Hand-carved and printed linocut on certain fundamental principles of quantum physics and the double slit experiment (vertical central part) all mixed with abstract elements. all forming a graphically coherent and SF-inspired whole

The use of blue glaze on pottery is an imported technique, first developed by Mongol artisans who combined Chinese glazing technology with Persian decorative arts. This technique traveled east to India with early Turkic conquests in the 14th century. During its infancy, it was used to make tiles to decorate mosques, tombs and palaces in Central Asia. Later, following their conquests and arrival in India, the Mughals began using them in India. Gradually the blue glaze technique grew beyond an architectural accessory to Indian potters. From there, the technique traveled to the plains of Delhi and in the 17th century went to Jaipur.

Sir Walter Allward's inspiration for the Vimy Memorial came to him in a dream, in which, he said, dead soldiers "rose in masses, filed silently by and entered the fight to aid the living. So vivid was this impression, that when I awoke it stayed with me for months. Without the dead we were helpless. So I have tried to show this in this monument to Canada's fallen, what we owed them and we will forever owe them." Captain William Longstaff's "Vimy Ridge" artwork (circa 1930-1939) combines Allward's inspiration with the resulting striking monument.

Tobias Verhaecht (1561–1631) was a painter from Antwerp in the Duchy of Brabant who primarily painted landscapes. His style was indebted to the mannerist world landscape developed by artists like Joachim Patinir and Pieter Bruegel the Elder. He was the first teacher of Pieter Paul Rubens.

The original page 13 of the Codex Borbonicus, showing the 13th trecena of the Aztec sacred calendar. This 13th trecena was under the auspices of the goddess Tlazolteotl, who is shown on the upper left wearing a flayed skin, giving birth to Cinteotl. The 13 day-signs of this trecena, starting with 1 Earthquake, 2 Flint/Knife, 3 Rain, etc., are shown on the bottom row and the right column.

The Codex Borbonicus is one of a very few Aztec codices that survived the colonial Spanish inquisition. When the Spanish conquistadors (led by Hernán Cortés) entered Aztec cities, they would often find libraries filled with thousands of native works. However, most of the works were destroyed during the conquest as a means to hasten the conversion of the Aztec to European ideals.