Stargazing with Dr. Browne

The physician-philosopher Sir Thomas Browne (1605-82) occupies a unique place in Western intellectual history. The age in which he lived, the greater part of the seventeenth century, has been described as a century of transition and one of fundamental change. Predominantly religious in outlook in its opening, it was scientific in perspective by its end. Sir Thomas Browne's response to this seismic shift in Western consciousness is one of balanced equilibrium; neither unreservedly advocating advancement of the new science, nor renouncing of his life-long interest in esoteric and Hermetic ways of thinking. As one critic noted - 

'to the student of the history of ideas in its modern sense of the inter-relation of philosophy, science, religion and art, Browne is of great importance'. [1] 

Browne himself seems to have been aware of his Janus-like place in intellectual history when confessing in Religio Medici (1643) - 

'In Philosophy where truth seems double-faced there is no man more paradoxical than myself’.[2] 

Browne’s ‘paradoxical philosophy’ is exemplified in his appreciation of the new science of astronomy alongside a more than casual interest in the esoteric art of astrology ; subjects which for centuries co-existed but which began to go their quite separate ways in his life-time. Remarks and observations upon astronomy as well as astrology can be found in each and every book by the Norwich physician-philosopher.

Browne proclaims his knowledge of astronomy in his Religio Medici, revealing himself as someone who doesn’t always suffer fools gladly, declaring-

'I know the names, and somewhat more, of all the constellations in my Horizon, yet I have seen a prating Mariner that could only name the Pointers and the North Star, out-talk me, and conceit himself a whole Sphere above me'. [3]

The newly-qualified physician also informs his reader in Religio Medici that -

'I was born in the planetary hour of Saturn, and I think I have a piece of that Leaden Planet in me'. [4] 

and - ‘If there be any truth in Astrology, I may outlive a Jubilee, as yet I have not seen one revolution of Saturn, nor hath my pulse beat thirty years’. [5]

In these characteristic fusions of medical and scientific imagery, Browne seems concerned with a highly-significant approaching astrological event in his life, the so-called 'Saturn Return' of astrology, a strong, though little commented upon incentive for his putting pen to paper in order to write his spiritual testament and psychological self-portrait. 

In  astrology Saturn is a malefic planet of restriction, contraction, limitation and melancholy. The astrological term of the Saturn return occurs when the planet Saturn returns to the same place it occupied at a person's birth.  The influence of the Saturn return is considered to start in the person's late twenties, notably from the age of 27 until around 30. Astrologers believe that when Saturn "returns" to the same degree in its orbit it occupied at the time of birth, a person crosses over a major threshold and enters the next stage of life. Psychologically, the first Saturn return is seen as the time of reaching full adulthood, and being faced with adult challenges and responsibilities. With the second Saturn return, full maturity occurs. And with the third and usually final return, a person enters wise old age. These periods are estimated to occur at the ages of 27-31, 56-60 and 84-90. 

Browne’s subsequent publication, the encyclopaedic endeavour Pseudodoxia Epidemica (1646-72) was a vanguard work of scientific journalism which went through 6 editions in his life-time.  Translated into several languages it earned its author European fame. The bulk of Browne’s science can be found in its pages, including experiments with magnetism and static electricity as well as numerous examples of ‘occular observation’ along with introducing hypothesis and deductive reasoning to the general reading public. Browne's major contribution to the English Scientific Revolution has often been under-estimated. Pseudodoxia Epidemica was respected and inspirational to a whole generation of younger English scientists who increasingly did not work empirically 'in the field’ as much as engage in abstract reasoning, as Newton’s discoveries demonstrated. 

A somewhat simplistic analogy of Browne’s place in the English Scientific Revolution can be made in the form of a circuit of a  relay race. Browne receives and firmly  grasps the baton from the early English scientist Francis Bacon (1561-1626) heeding Bacon’s exhortation of 'ocular observation’ along with rational deduction, as illustrated throughout the pages of his Pseudodoxia Epidemica. Indeed, the opening lines of its address ‘To the Reader’ echoes the very same words as those found in an essay by Bacon.[6] 

Browne is fast off the blocks while all around him are engaged in the horrors of the English Civil war (1642-49) and is responsible in passing on the baton of scientific enquiry from Bacon to a number of  men of science and learning who engaged in correspondence with him, these include Robert Boyle, Christopher Merret, Henry Power, Henry Oldenburg, John Evelyn, Walter Charleton and William Dugdale amongst many others. Several of these correspondents became participating members of the Royal Society. The Royal Society’s endorsement of scientific enquiry and  public debate passes the baton on for one final leg to its most illustrious member, Isaac Newton, who mathematically deduced the laws of gravity. In Newton’s discoveries the team-work of several generations of English scientists collectively achieve the victory of first past the post in the seventeenth century scientific revolution. 

In essence however, Browne, like his mentor Francis Bacon, held fast to a double theory that, while sense and experience are the sources of our knowledge of the natural world, faith and inspiration are the sources of our knowledge of the supernatural, of God, and of the rational soul. 

