A Cryptogram deciphered

The opening sentence of Thomas Browne's Urn-Burial challenges the reader to look beyond mere surface appearances towards the unseen and hidden.

In the deep discovery of the subterranean world, a shallow part would satisfy some enquirers.

An ardent enquirer questing for fresh insight into Browne's esoteric creativity would do well to cast their eye upon the curious word which heads Browne's discourse - HYDRIOTAPHIA and ponder awhile.The six syllable word has a touch of theatricality about it, its sonority arrests the ear as if a magician's abracadabra or medical mantra. Although its a word which is commonly assumed to be an alternative title to Urn-Burial in fact is not followed by the word 'or' as with Browne's various alternative titles to his 1658 diptych Discourses and its often printed with a differing letter size and/or font  in most modern publications as in the original frontispiece.

Ostensibly meaning an empty tomb, it's just possible that the word HYDRIOTAPHIA is also an anagram. Browne's era was one in which all manner of word-play flourished, including the devising of anagrams. Such word-play occurred not only among literate academic circles, but also in the spheres of  military and political communication.  During the English civil war coded writing, as in the form of a cryptogram, was of extreme importance in maintaining military security when defeat or victory could be decided by the deciphering of the enemy's communications. However the construction of secret codes was not exclusive to the military, Anne Geneva noted of the wide-spread engagement in word-play throughout the sixteenth and seventeenth centuries.  

'the seventeenth century was able to draw upon a long tradition of cryptography, dozens of ciphers surviving from the sixteenth century alone, although Sir T.B. was the first to use the word in English'.[1]

Browne was one of many learned and leisured gentlemen throughout seventeenth century Europe  who took an interest in secret codes, ciphers and anagrams. Of greater import Anne Geneva also recognised crucially that-  'Alchemy in particular seems to have thrived upon anagrams.'

With his penchant for the secretive, along with his deep-rooted interest in the esoteric, Sir Thomas Browne is a prime candidate for having anagrammatic inclinations; he not only possessed almost every major esoteric author associated with coded writing, including those by the Abbot Trithemius, the Italian polymath Della Porta and the Frenchman Blaise de Vignere [1] but also knew that both  the Polish alchemist Michel Sendivogius [2] and the Oxford antiquarian Elias Ashmole had published alchemical literature under anagrammatic pseudonyms.[3]

In many ways Browne is the archetypal alchemist, he possessed an 'elaboratory' where he conducted numerous experiments, many of which are recorded in his encyclopaedia, including an experiment in which he suspended a magnetic pendulum above a circular table with an alphabet marked out around its circumference. He also experimented with various acids including Vitriol and was doubtlessly familiar with the near commonplace advisory derived from the initial letters of the word V.I.T.R.I.O.L. -  Visita Interiorem Terrae Rectificandoque Invenies Occultum Lapidem  which  can loosely be translated as advice to -

Visit the interior of the earth and rectifying, you will find the hidden stone.

an aphorism which bears close comparison to the opening sentence of Urn-Burial.

By rising to the challenge of the cryptic and acknowledging that the hidden world beyond appearances was a vital preoccupation of Hermetic philosophers such as Browne, essential clues can   be acquired assisting deciphering the cryptogram HYDRIOTAPHIA; when deciphered it not only highlights fundamental themes of the diptych discourses, namely death and birth, but also reveals a rare utterance from Browne's alter-ego persona.

If one heeds the literary critic Peter Green's observation that,  'Sir Thomas is his own most fascinating subject of study, and knows it’ one may with confidence extract the letter I , the most frequently used word in the English language, to begin constructing a full sentence. Having identified our subject we next need an active word such as a verb or adverb.

The opening dedicatory address in Urn-Burial to his patron, the Norfolk landowner Thomas le Gros, provides further clues to deciphering the second word of the anagram. Remembering that it was the discovery and unearthing of several burial urns at Walsingham, North Norfolk, which was the inspiration for the composition of the Discourse, the critic Joan Bennett described the physician's excitement at this 'hit of fate' and archaeological discovery which fired his imagination, scholarship and creativity thus -

'he must have rejoiced when, ten years after he had completed his magnum opus, the discovery of the Urns at Old Walsingham offered him a subject so appropriate to his interest and gifts'.[4]

Browne describes the archaeological find as a 'hit of fate' and considered the unearthing of  the Saxon-era  urns to be opportune, prompting him to contemplate time and antiquity. The initial spark of an archaeological discovery kindled Browne's imagination and  fired-up the full force of his literary creativity  to write upon the themes of  time, mortality and eternity.

Consulting Browne's contemporary, the seventeenth century lexicographer and dictionary-compiler Henry Blount's Glossographia  assists ones enquiry further. Blount includes the words 'seasonable', 'opportune',  'appropriate'  'timely' and 'tidy'  to describe a singular, lucky or unlucky event . Indeed, a miniature Dictionary published circa 1900 in the author's possession has under the entry Tidy, the definitions seasonable, clever, neat, spruce. Although the English language has altered considerably in three and a half centuries, the word 'tidy' retains its original  'hit of fate' meaning as in the phrase, 'a tidy sum of money'. Placing our ‘hit of fate', adverb as descriptive of Browne's own  'hit of  fate' we now have an opening sentence of  ' I tidy.........'

The remaining letters in the word Hydriotaphia  form a word utterly pertinent and central to the 'twin' Discourse's themes of death and rebirth -  PHARAOH .

In Urn-Burial Browne condemns all monuments to the dead as vain-glory including those built by the Egyptian Pharaoh's. The Pyramid is however one of the primary 'conjoining' symbols of the Discourses, for in The Garden of Cyrus the Pyramid is alluded to on several occasions as an example of the eternal, Platonic shapes and evidence of intelligent design in art and nature. The Garden of Cyrus also attempts to define several archetypes,  'the wise ruler' notably in its titular hero but also Augustus, Alexander the Great, Moses and many others are cited as examples of this archetype, including the earliest 'wise ruler'  of all, the Pharaohs of ancient Egypt, who despite their folly of building  pyramid mausoleums for themselves were also 'thrice-great' rulers of Egyptian society, holding the combined office of  High Priest, Military leader and Law-giver.  

