us of our spiritual and worldly past while we hurry through the station.
1 vol. (30 pl.) 54х36 cm. Copperplate engraving. Hand-Coloured.
Shelfmark: K 1-Astr 8/5a
It is one of the first atlases of the sky, compiled on basis of the work of the German scholar Johann Doppelmeier and published by Homann. In addition to maps of the night sky with symbolic representations of constellations, the atlas includes schemes for the structure of the Solar System, schemes for the planetary motions, and a map of the Moon.
This plate is a scheme for the heliocentric system of the world with images of zodiac constellations. The map has a scheme for comparative sizes of the Sun and the planets, a massage to the reader, a scheme for the solar eclipse of May 12, 1776; and Ptolemaic, Tychonic and Coppernican world systems in its corners.