A fruitful comparison can also be made between Browne and the astronomer Johannes Kepler (1571-1630). Kepler’s life like Browne’s, spanned a watershed in scientific thought. The German astronomer augmented his rational inductive science and the astronomical discoveries of Galileo with Neoplatonic and Pythagorean ideas. Kepler’s astronomical discoveries were as much structured upon precise mathematical calculation as deeply held theological beliefs and God-given revelation; his scientific perspective, not unlike Browne’s, were a complex fusion of Christian awe of the Creation, along with precise analysis as well as concepts originating from the ancient Greek philosophers Plato and Pythagoras. Whilst Kepler extolled the virtues of the number six in his study of snowflakes, the number five is celebrated in Browne’s discourse The Garden of Cyrus. 

Like his near exact contemporary Francis Bacon (1561-1626) Kepler believed in two, quite contrasting sources of knowledge, only one of which is credited nowadays. In addition to natural forms of knowledge obtained through reason, hypothesis, deduction and experiment, he also believed in supernatural sources of knowledge such as astrology. Even the scientist Isaac Newton (1642-1726) it is now known, believed in these two kinds of knowledge, namely natural and supernatural. 

Kepler’s three laws of planetary motion were fundamental contributions to Newton's development of a theory of gravity, whilst his strong astrological inclinations were responsible for introducing the aspect of the Quincunx to denote planets 150 degrees apart. Unsurprisingly, Kepler’s books are well-represented in Browne’s library. [7]

As with Kepler, the seventeenth century Norwich physician-philosopher just won’t fit neatly into tight, restrictive 21st definitions, no matter how much certain science journalists attempt to do so. [8]

Browne's beliefs, paradoxical to modern sensibilities are evident in the fact that in Pseudodoxia Epidemica he not  demonstrates an understanding of astronomy in conjunction to ideas on astrological correspondences. Thus its possible for him to make the astronomical observation-

'For if we consult the Doctrine of the sphere, and observe the ascension of the Pleiades, which maketh the beginning of Summer, we shall discover that in the latitude of 40, these stars arise in the 16 degree of Taurus; but in the latitude of 50, they ascend in the eleventh degree of the same sign, that is, 5 days sooner'. [9] 

as well as the astrological speculation -  

'since the natures of the fixed Stars, are astrologically differenced by the Planets, and are esteemed Martial or Jovial, according to the colours whereby they answer these Planets; why although the red Comets do carry the portensions of Mars, the brightly-white should not be of the Influence of Jupiter or Venus, answerably unto Cor Scorpii and Arcturus; is not absurd to doubt'. [10]

Its also in Pseudodoxia Epidemica that the first recorded usage of the word ‘Selenography’ occurs, amongst numerous words introduced by Browne into the English language. Although  its not listed in the 1711 Sales Auction Catalogue of Sir Thomas Browne and his son Edward’s libraries, Browne must surely have perused a copy of the Polish astronomer Hevelius’ Atlas of the moon, Selenographia (1647) in order for him to state-  

'And therefore the learned Hevelius in his accurate Selenography, or description of the Moon, hath well translated the known appellations of Regions, Seas and Mountains, unto the parts of that Luminary: and rather then use invented names or humane denominations, with witty congruity hath placed Mount Sinai, Taurus, Mæotis Palus, the Mediterranean Sea, Mauritania, Sicily, and Asia Minor in the Moon'. [11]

The Copernican heliocentric universe seems to be somewhat reluctantly accepted by Browne in Religio Medici when stating - 'I conclude therefore and say, there is no happiness under (or as Copernicus will have it, above) the Sun'. [11b]

Galileo's great work of astronomy Dialogo sopra i due massimi sistemi del mondo (1635) advocating the Copernican heliocentric universe, along with its English translation known as The Two World Systems (1661) is in Browne's library, but the Polish astronomer's great work is not to be found listed as once upon his library-shelves.  However, an edition of the Dutch astronomer Christiaan van Huygens (1629-95) study of the planet Saturn, the first to accurately detect and describe the planet's ring-system, Systema Saturniun (pub.1659) is listed as once upon his library shelves, suggesting that the Norwich doctor kept up to date with astronomical discoveries. 

Urn-Burial

Nowhere in his collected writings is there greater evidence of Browne's subscribing to the tenets of Hermetic philosophy than in his diptych discourses Urn-Burial and The Garden of Cyrus (1658). Never intended by their author to be separated, a common modern-day publishing error, together they are structured upon a fundamental tenet of Hermeticism, namely the myriad of correspondences between Microcosm and Macrocosm. The subject of Urn-Burial being the small, little world of mortal man, the Microcosm, whilst The Garden of Cyrus concerns itself with the universal and eternal, the Macrocosm. 

A number of polarities involving truth, imagery and symbolism can be detected in Browne's diptych discourses, among them (and this list is far from exhaustive) - unknowingness and revelation, Darkness and Light, along with symbolism of the tomb/womb, and the Grave and Garden. Their plexiformed relationship  often works through unconscious association upon the reader. Together their respectives themes of Time and Space form a mandala-like unity. Even stylistically they are antithetical to each other. The baroque flourishes and slow, stately prose of  Urn-Burial is stylistically far removed from the breathless and experimental, Mannerist in concept, numerological preoccupations of The Garden of Cyrus.