The significance of the hidden sentence within the word Hydriotaphia in context of the welter of esoteric literature published during the Protectorate of Cromwell cannot be ignored. Browne was a devoted Bibliophile who kept well-abreast of the latest in book publications. He was both a modest and self -effacing  physician who knew himself to also be a colossus of knowledge of European stature with the fame of his Pseudodoxia Epidemica. Observing the plethora of esoteric literature published in  the decade of the Protectorate, Browne may well in his intellectual pride believed himself  to be the opportune or  'tidy' Pharaoh of all  those who purported to be privy to Hermetic wisdom.

The hidden anagram sentence - 'I, tidy Pharaoh' - may have been inspired by Browne's knowledge that the antiquarian Elias Ashmole  had published his Norwich acquaintance Arthur Dee's alchemical collection Fasiculus Chemicus in 1650 under the anagram pseudonym of James Hassole (by subsitution of the letter J which is non-existent in Latin for I). The frontispiece of Fasiculus Chemicus  announced that Ashmole elected himself as 'the English Mercurius' and perhaps either as a gentle, playful rejoinder to Ashmole, or in a rare outburst of alter-ego, Browne proclaimed his own status in the Hermetic art under cover of an anagrammatic retort.

But perhaps in the final analysis it's the relationship between those who invent anagrams  to their subject which is the most revealing to study. The ingenuity of devising phrases to describe someone from an exterior arrangement of alphabet letters.There certainly are some remarkable examples of anagrams made from famous names and Wikipedia offers  an  interesting history of the anagram and many amusing examples.

Browne himself was made the subject of an anagram, 'made and sent to me by my ever honoured friend Sir Philip Wodehouse'. Sir Philip Wodehouse ingeniously extracted from the latin of the name Doctor Thomas Brouenis the phrase, Ter Cordatus bonus homo which roughly translates as -  'the three-fold great man'.

Wodehouse's anagram is a brilliant allusion to alchemy's  'thrice-greatest' founding sage, Hermes Trismegistus, connecting the Norwich physician to Hermetic philosophy as well as illustrating the high esteem  in which his contemporaries held him.

Of course, we'll never know absolutely for sure whether or not Browne coined the word Hydriotaphia as an anagram. Unless of course new evidence should surface. Nevertheless  it's possible to extract a three word sentence from this curious word which  makes allusion to a favourite study of Browne's, namely ancient Egypt and to fundamental themes of the discourses namely death and birth. It is also a bold statement made with characteristic humour of an alter-ego alias .

HYDRIOTAPHIA  or  I TIDY PHARAOH

Although this proposed deciphering of an anagram can never be fully proven, one is none the less reminded of Browne's observation-

'The Hand of Providence writes often by Abbreviatures, Hieroglyphics or short Characters, which...are not to be made out but by a Hint or Key from that Spirit which indited them'. [6]

Notes
[1] Anne Geneva - Astrology and the seventeenth century mind  Manchester University Press 1995
[2]  Examples of coded writing author's in Browne's library include Trithemius Polygraphia S.C. p.30  no. 17 and Blaise de Vigenere Tract du Feu & du Sal  S.C. page 32 no.22
[3] 'Another kind of verticity, is that which Angelus doce mihi jua. alias Michael Sundevogius, in a Tract De Sulphure, discovereth in Vegetables...' Browne in Bk 2 chapter 3 of P.E.
[4]  When Elias Ashmole published the alchemical writings of Browne's Norwich acquaintance, Arthur Dee, son of the elizabethan magus John Dee, he wrote under the anagrammatic pseudonym of James Hasholle (by substition of the inter-changability of the  letters I/J )
[5] Joan Bennett   Sir Thomas Browne    Cambridge University Press    1962
[6] Christian Morals Part  I  Section 25

October

Giovan Pietro Birago (c.1450-1513 ) was born in Milan. In 1490 he entered the service of the leading Venetian family, the Sforza. While illustrating a Book of Hours for the Sforza, his work was stolen. October is only one of three leaves which survived the theft. In 2004 the British Library acquired October for £191,000 adding  it to their collection of  illuminated miniatures by Birago.  

October, a calendar leaf from the Sfzora Book of Hours dating from circa 1490, is a work of tempera and gold on parchment measuring 11 x 9 centimetres. In the medieval tradition of portraying the labours associated with each month it depicts peasants making wine in the background. Its foreground is dominated by horse-riding nobility engaged in hunting, accompanied by their servants, hounds and falcons. 

Thomas Morley

Music can draw the hearer in chains of gold to the consideration of holy things.   - Thomas Morley

The 1711 Sales Catalogue of the library of Sir Thomas Browne records a copy of Thomas Morley's A Plaine and easie way to make Musicke (1597) as once shelved at the Norwich physician and philosopher's home. Morley's book remained in print for over 200 years and is a valuable document upon the music-making of his era.

From his humble background as the son of a Norwich brewer, Thomas Morley (1557-1602) rose to the heights of organist at Saint Paul's cathedral and was privileged to study music under William Byrd. Morley's era, the second half of the sixteenth century, saw a surge in music-making in England, in particular a near craze for the accomplishment of skilled lute-playing among gentlemen, especially courtiers. Morley's era also witnessed the popularity of secular verse sung to complex harmonies known as madrigals, of which he was a prominent composer. Morley's musical skills also catered for instrumental music-making when in 1599 he published The first book of Consort Lessons, arrangements of his and various other composer's music for broken consort; the six instruments of the broken consort consisting of lute, flute, bandora, cittern and two viols, bass and treble. The viol  family of string instruments are precursors to the violin family. To modern ears a viol consort of three to five players, can sound slightly and deliciously 'creaky' with their wide compass of enharmonic overtones. Elizabethan music-making also included performances of the  masque, an elaborate form of early theatre from which ballet and opera evolved. Masques were often performed at  the Royal Court and involved singers and instruments. Lavishly produced, they featured spectacular costumes and stage-effects.

