The five-pointed star drawn in an unbroken line is the subject of the present study. During the 16th century until into the 17th century the pentagram was a well-known medical emblem; nowadays it is almost completely forgotten.

The 400 marks reproduced within these pages represent the diverse array of identity work produced by Pentagram's partners, past and present, since its founding in 1972. Over the past four decades, Pentagram has designed marks for large corporations and small businesses, government agencies and nonprofit institutions, clubs and societies, and evenindividuals, all of whom were seeking a representative symbol to appear on letterhead and books, buildings and websites, and everywhere else imaginable. Isolating them in black and white helps us appreciate these marks as unique pictorial or abstract symbols. Buta logo is rarely a solitary commission. Often produced in conjunction with a unified graphics, architecture or product design program, it is only part of the work Pentagram does. But regardless of the nature of the assignment, clients all share the same desire to be identified, and the belief that the right mark is a crucial starting point for a comprehensive visual identity. Limited edition, only 1,000 copies for sale.

Euclid presents the essential of mathematics in a manner which has set a high standard for more than 2000 years. This book, an explanation of the nature of mathematics from its most important early source, is for all lovers of mathematics with a solid background in high school geometry, whether they be students or university professors.

First multi-year cumulation covers six years: 1965-70.

This collection of sixteen essays deals with the role of magic, religion and witchcraft in European culture, 1450-1650, and the critical role of the visual in that culture. It covers the relationship of humanism and magic; the intersection of religious ritual, orthodoxy and power; the discursive links between the visual language of witchcraft and contemporary anxieties about sexuality and savagery. The introductory chapter urges us to exorcise our tendency to reduce historical experiences of the demonic to forms of unreason created in a distant past. Only then can we understand the role of the demonic in our historical definition of the self and the other. Richly illustrated with 112 images, the book will interest historians and art historians.