Several of Browne's amateur hobbies are featured in the Discourses, notably antiquarianism and archaeology in Urn-Burial, whilst optics and botany are prominent in The Garden of  Cyrus. Each  discourse also includes remarks and observations upon astronomy and astrology. (Incidentally, the word ‘polarity’ is yet another word introduced into the English language by Browne).

The theme of the unknowingness of the human condition is amplified in Urn-Burial in a passage on the astronomical phenomena of newly discovered stars and sunspots, detected by ‘Perspectives’, as telescopes were once known as. The new discoveries of astronomy revealed to those living in the seventeenth century that the Universe may be neither as fixed nor as stable as once believed by the ancient world of Ptolemaic astronomy. 

'whereof beside Comets and new Stars, perspectives begin to tell tales. And the spots that wander about the Sun, with Phaetons favour, would make clear conviction'.

Browne’s knowledge of astronomy was sufficiently advanced to know that one face of the moon,  the so-called  dark side of the moon, is permanently invisible to human eyes -

.’.....while according to better discovery the poor Inhabitants of the Moon have but a polary life, and must pass half their days in the shadow of that Luminary'.

The apotheosis of Urn-Burial includes an example of Browne's unique astral symbolism,  the learned Norwich physician-philosopher declaiming -

'Life is a pure flame and we live by an invisible sun within us'.

Besides being a fine example of Browne’s frequent usage of the literary device of parallelism, that is, stating the same thing twice contrastingly, this superb fusion of Browne’s scientific, spiritual and psychological learning deserves elaboration. The idea of an ‘invisible sun’ can be found in the writings of the Belgian physician Gerard Dorn (1530-84) the foremost promoter of the ideas of the alchemist Paracelsus and whose principal works can be found in the vast compendium Theatrum Chemicum  [12] The notion of an 'invisible sun’ can be traced even further back in time to the source of much Christian mysticism, that of Pseudo-Dionysus the Areopagite, a Christian theologian and philosopher of the late 5th to early 6th century CE. 

Perhaps one of the most accessible books in recent years on the beginnings of Western science is Philip Ball’s, ‘Curiosity: How Science Became Interested in Everything’ (2013). Those wishing to understand the beginnings of modern-day Scientific enquiry and the vital influence which Hermeticism wielded in its development are recommended to consult its pages. For example, Philip Ball notes of the Elizabethan mathematician and magus John Dee (1527-1608) whose eldest son Arthur Dee (b. Manchester 1572 d. Norwich 1651) was a close friend of Browne’s -

 ‘Like Kepler, Galileo and later Newton, Dee held that the secrets of the world were at root mathematical and geometrical’ and crucially, ‘we have been encouraged to divorce mathematical and geometrical reasoning from its strong Renaissance associations with magic’. [13] Philip Ball’s remarks on Dee are equally applicable to Browne’s own scientific perspective, not least in the transcendent geometry and ‘mystical mathematics’ in the discourse The Garden of Cyrus.   

The Garden of Cyrus

No literary work of Browne’s demonstrates his esoteric approach to science better than The Garden of Cyrus (1658). Its primary objective is advocation, via the Quincunx pattern, of God as a skillful geometrician and the intelligent Designer of the universe. Browne’s quinary quest cites examples of the Quincunx, amongst other inter-related symbols including the lattice pattern, the figure of decussation X and the number five, in subjects as diverse as - Biblical scholarship, Egyptology, comparative religion, especially the Bembine Tablet of Isis, mythology, ancient world plantations and gardening, geometry, including the Archimedean solids, sculpture, numismatics, architecture, paving-stones, battle-formations, optics, including the camera obscura, zoology, ornithology, the kabbalah, astrology, astronomy and not least numerous botanical  observations which anticipate modern-day studies in genetics, germination, generation and heredity.

The Discourse opens dramatically with a dazzling fusion of comparative religion, optical imagery and cosmology  -

'That Vulcan gave arrows unto Apollo and Diana the fourth day after their Nativities, according to Gentile Theology, may pass for no blind apprehension of the Creation of the Sun and Moon, in the work of the fourth day When the diffused light and shooting rays of those Luminaries contracted into orbs’.

There's a generous amount of highly original astral symbolism sprinkled throughout the pages of The Garden of Cyrus, while mention of astronomical constellations, in conjunction with Browne’s subtle humour can be found in the opening of the Discourse’s central, third chapter-

'Could we satisfy ourselves in the position of the lights above, or discover the wisdom of that order so invariably maintained in the fixed Stars of heaven; Could we have any light, why the stellar part of the first mass, separated into this order, that the Girdle of Orion should ever maintain its line, and the two Stars in Charles's Wain never leave pointing at the Pole-Star, we might abate the Pythagorical Music of the Spheres, the sevenfold Pipe of Pan; and the strange Cryptography of Gaffarel in his Starry Book of Heaven....'

But not to look so high as Heaven or the single Quincunx of the Hyades upon the head of Taurus....