Thomas Morley

Morley's era was one in which the so-called 'Golden Age' of English music flourished. From roughly the 1560's until Purcell's death in 1695, English music developed and established a distinctive voice,  a  'Golden Age' of musical talent which would not occur in England again until the second half of the 20th century. Besides Thomas Morley, other Elizabethan composers of note include 'the father of English music' William Byrd (1540-1623), the melancholic lutenist John Dowland (1563-1626) and the keyboard player Thomas Tomkins (1572 -1656) who incidentally, owned a signed copy of Morley's Plaine and easie way to make Musicke. Of the later Jacobean era, William Lawes (1602-43) and the industrious and pious John Jenkins (1592-1678) who may have been acquainted with Sir Thomas Browne when resident in Norfolk, are all rewarding to listen to. Today, with the revival of interest in music which pre-dates J.S. Bach, the early music composers of England are frequently recorded and performed. There's much in the catalogue of early English music well worth hearing, including Morley's madrigals along with his First book of Consort Lessons.


One wonders whether Morley played any part in the music-making festivities when Queen Elizabeth I visited Norwich in 1578. A contemporary reported of her visit -

Herewith she passed under the gate.....and the musicians within the gate, upon their soft instruments, used broken musick...The next night...there was an excellent princely mask brought before her after supper, by Master Goldingham, in the Privie Chamber; it was of gods and goddesses, both strangely and richly apparelled...Then entered a consort of musicke; viz. six musicians, all in long vestures of white scarcenet girded about them, and garlands on their heads, playing very cunningly.

Queen Elizabeth's 'Royal Progress' to Norwich in 1578 is included in the English composer Benjamin Britten's opera Gloriana  which was written in the year of Queen Elizabeth II's Coronation in 1953.  Act Two of Britten's opera is set against the back-drop of the Guildhall at Norwich. Elizabeth I  is welcomed by the City Recorder and then a masque is performed which she and the Royal court watch. Six dances, including a Morris dance are performed. Personifications of Time and Concord are among the principle characters in the masque who, accompanied by a chorus of rustic country maids and fishermen conclude the entertainment with a homage to the Queen.

It was a neat device of Benjamin Britten's to include a visit to Norwich by 'good Queen Bess' in his opera Gloriana. It  must be nearly 40 years ago now, when a teen-age school-boy, if I remember rightly, that our rehearsal of Noye's Fludde, a medieval  mystery play set to music by Benjamin Britten was interrupted. It was the composer himself, who dropped in to thank the boys and girls for all their hard work rehearsing his work. Britten's cantata for mixed ensemble of amateurs was first performed in Orford church in June 1958, the composer insisting that no future performances were to be made in a theatre, but only ever in churches or Halls.

Its worth noting that Browne's edition of Morley's primer on music (Sales Catalogue Page 45 number 47) is a first edition when in fact a modern edition could have been easily acquired, evidence of Browne being the consummate bibliophile and collector of rare books.  One cannot resist noting that the frontispiece illustration  to Morley's book (pictured above) depicts not only the various muses associated with  music and learning, but also the sun and moon as deities. Finally, also at the very bottom of the frontispiece illustration  holding a staff-like caduceus, there can be seen the elusive god of travel and communication, ruler of traders and thieves alike and patron of alchemy, Mercurius.

Robin

Enjoying the late return of Summer for several cloudless days now, with the temperature touching 27 degrees Celsius, I spotted a Robin in my garden. They really are exceptionally tame birds. For a full 20 minutes he hopped back and forth from fence to ground in search of food, occasionally singing, curious at my watching him. The secret to observing nature's wonders is quite simply stillness and silence, two commodities increasingly in short supply in the world today. 

William Lawes

Today (September 24th) is the anniversary of the death of the English composer William Lawes (1602-43). William Lawes was composer in residence to King Charles I and during the English civil war he enlisted in the Royal army; however in 1643 he was shot and killed during the siege of Chester, aged just 41. Lawes death prompted King Charles I to declare a period of mourning and to honour him with the title of 'Father of Musick'. William Lawes is chiefly remembered today for his Viol Consort Setts for 5 & 6 viols, his music being characterized by lyricism, a wide variety of keys, experimental harmonies and varied moods. 

One of Lawes last works was a fantasy on a penitential psalm entitled, 'I am weary of my groaning'. With William Lawes death English music lost potentially one its greatest composers. However his Consort Setts are today frequently recorded and performed, notably by Fretwork, the foremost musicians associated with the revival of  music for viols. 

Michael Jarvis

Today the sad news that Michael Jarvis, one of Newmarket's top race-horse trainers for 40 years has died aged 73 of cancer. The master of Kremlin House Stables began training race-horses way back in 1968; his major wins include Eswarah winning the Oaks in 2005, Ameerat winning the 1000 Guineas in 2001, Holding Court winning the French Derby in 2000, Rakti winning the Prince of Wales Stakes and  Queen Elizabeth II Stakes and Carroll House winning Europe's most prestigious race, the Prix de l' Arc de Triumphe in 1989. He also won big Group 1 races in Italy, Germany, France and the Topkapi Cup in Istanbul, Turkey.

Michael Jarvis was first and foremost a real gentleman, modest and soft-spoken. I had the pleasure of congratulating him at Yarmouth race-track in August 2007, with the first time out win of Ancien Regime, a 2 year old owned by Sheikh Mohammed. Jarvis belongs to a generation of true sportsmen, highly successful as a race-horse trainer for decades and much respected in the Flat horse-racing world.

Here's a photo of Jarvis with his long-serving 'in-house' jockey Philip Robinson in the parade ring at Yarmouth race-track on a cold April day in 2008.
  

