Colorful Flammarion Dome Poster (with border)

This looks great wherever you hang it. Promise! Random info: The Flammarion engraving appeared in C. G. Jung's Flying Saucers: A Modern Myth of Things Seen in the Skies (1959). The first color version to be published was made by Roberta Weir and distributed by Berkeley's Print Mint in 1970.[citation needed] That color image spawned most of the modern variations that have followed since.[citation needed] Donovan's 1973 LP, Cosmic Wheels, used an extended black and white version on its inner sleeve (an artist added elements extending the image to fit the proportions of the record jacket). The image also appeared in "The Compleat Astrologer" (pg. 25) by Derek and Julia Parker in 1971. The Flammarion engraving appeared on the cover of Daniel J. Boorstin's bestselling history of science The Discoverers, published in 1983. Other books devoted to science that used it as an illustration include The Mathematical Experience (1981) by Philip J. Davis and Reuben Hersh, Matter, Space, and Motion: Theories in Antiquity and Their Sequel (1988) by Richard Sorabji, Paradoxes of Free Will (2002) by Gunther Stent, and Uncentering the Earth: Copernicus and On the Revolutions of the Heavenly Spheres (2006) by William T. Vollmann. Some books devoted to mysticism which have also used the engraving include Love and Law (2001) by Ernest Holmes, Gnosticism: New Light on the Ancient Tradition of Inner Knowing (2002) by Stephan A. Hoeller, and Practical Astrology (2008) by Priscilla Costello. The image was reproduced on the title page of the score of Brian Ferneyhough's "Transit: Six Solo Voices and Chamber Orchestra", published by Edition Peters in 1975. An interpretation of the image was used for the animated sequence about the cosmological vision of Giordano Bruno in the March 9, 2014 premiere of the TV series Cosmos: A Spacetime Odyssey, hosted by the astrophysicist Neil deGrasse Tyson. That TV series was dedicated to the popularization of science and astronomy, as had Flammarion's own work 150 years before. Some commentators have claimed that Flammarion produced the image to propagandize the myth that medieval Europeans widely believed the Earth to be flat.[16] In his book, however, Flammarion never discusses the history of beliefs about the shape of the Earth. His text suggests that the image is simply a fanciful illustration of the false view of the sky as an opaque barrier.