In a literary work jam-packed with esoteric references, Browne's numerological quest can be seen to endorse the teachings of the seminal scholar Pico della Mirandola (1463-94) who was responsible for re-introducing Pythagorean 'mystical mathematics' to Renaissance Europe, advocating-  

'By number, a way is had, to the searching out and understanding of everything able to be known'. 

In many ways The Garden of Cyrus is a highly-condensed compendium of esoteric topics which fascinated Browne. It includes the astrological speculation-  

'Under what abstruse foundation Astrologers do Figure the good or bad Fate from our Children, in a good Fortune, or the fifth house of their Celestial Schemes. Whether the Egyptians described a Star by a Figure of five points, with reference unto the five Capital aspects, whereby they transmit their Influences, or abstruser Considerations ?'

The same curious mixture of  a critical belief in  astrology and  an awareness of the discoveries of astronomy occurs in Browne's posthumous collection of short essays unimaginatively entitled by  its literary executor as Christian Morals (1716). 

In Christian Morals (circa 1670 pub. post. 1716) Browne introduces into English language the astronomical description of stars as seen in the Milky Way as 'nebulous’ and 'lacteous’, declaring -

'numerous numbers must be content to stand like lacteous or nebulous stars, little taken notice of, or dim in their generations'. [14]  

Browne's cosmological speculations led him to the profound observation that - 'The created world is but a small parenthesis in eternity'. [15]

Its also in Christian Morals that Browne’s ambiguous relationship to astrology can be detected. He’s highly critical of natal astrology when declaiming -

'Burden not the back of Aries, Leo, or Taurus, with thy faults, nor make Saturn, Mars, or Venus, guilty of thy Follies'.  [16]

And effectively demolishes the claims of the astrological birth-chart in his sharp observation - ‘for some are Astrologically well-disposed who are morally highly viscous’. [17]

However, far from entirely dismissing the esoteric art, Browne also speculates -

'If we rightly understood the Names whereby God calleth the Stars, if we knew his Name for the Dog-Star, or by what appellation Jupiter, Mars, and Saturn obey his Will, it might be a welcome accession unto Astrology, which speaks of great things, and is fain to use  Greek and Barbaric systems'.[18]

A quite emphatic statement by Browne demonstrating his critical belief in astrology can be seen in his stating in Christian Morals -

'And therefore the Wisdom of Astrologers, who speak of future things, hath wisely softened the severity of their Doctrines; and even in their sad predictions, while they tell us of inclination not coaction from the Stars, they Kill us not with Stygian Oaths and merciless necessity, but leave us hopes of evasion'.  

(Part 3: 16)

Nor can one omit mention of  a couplet found in Browne's Commonplace notebooks-

'Who will not commend the wit of astrology ?

Venus born out the sea hath her exaltation in Pisces.'

Browne kept abreast and well-informed of the latest scientific discoveries throughout his life. Astronomy seems to have been of great interest to him in his later years. Writing to his eldest son Edward Browne (1644-1708) resident in Rome on his travels, he confirms of their joint eye-witnessing -

'I see the little comet or blazing star every clear evening, the last time I observed it about 42 degrees of height, about 7 o’ clock, in the constellation of Cetus, or the whale, in the head thereof; it moveth west and northly, so that it moveth towards Pisces or Linum Septentrionale pisces. Ten degrees is the utmost extent of the tail...That which I saw in 1618 began in Libra, and moved northward, ending about the tail of Ursa Major; it was far brighter than this, and the tail extended 40 degrees, lasted little above a month. This now seen hath lasted above a month already, so that I believe from the motion that it began in Eridanus or Fluvius'.  [19]

He even considers acquiring astronomical instruments, writing to Edward Browne-

'..some that have had them tell me there is account made of some kind of spectacles without glasses, and made by a little trunk or case to admit the species with advantage. ....I hear such instruments are made and sold in London; and some tell me they have had them here. Enquire after them, and where they are made, and send a pair, as I remember there is no great art in the making thereof'.  [20]

However, although his eye-sight seems as sharp as ever, his advanced years are now of little help for stargazing, writing to Edward -

'The stream or tail of the comet was very long, when I saw it, in a clear  night, and I believe it was the same night when you saw it,  at St. Albans ; but the weather was so piercing cold, that I  could not endure to stand in it, otherwise I might have taken the altitude of the star or head of the comet, and then  reckoned the length of the tail to our vertical point, and then, allowing for the altitude, I might have seen how much  of ninety degrees the tail took up ; as, if the altitude were 30 degrees, the tail, coming to the vertex, must be sixty degrees extended'. [21]

Comets remain  of interest to Browne, when writing to Edward Browne, less than two years before his death -

'The news letters mentioned it, but to little or no purpose, or any information. We have had somewhat cloudy or foggy evenings, so that we hear no more of it, and this day was clear and frosty, and the sun set very bright and red, but we could not see a star, it was so misty this night, while I am writing, which is between seven and eight o'clock. I never saw a large and very long tail of a comet, since 1618, when I was at school. I believe it will be much observed and discoursed, and accounts given of it by the R. S. (i.e. Royal Society) and observers beyond sea'. [22] 