Vitruvian Man

Recently, when speculating upon whether the German mystic Hildegard von Bingen's manuscript illustration of Universal Man  is in any way related to the Italian artist Leonardo Da Vinci's well-known image of Vitruvian man, I found that Sir Thomas Browne once owned a book entitled L'Architettura di Vitruvio (Venice 1641) complete with a commentary by the Italian humanist Daniele Barbaro (1514-1570) [1]. But in fact its highly improbable that the writings of Vitruvius could have been re-discovered in Germany in the 12th century, the rediscovery of Vitruvius usually being credited to the Florentine humanist Poggio Bracciolini in 1414. It was Vitruvius who noted of the proportions of the human body that-

Just so the parts of Temples should correspond with each other, and with the whole. The navel is naturally placed in the centre of the human body, and, if in a man lying with his face upward, and his hands and feet extended, from his navel as the centre, a circle be described, it will touch his fingers and toes. It is not alone by a circle, that the human body is thus circumscribed, as may be seen by placing it within a square. For measuring from the feet to the crown of the head, and then across the arms fully extended, we find the latter measure equal to the former; so that lines at right angles to each other, enclosing the figure, will form a square. [2]

It's quite possible that Browne also once owned books by Italian Renaissance painters, including those of Da Vinci. The 1711 Sales Catalogue advertises Books of Sculpture and Painting with choice manuscripts for sale, but as the American scholar and editor J.S. Finch noted, no such books arrived at the auction-house having mysteriously disappeared. 

It's in Plato's philosophical discourse the Symposium that the idea of an original, androgynous, double-natured man can be found -

The sexes were not two as they are now, but originally three in number; there was man, woman, and the union of the two, having a name corresponding to this double nature, which had once a real existence, but is now lost, and the word "Androgynous" is only preserved as a term of reproach. In the second place, the primeval man was round, his back and sides forming a circle; and he had four hands and four feet, one head with two faces, looking opposite ways, set on a round neck and precisely alike; also four ears, two privy members, and the remainder to correspond. He could walk upright as men now do, backwards or forwards as he pleased, and he could also roll over and over at a great pace, turning on his four hands and four feet, eight in all, like tumblers going over and over with their legs in the air; this was when he wanted to run fast. Now the sexes were three, and such as I have described them; because the sun, moon, and earth are three;-and the man was originally the child of the sun, the woman of the earth, and the man-woman of the moon, which is made up of sun and earth, and they were all round and moved round and round: like their parents.

while in Sir Thomas Browne's discourse The Garden of Cyrus (1658) one reads-

Nor is the same observable only in some parts, but in the whole body of man, which upon the extension of arms and legges, doth make out a square, whose intersection is at the genitals. To omit the phantastical Quincunx, in Plato of the first Hermaphrodite or double man, united at the Loynes, which Jupiter after divided.

Plato's Original Man bears some resemblance to the Biblical account in Genesis in which God, taking a rib from Adam when asleep, forms a companion for him, naming her Eve. (Gen.2: 21-22)

Nevertheless an interesting  correpondence between the geometrical design of Hildegard's Universal Man and Da Vinci's Vitruvian Man is evident; while Sir Thomas Browne's own highly original interpretation of the Platonic archetypes can be detected throughout  The Garden of Cyrus

[1] 1711 Sales Catalogue page 39 no.18
[2]  Vitruvius - On Architecture Book 3, i, 3

Hildegard von Bingen

Today (September 17th) is the feast day of the German Christian mystic Hildegard von Bingen (1098 -1197 ) who not only wrote music but  was also a poetess, theologian, a Benedictine Abbess and all round polymath. The Sibyl of the Rhine as she was known, was consulted by princes, popes and emperors for her prophetic insight. Like Julian of Norwich, Hildegard experienced serious illness before receiving her visions. 

It was the Swiss psychologist Carl Jung who remarked -

The creative mystic was ever a cross for the church, but it is to him that we owe what is best in humanity.

Jung might have added  and her as far as Christian mystics are concerned for many notable women mystics are recorded throughout the history of Christianity. Recently, feminist interest in Hildegard has  also grown, as has her place in  'New Age' philosophies for her holistic approach to life.

The above picture entitled  Motherhood from the Spirit and the Water dates from 1165. It's an extremely intriguing quaternity of images conveying a certain numinous quality of Hildgard's mystical experiences and   shares in my view, an affinity with the Layer Monument quaternity.

The other image worth pondering upon in Hildegard's art is her Universal Man, an illumination from her Liber Divinorum Operum (1165). To my mind its an image which strongly suggests that perhaps Hildegard had the opportunity to read of the so-called Vitruvian man of antiquity, the human proportional representation which Leonardo Da Vinci based his own famous image upon. Essentially a vision of the Anthropos, or Greater Man within, of which Christ remains the most potent living symbol of; Hildegard can be seen in the bottom left corner,  receiving and writing her vision.

But with mystics one can never be too confident there was ever a previous vision to the original one presented. However, universal and cosmic, Hildegard von Bingen and her Christian faith has endured, nine centuries on, to speak deeply of the spiritual life. The mystic, as ever, has the last word on the soul.

There's been a renaissance in recordings of Hildegard's music in the past two decades, I particularly like Richard Souther's pop music interpretation Vision (1995) with Emily van Evera singing. Hildegard's music has been considerably modernized on this recording, complete with multi-tracking and synthesizers but nevertheless its a very inexpensive buy on Amazon and a great introduction and reinterpretation. I used some of its tracks as interludes when first acting as Sir Thomas Browne in the church of Saint John the Baptist, Maddermarket in December 1996. 

A more traditional approach to Hildegard's music is A Feather on the Breath of God with Emma Kirkby and Gothic Voices (Hyperion 2000). But there's a bewildering range of recording available in the catalogue at present, a veritable mine-field of good and uninspired  interpretations of Hildegard's music.

Here's the link to the Wikipedia entry on  Hildegard von Bingen

Joseph Stannard

Today is the birth-date of Joseph Stannard, the Norwich artist who died tragically young of tuberculosis aged just 33. Joseph Stannard ( Sept. 13th 1797- Dec. 5th 1830) was one of the most gifted artists who exhibited collectively under the banner of  Norwich School from 1803 to 1833, the city being the home of the first regional art movement in British art. Such was the precocious development of the young Joseph  that he began exhibiting his paintings aged 14 in 1811. He looks confident and aware of his talents in his teacher Robert Ladbrooke's portrait of him.