Browne also demonstrates his understanding of parallaxis, explaining the astronomical term to his eldest son thus -

'By this parallaxis astronomers find out the comet's distance from the earth ; and, in that of 1618, they found it to be as far above the moon as  the moon is above the earth, and so find out its place, or sphere it is in, which I believe will be performed, or is already, by some astronomers'. [23]

He advises his son - 'You might do well to have a figure of parallaxis, and to understand it, for it may be very useful, and is in many books. Now, if this comet be very high, and at a great distance above the moon, or in the sphere of Mercury or Venus, it will have but little parallaxis, and so we may conclude that it is above the moon'. [24] 

Perhaps Browne's late interest in astronomy was the result of his having a mystical apprehension of stars as the source of all life on Earth. Our own star, the sun supports and sustains all life on earth, including humanity.

In essence, Browne's scientific outlook was forever inclined towards the tenets of Hermeticism with its correspondences, analogies and polarities, concepts not always conducive to modern quantitative science. Browne was also a believer in unquantifiable aesthetic principles such as symmetry, harmony, order and proportion, and for this reason he never fully embraced the discoveries of a science which challenged or refuted concepts such as his beloved 'music of the Spheres' or the eternal patterns and archetypes of an Intelligent or Grand Designer.

Its thus as a paradoxical figure in intellectual history, with one foot planted firmly in esoteric lore and the other, in modern scientific enquiry that Browne reveals himself to us today. His holistic approach to medicine and critical following of Paracelsus marks him as a progressive-thinking medical man in seventeenth century England. Indeed, it's in the fields of psychiatry and psychology, not astronomy that Browne's greatest achievements lay. Its not without significance that the double-faced figure of Janus, one of Browne's favourite symbols, which the Swiss psychologist C.G. Jung considered to be a 'perfect symbol of the Psyche',  or that one of the very earliest usages of the word  'Archetype'  occurs in Browne's literary works.

To summarize, Browne's place in intellectual history, as one of the very last Renaissance men who held an equal interest in both astrology and the newly developing science of astronomy is paradoxical to modern sensibilities, forever insistent upon Either/Or.

Yet its precisely because of Sir Thomas Browne's consultation of both natural and supernatural knowledge that he may be defined as much an early chemist as an alchemist, as much an Hermetic philosopher as advocate of rational, deductive science and as much an astrologer as vigorous promoter of the new science of astronomy. And this is precisely why Norwich's very own 'Starman' remains a controversial and little-understood, yet also highly significant figure in Western intellectual history. 

  

Science and Astronomy books in Browne’s library includes -

Robert Boyle - Usefulness of Experimental Philosophy, London 1671 

Galileo, Dialogue Concerning the Two Chief World Systems, Trent 1635

Sidereus Nuncius, London 1653

Two World Systems Englished by T. Sainsbury, 1661

William Gilbert. De Magnete, Magneticisque Corporibus, et de Magno Magnete Tellure 1600

Robert Hooke - Lectures, London 1678

Christian Huygens - Systema Saturnium, The Hague 1659

Johannes Kepler -  Mysterium Cosmographicum, Tübingen 1596

Kepler - de Stella nova in pede Serpentis, Prague 1606

Highly Recommended

* Philip Ball - Curiosity: How Science Became Interested in Everything pub. Vintage 2013

* Wonders of the Solar System presented by Professor Brian Cox BBC DVD 2010

Also consulted


Star Names : Their Lore and Meaning Richard Hinckley 1899 Allen Dove pub. 1963

Ingenious Pursuits : Building the Scientific Revolution Lisa Jardine pub. Little, Brown and co. 1999

Notes

Images Top -Dying double helix Nebula in the constellation Aquarius

Next - Hevelius Selenographia

Next - Hyades star cluster in the constellation Taurus

Next - Galaxy in which our own solar system is located

Next - Comet ISON

Last -  A Page from a Star Atas dated 1674

Link to the latest astronomical discovery. Astronomers witness neutron stars colliding. This extraordinary event has been ‘seen’ for the first time, in both gravitational waves and light – ending decades-old debate about where gold comes from

[1] Leonard Nathanson -The Strategy for Truth pub. Chicago Uni. Press 1967

[2] Religio Medici Part 1: 6

[3] R.M. Part 2. 6

[4]  R.M Part 2:11

[5]  R.M Part 1: 41

[6] Bacon's Essay 'Of Vicissitude of Things' opens with the words - 'Salomon saith, There is no new thing upon the earth. So that as Plato had an imagination, that all knowledge was but remembrance; so Salomon giveth his sentence, that all novelty is but oblivion'. 