Joseph Stannard's life is exemplary of  the romantic notion of a struggling  artist. Living in the turbulent era of  the early nineteenth century, he was often in financial difficulties and in poor health. In addition to his artistic skills he was, like his younger brother Alfred, a strong rower. He was also an  accomplished ice-skater who entertained the locals with his skill during cold winters. Stannard's era was also that of the Napoleonic wars which were prohibitive to travel  in mainland Europe. When stability returned to Europe, Stannard took the opportunity to visit Holland. In Amsterdam in 1821 he viewed paintings by seventeenth century Dutch landscape masters Ruisdael, Berchem and Hobbema which deepened his interest in marine and seascape subjects. He married in 1822 and in 1824 his fortune changed when the Norwich manufacturer John Harvey commissioned him to paint what is his master-work, Thorpe Water Frolic, Afternoon. Harvey's agenda was to establish Norwich as a sea-port for the export of his merchandise. After visiting Venice and witnessing festivities held on the water there he organised a similar event for Norwich society which promoted his idea of Norwich returning to its sea-port status.

In many ways Stannard's  Thorpe Water Frolic is an important social document of a rare day off work for Norwich's textile workers who are depicted upon the right bank of the river Yare. The growing middle-class, civic dignitaries and aristocracy of Georgian England are located on the opposite river-bank.

Joseph Stannard has used a fair amount of poetic licence in his capturing the mood of the event, complete with musicians playing Schubert, courting couples, naval officers, rugged seamen and city loom workers  all enjoying a work-free day on the river. Particular attention to weather conditions and a vigorous cloudscape frames the lively water-event.

Stannard's own boat the Cytherea is on the extreme right of the canvas. Joseph can be seen shielding his brow with his hand looking toward his patron Harvey standing in a gondola. He certainly entered into the spirit of the event which attracted 20,000 people in 1824, his boat is described thus-

'its colour is purple; the inside is adorned with an elegant gilt scroll, which completely encircles it; on the back-board where the coxswain sits, is a beautiful and spirited sea-piece, representing a stiff breeze at sea, with vessels sailing in various directions, painted in oils, and the spoons of the oars are neatly covered with gilt dolphins'.

There's an interesting inter-play between Stannard the sailor who depicted the rigging and canvas sails of boats with every rope in its correct place and the medium of canvas on which he painted. Thorpe Water Frolic, Afternoon is dominated by a canvas sail catching the breeze. The large-scale oil on canvas painting itself measures 108 x 172 cms and  is a jewel in the crown of the Crome and Cotman  galleries in Norwich Castle Museum.

Although the artists of the Norwich School  had the inspiration and natural beauty of the Norfolk landscape and its waterways upon their door-step, the tragedy many artists suffered from was a distinct lack of local patronage, obliging many talented members to engage in much drudging, teaching work in order to make a living, such was J.J.Cotman's frequent fate; worse still,  it also suffered from an  intense rivalry between leading families.

Ever since the young Joseph Stannard had enquired about lessons from the founding father of the Norwich School 'Old Crome'  John Crome (1768-1821) a bitter hostility existed between the two families. Crome quoted an extortionate sum which was in effect a snub to the Stannard family. The hostility between the Crome and Stannard families seems to have persisted throughout the nineteenth century, even to the grandchildren of the two masters of  'Old Crome' and Stannard, both families producing several generations of artists.

In some respects Joseph Stannard's biography comes across as the consumptive poet of romanticism not unlike Keats. In his finest paintings, Stannard's paintings burst beyond the confines of restrained Classicism into a lyrical, early Romanticism.There's also an equal balance between landscape and realistic portraiture of people who are active and integral to the landscape in Stannard's painting, unlike Crome's landscapes in which people are often incidental, or present only for emphasis of scale and perspective.

Throughout the 1820's Stannard  had intermittent bouts of poor health and resided at various Norfolk coastal resorts in order to recuperate. His later works include several highly original beach scenes which include activities of working fishermen. However in December of 1830 he died of tuberculosis aged 33. A memorial stone commemorating Joseph Stannard can be seen in the church of Saint John Maddermarket, Norwich.

Wikipedia has a page on Joseph  Stannard which links to a number of his paintings.  

Ascension

Living in a city which has more medieval churches anywhere north of the Alps and rich in other cultural treasures, it's easy to overlook some art-work in Norwich's churches. It's not all entirely medieval here in Norwich, at the church of Saint Margaret for example, there's an east window commissioned in the 1960's and utterly 60's in style, depicting the Ascension of Christ. A refreshing change from the garish colours of Victorian stained-glass in many churches.

The Norwich organisation HEART (Heritage Economic Regeneration Trust) a charitable body, promoted four 'Open Days' from September 8 -11 to celebrate the City's extraordinary rich cultural heritage. Held every September the 'Open Days' make accessible some historic buildings not always open to the general public.  HEART's annual event grows in popularity each year, as I and a small army of volunteers will testify, after a hectic four days of meeting and greeting literally hundreds of visitors.

It's time to take stock of Norwich's cultural heritage. The public support and interest in the city's cultural heritage is strong and enthusiastic. However this support can never be matched economically in full by public donation alone. The future of many historical buildings in Norwich cannot be guaranteed until government or local council designates a greater value and percentage of tax or rates towards regional heritage. Although the whole world cannot thrive upon the growing tourist industry, Norfolk and Norwich in particular could gain enormously if highlighted as a tourist destination, including the creation of new jobs. The shortage of hotel space for visitors which Norwich once suffered from has now been remedied by several new large hotels, while HEART's recent 'twinning' with the city of Ghent could well provide further insights into how to effectively develop a tourist economy. 

The problem in reality is one which not only haunts Norwich but England as a whole, as the recent riots demonstrated. It's one of identity and self-confidence, who we are, how we address the world and how we wish the world to  view us. Norwich is a city rich in tourist attractions and mellow in atmosphere, but which cannot at present either decide or is lacking funding between the following - a faster and more efficient travel connection to London, which is feared will somehow erode the city's character - the construction of a new Northern bypass causing some serious local ecological  damage - or the  development  and expansion of routes from its airport, enhancing  its  continental connections. Its not seen as possible to have both a Northern by-pass and extended runways for a larger airport. Each of these projects, delayed or otherwise, impact considerably upon the city's future. Norwich's geographical location, as much of its cultural past indicates, lays very much towards the North-sea board of Europe, its historic past is intimately connected with the Baltic ports, the Benelux coast-line and even remoter parts of Europe. These geographic locations may ultimately be the source of Norwich's future economic well-being. Governments however, especially the present-day Euro-sceptic's, may influence the future otherwise. Norwich's true, radical identity is revealed by it's motto, which is Do Different. Whether the city will live up to its motto in the future is another matter.

For myself the Heritage week-end gave me the chance to create a few of my own modest events including the opportunity to talk on the Layer Monument and a demonstration of the marvellous acoustical properties of the church of Saint John Maddermarket. Connecting my ipod to an amplifier which in turn was connected to two 75 watt PA horn speakers placed high up in the organ gallery, when playing recordings of organ music by Pachelbel, Jehan Alain and Arvo Part, some visitors believed they were hearing a newly restored church organ!

I met many interesting people throughout the four open days and was amazed at the knowledge displayed by many on Norwich's cultural history. I also slowly began to realise as the four days progressed, that in many ways the greater part of Norwich's cultural heritage is to be found not so much in  its stone and art-work but in its people, both living and deceased.

P.S. Extensively restored at great cost in 2007, the 17th century Berney Monument remains as elusive as ever to view. I've lived in Norwich my entire life and have yet to see it. Although advertised as viewable from 10-4 p.m. on Saturday the church of Saint Peter Parmentergate was locked up by 1 p.m. !

The Berney monument is of particular interest having like the Layer Monument, a quaternity of statuettes in this case allegorical figures of Faith,  Hope, Charity and a winged Father Time. 

Links to -

Norwich HEART

Norfolk Stained Glass

Saint John Maddermarket

La Strada

La Strada by the Italian film-director Federico Fellini (1920-93) is the story of the relationship between strong-man performer Zampano (Anthony Quinn) and his assistant Gelsomina (Giulietta Masina). It's the film which won the first ever Oscar for Best Foreign Language in 1954 and in which Fellini subtly side-steps the agenda of Italian Neo-realism to develop his own unique perspective upon  human nature.

Zampano, arriving at a remote coastal hovel, offers 10,000 lira to Gelsomina's impoverished mother to take her daughter away with him. Together Zampano and Gelsomina traverse Italy on a motor-cycle caravan making a meagre living by Zampano's performing a strong-man act in which, expanding his chest he breaks apart the links of an iron chain. However Zampano is also an unfeeling bully who, although training Gelsomina as his assistant, treats her little better, if not worse than a dog, speaking little and expressing no feelings towards her. Yet Gelsomina endures her cruel treatment, having no other person, home or income. When she and Zampano join the Circus troop of one Senior Giraffa, the real tragedy begins to unfold; soon during their brief time as circus performers, they encounter the Fool, a daring tight-rope walker with an unexplained antipathy toward Zampano. The Fool admits that he himself does not know the reason behind his dislike of Zampano and with a frequently irritating giggle needlessly taunts and ridicules him. The Fool's teasing of Zampano leads to tragic consequences upon the lives and destiny of all three central characters.

It's been suggested that the character of the Fool is a voice-piece for Fellini who experienced a serious clinical depression during the production of La Strada, in particular the romantic heart-to-heart moment  when the Fool confesses to Gelsomina -

Everything has a purpose. I don’t know the purpose of this stone, I’d have to be God to know that. But it has one. Because if it’s useless all is useless, even the stars.

In contrast to the Fool's sensitivity and understanding of human nature (except his own) the brutish Zampano when finally pressed by Gelsomina about the contents of his inner life boorishly declares - there's nothing to think about.

Fellini’s La Strada (The Road) is unusual in its casting of two American actors, starring Anthony Quinn (1915-2001) as the bomber jacket clad, motor-biking strong-man Zampano and Richard Basehart (1914-84) as the enigmatic Fool. But it is the Italian actress Giulietta Masina (1921-1994) as the innocent dreamer Gelsomina who steals the limelight. Masina's rapid, highly expressive and fluent facial features speak swifter than words throughout the film. As the unloved and maltreated Gelsomina, Giulietta Masina, with a nod towards Charlie Chaplin's world-famous tramp, creates her own clown-like pathos. Masina who was Fellini's wife for fifty years, spoke of  the English-born comic genius and Hollywood's first superstar thus  -

‘Chaplin deeply moves me. My husband and I cannot watch any of his films in it entirety. We are always so stirred that we have to leave the theatre before the end of the projection. He’s a great artist. He saw our film in England and declared during a press conference that Gelsomina was his spiritual daughter’.

The back-drop to La Strada includes shots not only of Italy's varied landscape but also the numerous apartment blocks which sprang up in towns throughout Italy in the 1950's. It's against the back-drop of a desolate mezzo-montano landscape that Zampano finally abandons Gemolina to her fate, even though she is  seriously mentally traumatized by events. For many years after making La Strada both Federico Fellini and his wife Guiletta Masina would regularly receive fan-mail from women who declared their lives and destinies were similar to those of Gelsomina or of being trapped in a  loveless relationship with a Zampano-like person. 

The soundtrack to La Strada is composed by Fellini's life-time musical collaborator, Nino Rota (1911-1979) who also composed the soundtrack to The Godfather. Nino's score is not merely incidental, but integral to the film and features some very modern-sounding Mambo-style music in a cafe scene, in which Zampano abandons Gelsomina for a one-night affair, collecting her from the street the next morning without a word of explanation for his behaviour. It's the Fool who teaches Gelsomina to play a slightly melancholy melody upon the trumpet. Not wanting to state spoilers, Gelsomina's poignant trumpet tune lives on to become a sharp prick upon Zampano's conscience, haunting him when hearing it several years later. The importance of this melodic theme for the actress Gulietta Masina can be gauged by the fact that when Fellini  died at the age of 73, a day after their fiftieth wedding anniversary, she requested the theme music of  La Strada entitled Improvviso dell'Angelo by Nino Rota to be played during her husband's funeral ceremony held in Rome.