Browne's to the Reader opens with the words - 'Would Truth dispense, we could be content, with Plato, that knowledge were but remembrance; that intellectual acquisition were but reminiscential evocation, and new Impressions but the colouring of old stamps which stood pale in the soul before. For what is worse, knowledge is made by oblivion',

[7] Kepler's books in Browne's Library includes -Mysterium Cosmographicum (Prague 1596) 1711 Sales Catalogue Page 28 Quarto no. 2

De stella nova in pede Serpentarii (Prague 1606) Sales Catalogue  page 29 no. 18  and Ad Vitellionem Paraipolomena (Frankfurt 1606) S.C.  page 29 no.34

[8] Hugh Aldersey Williams 'The Adventures of Sir Thomas Browne in the 21st century' Granta 2015. There's a number of caveats to be sounded about this book. Whilst its to be applauded for generating interest in Browne, its also very much Aldersey-William's own Religio Medici Link to Review here. Hugh Aldersey-William's proposal that Browne was a closet atheist in particular is highly unlikely, but also a good example how Browne's strongly archetypical 'Old wise man' persona is a magnet for psychological projection, invariably of an unconscious nature.

[9] Pseudodoxia Epidemica bk 7 chapter 3

[10] P.E. bk 6 chapter 14

[11] Ibid.

[11b] R.M Part 2 : Section 15

[12] 1711 Sales Catalogue Page 25 no. 124

[13] Philip Ball - Curiosity: How Science Became Interested in Everything pub. Vintage 2013 

[14] Christian Morals Part 3 Section 24

[15] C.M. Part 3 Section 29

[16]  C.M. Part 3 section 7

[17]  Ibid.

[18] Ibid.

[19] Letter dated Nch. Jan 1st 1664-65 to Edward Browne

[20] Letter dated Nov 23rd 1677 to Edward Browne

[21] Letter dated 7th Jan 1681 to Edward Browne

[22] Letter dated 17th Dec 1680 to Edward Browne

[23] Letter dated 7th Jan 1681 to Edward Browne

[24] Letter dated 12 Jan 1681 to Edward Browne

This essay dedicated to Tchenka Sunderland - Astrologer, one-time mentor and decades long encourager of my Brunonian studies.

Peter Rodulfo's 'As the Elephant Laughed'. A Panorama of Evolution

Amongst the varied proliferation of paintings by the artist Peter Rodulfo As the Elephant Laughed is exemplary of stylistic characteristics encountered in his art. These include- sophisticated draughtsmanship and polished brush-work in conjunction with an industrious creativity and an exuberant imagination; all of which harmoniously unite in Laughing Elephant to produce a key-signature work, richly rewarding to view, and well worthy of in-depth analysis. 

Painted in oils on canvas during the winter of 2011/12, and one of his last art-works before relocating studio and home from Norwich to the coastal resort of Great Yarmouth, the foreground of Laughing Elephant (ease of reference title) features titular elephant facing a fox. Above the horizon the brilliant luminosity of a star casts its light upon a vast ocean where a large floating sea-shell supports a youth who stands in an enigmatic pose. The entire centre field of the canvas is dominated by two large, spiral-like waves which swirl and bubble with protozoan life. Two grass-tufted cliffs with homes perched precariously perched upon them frame the canvas on its left and right. The ghostly remains of a church tower, a dinosaur, along with trees caught in a breeze can also be seen, as well as an elderly woman sitting upon a sea-view bench, reflectively looking out to sea.

First impressions include a well-balanced and coordinated tonal spectrum, recollecting the saturated colours of a 1960‘s magic lantern celluloid slide, with a predominance of vivid hues of blue, a colour often linked with spirituality for its association with the sky and heaven.

The element of water in various forms is also often encountered in Rodulfo’s art, perhaps from the artist’s familiarity with the world’s seas and oceans as a well-seasoned traveller.

A good example of the artist’s meticulous attention to detail can be seen in the finely-worked detail of a nautilus-shell (top left) as well as in star-light reflected in water.

Detail  - Nautilus shell (top left)

The artist’s ability to create a multi-layered perspective is also evident, through a technical device which not only juxtaposes differing views, in this case both landscape and seascape, but also in conjunction with the paradox of day-light and night-sky appearing simultaneously.

Like much of Rodulfo’s art, the overall 'mood-music’ of  Laughing Elephant is essentially up-beat, good-humoured and optimistic, yet not without a philosophical dimension, for although measuring only 60 x 82 centimetres its jumbo-sized in artistic expression and interpretive dimension.

With its depiction of a variety of life-forms, marine and mammal, trees, flowers, stars and dinosaur, along with humankind, all seemingly caught in a swirling vortex of life, a receptive viewer is stimulated towards an awareness of their own, as well as humanity’s  relationship to Time and Space, Nature and the Universe.

The centre-field of Rodulfo’s Laughing Elephant is dominated by two large waves which whisk and swirl with protozoan life. According to the psychologist Carl Jung, the spiral is an archetypal symbol representing cosmic force and symbolic of the spiritual journey. The spiral pattern is also considered to represent the evolutionary process of learning and growing, it can be found in structures as small as the double helix of DNA and as large as a galaxy. At Newgrange in County Meath, Ireland, solar aligned tombs can be seen with complex spiral patterns. Dating from around 3000-2500 BC, these patterns decorate structures which are earlier in time than either Stonehenge or the Egyptian pyramids.

Rodulfo’s imagery is worth exploring, in particular the two pairs of contrasting mammals in his painting, namely an elephant and fox, along with the human figures of a male youth and an elderly woman.