Shortly after making La Strada Fellini became fascinated with his own inner world of dream imagery which subsequently became a rich fuel for his creativity. He also began to take an interest in parapsychology and the psychology of Carl Jung, reading his autobiography Memories, Dreams, Reflections (1963). Fellini once stated-

In dreams there is nothing without significance. Every image therefore also has significance in the film. There is no such thing as coincidence, there is nothing unwanted, extraneous in a dream. Nothing is without significance. Each colour, each picture means something, nothing has been put there in order to resemble reality, or in order to copy something pre-existent. This is the thing that gives film its heraldic, aristocratic identity, which puts it on a level with all other forms of art.

Along with a growing interest in dreams, parapsychology and the psychology of C.G. Jung, Fellini in 1964, under the supervision of his analyst, experimented with the drug LSD. For many years he was reserved about what happened to him one Sunday afternoon after ingesting LSD, however in 1992 a year before his death, Fellini  spoke of his experience thus-

'objects and their functions no longer had any significance. All I perceived was perception itself, the hell of forms and figures devoid of human emotion and detached from the reality of my unreal environment. I was an instrument in a virtual world that constantly renewed its own meaningless image in a living world that was itself perceived outside of nature. And since the appearance of things was no longer definitive but limitless, this paradisical awareness freed me from the reality external to my self. The fire and the rose, as it were, became one.

The leisurely pace of La Strada, surely one of the earliest of all 'Road-Movies', allows Fellini to introduce curious scenarios and settings which anticipate his predilection for dream-imagery, the surreal and even the grotesque in his later films. Examples of Fellini's 'dream-imagery' are abundant throughout 8½ (1963), Juliet of the Spirits (1965), Satyricon (1969) and in Roma (1972). The near-obsessive excesses of Fellini's dream-imagery are manifest in less critically acclaimed films such as his homage to Casanova (1976).

Fellini's La Strada goes beyond the constraints of Italian neo-realist cinema with its insistence upon realistic depiction of the lives of ordinary, working-class Italians struggling in the economic conditions of post-war Italy. Fellini's  portrait of the socio-path Zampano and the weak and indecisive Gelsomina, shifts far from the rigid agenda of Italian neo-realism into the realm of psychological portraiture and motivations of the psyche. But above all else La Strada besides including a sometimes disturbing pathology of a man who is unable to express his feelings, explores  the mystery of love and the deep need inside the human soul to both give and receive love.

The Maias

The Portuguese novelist Eca de Queiroz's vast novel The Maias (Episodes from Romantic Life) first published in 1888, chronicles the life and fortunes of one of Portugal’s most distinguished families, the Maias. As such it offers a portrait of upper-class Portuguese society from circa 1820 to 1887, centering specifically upon the life and times of its protagonist, Carlos da Maia. 

Carlos da Maia is lovingly  nutured by his grandfather Afonso da Maia. Upon coming of age he leads the life of a privileged Portuguese aristocrat. Crucial to the story is the fact that Carlos is the last in lineage of the ancient family of da Maia. Admired by his good-looks, his fine English thoroughbred horses and impeccable taste, Carlos da Maia eventually chooses to study medicine in order to become a doctor, however he is invariably distracted from advancing himself in his profession by love, social events, his many friends and his essentially weak nature.

Much of the  novel’s broad canvas of 700 pages is a near seamless procession of glittering balls, poetry recitals, nights at the theatre and opera house, dinner parties and evening soirées which Carlos gaily attends. There's also a great deal of drinking - Port, Champagne, Cognac and wine flow in abundance as well as much fine cuisine and dining throughout the novel. More often than not Carlos is pre-occupied with a love-affair and in finding accommodation, selecting furniture and interior decoration suitable for a tasteful boudoir  for romantic trysts with his mistress. It's only towards the novel’s conclusion that a devastating revelation occurs shattering the lives of both Carlos and Afonso da Maia. The ramifications and aftermath of this revelation profoundly alters the lives of both Da Maia's and brings the novel to its tragic conclusion.

Counterbalancing the essentially tragic tale there's a strain of quite subtle humour coursing through The Maias. The novel also includes a revealing chapter which describes the events of a horse-race meeting in which the love–hate relationship of the Portuguese towards the English is explored. De Queiroz  makes cultural comparative humour about both Portugal and England thus- 

The Maquis….. continued to inveigh against Portugal. ..'This is a country fit only for picnics and funfairs. Horse-races, like many other civilized pastimes, they enjoy abroad, require, first and foremost, an educated public. Basically, we’re nothing but thugs ! What we like is cheap wine, a bit of guitar music, a good brawl, and plenty of back-slapping bonhomie afterwards ! That’s how it is !'

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‘… the national anthem is the musical definition of a nation’s character. The rhythm of a country’s national anthem is, he says, the moral rhythm of the nation… The “Marseilles” marches forth like an unsheathed sword. “God save the Queen” advances, dragging a royal train…’

‘And ours?’

‘Ours minces along in a tailcoat’.

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‘And tell me something else,’ Senhor Sousa Neto went on, full of interest and curiousity . ‘In England, do they have the same pleasing literature we have here, writers of serials and important poets?’

Carlos placed the stub of his cigar in the ashtray and replied shamelessly:

‘No, no, there’s none of that.’

‘I thought as much,’ said Sousa Neto. ‘They’re all businessmen over there, I suppose’.

Eca de Queiroz (1845-1900) began writing The Maias in 1878 while resident in England when living in Bristol and took over ten years to complete it. An English translation of his masterpiece was not published until 1965. Margaret Jull Costa's acclaimed translation of De Queiroz's great novel highlights its full stature as a work of world literature and captures well the witty dialogue, eccentric characters and social foibles of  Portuguese upper-class as described by Queiroz. 

The Maias is a portrait not only of the moral decline of its protagonist, Carlos da Maia, but also by implication, in its depiction of inept politicians, petty bureaucrats and dilettantism in high places, the moral decline of nineteenth century Portugal itself. Not unlike Querioz's novel The Tragedy of the Street of Flowers (unpublished in his life-time) The Maias offers the reader a portrait of upper-class Portuguese society with a back-drop of a passionate love-affair, only to deliver a devastating revelation late in the novel, which colours and shapes its tragic conclusion.