Detail from Rodulfo's As the Elephant Laughed

With a friendly, all-knowing eye and grinning chops, Rodulfo’s elephant raises its proboscis trunk aloft, as if trumpeting in laughter, perhaps at human folly.

Almost all symbolism relating to elephants originates from the Indian sub-continent, where Rodulfo spent a portion of his childhood. In Asian cultures, the elephant is a symbol of good luck, happiness and longevity; its also famed for its memory and wisdom, psychic qualities equally attributable to the English physician and hermetic scientist, Sir Thomas Browne (1605-82) who mentions elephants in each and every one of his major writings.

Sir Thomas Browne on the Elephant

In his Religio Medici Browne exclaims-

'ruder heads stand amazed at those prodigious pieces of nature, Whales, Elephants, Dromedaries, and Camels; these I confess, are the Colossus and Majestic pieces of her hand'. [1] 

In his gargantuan encyclopaedia Pseudodoxia Epidemica (1646) Browne considers necks, informing his reader that,

'So have Horses, Camels and Dromedaries long necks, and all tall animals, except the Elephant, who in defect there of, is furnished with a Trunk, without which he could not attain the ground'. [2]

In fact Browne devotes an entire chapter upon the elephant in Pseudodoxia Epidemica discussing its anatomy and refuting the false belief  that it has no joints. It is however, only after informing his reader of ancient world historians who recorded -

‘Elephants have been instructed to walk on ropes, in public shows before the people’, and of that, ‘memorable show... wherein twelve Elephants danced unto the sound of Music, and after laid them down in ...places of festival Recumbency’,

The learned doctor finally remembers having actually seeing an elephant himself-

‘whereof not many years past, we have had the advantage in England, by an Elephant shewn in many parts thereof, not only in the posture of standing, but kneeling and lying down’.

Browne concludes his chapter on the elephant with the speculation that because they exhibit reason, along with the necessary organs of speech, namely lips, teeth and chops, that elephants, ‘might not be taught to speak, or become imitators of speech like Birds’.[3]

Given the fact that Browne believed elephants could be taught to speak, one may hazard a guess, that if he'd heard of a laughing elephant he'd hardly have been surprised at all !

Late in his life (circa 1673) Browne composed Museum Clausum  a catalogue of imaginary, rumoured and lost books, pictures and rarities, which includes the delightful image of-

An Elephant dancing upon the Ropes with a Negro Dwarf upon his Back.  [4]

In modern times, the Irish novelist John Banville remarked of elephants-

‘what amazing beasts they are, a direct link surely to a time long before our time, when behemoths even bigger than they roared and rampaged though forest and swamp. In a manner they are melancholy and yet seem covertly amused, at us, apparently...... If one set out to seek among our fellow-creatures, the land-bound ones, at least,  for our very opposite, one would surely need look no further than the elephants.  [5]

Detail from As the Elephant Laughed'

With its gorgeous russet-red fur, standing alert and looking sly facing titular elephant, the fox is invariably portrayed in world mythology and folk-lore as a cunning trickster-figure, a transgressor who breaks the rules, being at odds with humankind and living upon its wits. Yet in fact the fox shares some characteristics which are associated with humanity being- 

Independent, yet liking company, busy and inventive, yet destructive, too; bold but cowardly, alert and cunning but equally careless, the fox embodies the contradictions inherent in human nature’.[6]

Detail from  As the Elephant Laughed' 

Centre-stage in Rodulfo’s vision of evolution a mysterious youth stands astride a floating sea-shell. He’s engaged in a complex pose which involves one hand on the back of his head and another stretched out, as if shielding his eyes from being dazzled, his palm seemingly feeling the spiralling energy-field above him.

In almost all alchemical iconography the enigmatic figure of Mercurius is invariably portrayed as either mirthful and at play, or in the role of messenger and psychopomp to the gods of antiquity. Rodulfo's sea-shell figure is also a sophisticated variant upon the Renaissance artist Botticelli’s painting The Birth of Venus.

Botticelli -The Birth of Venus (c. 1486).

In stark polarity to this enigmatic, youthful figure there is an elderly woman with grey hair sitting upon a sea-view bench. She’s gazing out to sea, perhaps reminiscing memories from her past. Rodulfo here acknowledges the longevity of woman, along with the often unacknowledged power of matriarchy and of woman as the true vessel of ancestral memory.

In the German polymath Johann Goethe’s drama Faust the hero descends to the "realm of the mothers" — variously described as either the depths of the psyche or the cosmic womb.

Detail from  As the Elephant Laughed'

This pairing of figures, youth and age are identifiable  as variants upon the symbolism of puer et senex, (their technical art term), a pairing frequently encountered in Mannerist art and alchemical iconography representing Youth and Age. Together they symbolize the human life-span and Time in general.   

With its depiction of a wide variety of life-forms, manipulation of perspective in order to create depth of field, evocation of movement, featuring a complex pose, as well as inclination towards symbolism, Rodulfo’s Laughing Elephant may loosely be defined as Neo-Mannerist, for each and every one of the forenamed techniques, themes and artistic concerns associated with the art-movement of Mannerism, can also be seen in his art. Other paintings by Rodulfo which may also be defined as Neo-Mannerist in style and content include his - The Klagenfurt Altar, Across the Bay and The Visitor. 