Eca de Querioz  has been compared to Balzac for his sharp eye on human nature, to Marcel Proust for his description of the prejudices of upper-class society, and to Flaubert for his realism. In fact Queiroz greatly admired Flaubert for his development of Naturalism in writing. Yet, as Margaret Jull Costa points out in her excellent introduction to the 2007 Daedlus edition of Querioz’s masterpiece, The Maias fluctuates between sympathy and stern judgement towards its protagonist and floats ambiguously between Naturalism and Romanticism in style and content. Its this undefinable stance, somewhere between a harsh portrait of the cruel reality of life and romantic idealism which imbues The Maias with a quite unique sensibility. 

Eca de Queroz’s masterpiece is a novel which deserves to be much better-known, and it probably shall in time, due to Costa's decisive translation which showcases De Queiroz as a literary figure equal to his contemporaries, Tolstoy and Dickens. The real tragedy is no longer the moral decline of Portugal, but the neglect by western readers, translators and publishers alike, of a major nineteenth century novelist.

                                                           

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Post top picture  - The front cover of the Dedalus paperback edition of The Maias (2007) reproduces a portrait of an aristocratic French woman by the French painter Ingres. Closer in geography, unable to find a striking Portuguese portrait, but having enjoyed viewing it at Dublin National Gallery, this post is headed by a portrait of  Dona Antonia Zarate, an actress painted by Goya cica 1805.

Stargazer Lily and Sonnet

From you have I been absent in the spring,
When proud pied April, dressed in all his trim,
Hath put a spirit of youth in every thing,
That heavy Saturn laughed and leaped with him.
Yet nor the lays of birds, nor the sweet smell
Of different flowers in ordour and in hue,
Could make me any summer's story tell.
Or from their proud lap pluck them where they grew:
Nor did I wonder at the lily's white,
Nor praise the deep vermilion in the rose;
They were but sweet, but figures of delight,
Drawn after you, you pattern of all those.
Yet seemed it winter still, and, you away,
As with your shadow I with these did play.

Sonnet 98 by William Shakespeare (1564-1616) 

Sir Joseph Paine Monument

Located in the church of Saint Gregory's, Norwich, there's an extraordinary late 17th century monument consisting of black limestone and alabaster which is adorned with high relief carvings. 

The monument commemorates the life of Joseph Paine (1605-73) who was a staunch Royalist during the English civil war. Upon the Restoration of Monarchy in 1660 Joseph Paine, on behalf of the citizens of Norwich, presented £1000 in gold to King Charles II. He was immediately knighted and made Colonel of the City Regiment.

Paine's monument is quite unique in its depiction of various military accoutrements, all of which are carved in deep relief including- armoury, sword, stirrups, trumpet and drum, gunpowder kegs, cannon-balls and cannon. Each of these images allude to Paine's military position as Colonel of the City regiment.

One gains a better perspective of the relief-depth of the monument's carvings  when close and looking upwards.

At the base of the monument is a winged and crowned skull symbolizing Immortality and Death's victory over all human endeavour.

Frankel

Ridden by Tom Queally, trained by Sir Henry Cecil  and owned by Prince Khalid Abdullah, Frankel wins the Sussex Stakes at Goodwood, making  a strike rate of  8 wins from 8 races ! Frankel's other big wins include - the Juddmonte (aged 2 in 2010) and this year the 2000 Guineas at Newmarket and the Saint James Palace Stakes at Ascot. After Frankel's win Sir Henry Cecil stated on camera that he was probably the best horse he had ever trained. Frankel is now being compared to racing legends such as Shergar and Sea the Stars.

Postscript: Nine out of nine as Frankel wins the Queen Elizabeth II Stakes at Ascot on October 15th 2011.

In 2012 Frankel won these Group One races in England the Lockinge Stakes  at Newbury in May 2012,  the Queen Anne stakes at Ascot in June and the Juddmonte at York in August.

Goodwood Races

Racehorses owned by the Duke of Richmond exercising at Goodwood 1759

Because of its setting, Goodwood race-course is often described as the most scenic of all race-courses; from the Grandstand there is a superb view of the rolling Sussex Downs landscape. Day two of the five day Glorious Goodwood meeting includes the much anticipated match between two horses at the peak of their powers, 'Frankel', trained by the recently knighted Sir Henry Cecil and 'Canford Cliffs', trained by Richard Hannon. Although the weather forecast is none too brilliant I'm sure that the meeting will be awash with classy fashion, Pimms and the tradition of free strawberries. As ever the meeting is being broadcast by the excellent team of Channel 4 Racing.

As stated before, in many ways horse-racing was until the advent of football in the 20th century, the true national sport of England. For centuries the best thoroughbred horse-racing in the world was held in England, ever since the introduction of three Arabian stallions in 1759.

British horse-racing remains greatly indebted to three major Arabian sponsors, namely Sheikh Mohammed, his brother Hamdan-Al-Maktoum and Prince Khalid Abdullah. Without their patronage for over 30 years now, horse-racing in England would have been a much less exciting affair, with smaller, inferior quality fields. It's in no way guaranteed that these wealthy Arabian horse owners will continue to send their  very best horses to England for training. The high quality horse-racing which the English public enjoy throughout both the Flat and National Hunt season is seriously threatened. Because of poor management, weak sponsorship and prize money, along with a sometimes indifferent to all but profit betting industry, horse-racing  in England is in serious decline.  Other nations continue to develop blood-lines and breeding stock to match those of English stud-breeding. Other sports compete with horse-racing for gambling and spectator participation. As with life itself, there is no absolute guarantee that the present-day status quo will continue especially during the present-day economic depression. Even though attendances continue to rise at race-meetings, the industry continues to decline because of the aforementioned factors.

The sport of horse-racing is highly conscious of its public image and at present the spotlight is on the jockey's whip and whether its use should continue. There are already strict rules about how frequently the whip may be used. With video-recording every aspect of a jockey's ride can be analysed and judged by the stewards. Those who accuse the sport of animal cruelty have little idea of the loving care and attention each and every horse in training receives from stable-staff, trainer and jockey. As ever its a case of wanting to score a point in political correctness, or in this case, animal welfare, without any real understanding of the high quality of care and enthusiasm of the sport throughout the horse-racing industry.

View of Sussex Downs at Goodwood