Characteristics of the art movement of Mannerism include variety and multiplicity, unusual perspective, staged and complex poses and utilization of mythological and esoteric concepts. Mannerist art is now recognised as being highly influential upon the twentieth century art movement of Surrealism. Indeed, the early Mannerist artist Arcimboldo (1527-1593) who used fruit and flowers to create bizarre portrait paintings, was described as the “father of Surrealism” by Salvador Dali. Rodulfo also creates his own quite unique ‘double-imagery’ as well as being familiar with Mannerist art in general. In his painting Hide and Seek an elephant is featured as part of a complex 'double-image'.

Peter Rodulfo's Hide and Seek  Oils on canvas 40 x 52 cms. (2015)

A fruitful comparison in technique, imagery and overall imagination to Rodulfo’s Laughing Elephant  can be found in the Dutch Northern Mannerist artist Joachin Wtewal’s Perseus and Andromeda (1611). Painted near exact 400 years earlier than Rodulfo’s Laughing Elephant, Wtewal’s masterpiece is inspired by the ancient Greek myth of the hero Perseus rescuing Andromeda from a dragon; it also exhibits variety, a strongly developed technique, a sense of movement and vastness, unusual perspective, along with featuring a complex, almost contorted pose. 

Joachin Wtewal's Perseus and Andromeda 

A closer analogy to the thematic concerns and style to Rodulfo’s art in general can be found in the paintings of the twentieth century German artist Max Ernst (1891-1976) and the British artist Leonora Carrington (1917-2011). Briefly lovers at the onset of World War II, Ernst and Carrington utilized highly-developed techniques and artistic devices similar to those associated with Mannerist art.  Both artists also occasionally allude to esoteric and alchemical concepts in their respective paintings; and although Rodulfo himself eschews any credence whatsoever to esoteric arcarna, nevertheless casual allusions to esoteric concepts can be discerned in his art, both conscious and unconscious.  

If however any esoteric themes or imagery can be detected in Rodulfo’s art, in all probability its simply because archetypal imagery is often embedded at an unconscious level in the psyche, and therefore the artist’s own encounter with such imagery may paradoxically and simultaneously be both conscious from familiarity and also unconscious in realization.

Crucially, although Rodulfo has on occasions found Classical mythology inspiring, more often his imagery is harvested from his own, home-grown plantation of symbols, producing a rich, allusive language, capable of expressing profound psychological statements. Its an imagery language which in the case of Laughing Elephant, engages in transcendental synthesis, that is, the total sum of its parts hints of a greater vision, one of evolution and humanity’s place within it. Its also a stark reminder in essence, with its depiction of dinosaur and abundant protozoan life, that humanity is only one of nature’s innumerable life-forms alive on Earth, in the past, present and future.

Just as Mannerist art was a product of Renaissance humanism and therefore inclined towards emphasis upon  the relationship between humanity and nature - so too Neo-Mannerist art such as Rodulfo’s Laughing Elephant, expresses the same message. 

Although enjoyable purely as a colourful and fun decorative art-work, the central ‘message’ of Rodulfo’s panorama of life seems to be - all life is involved and inter-connected in evolution, from flower and tree to star and human,  individually and collectively; and as such its ‘message’ is of importance to those alive in the world today.

Part 2

As the Elephant Laughed      Click to enlarge

An increasing interest, acceptance and understanding of alchemical concepts and symbols now permits esoteric concepts to be applied, not unlike the famous melting watches of Salvador Dali, in a, ‘soft and flexible’ way, that is, without any fixed or dictator-like attitude, to works of art, including Rodulfo’s Laughing Elephant. One fruitful avenue of enquiry worthwhile strolling down in discourse upon Laughing Elephant can be found in the lyrics of the multi-media artist David Bowie (1946 - 2016). 

In addition to being a highly original song-writer and a versatile performer who was gifted enough to work in diverse musical genres for decades, David Bowie was also a voracious reader. Throughout his long, front-running career in music, Bowie found recreation in reading spiritual and esoteric literature including Christian Gnosticism, Alistair Crowley, the Kabbalah and the writings of the psychologist Carl Jung, subjects which he sometimes alluded to in his strikingly original lyrics. [7]

Like David Bowie, Peter Rodulfo’s an artist who thrives upon rapid stylistic changes, as well as being erudite whilst maintaining his independence in creative aesthetic. He is also familiar with esoteric concepts, in particular the ideas and writings of Alistair Crowley (1875-1947), a major figure in British esotericism whose present-day reputation Rodulfo accurately assesses as one of character-assassination through the prudery, prejudices and misinformation of the British tabloid press of Crowley’s day. 

David Bowie’s allusion to the ideas of C.G. Jung can be found on the  album with its word-play title, Aladdin Sane, (1973) in the song Drive-in Saturday  in the line - ‘Jung the foreman prayed at work’, a word-play allusion to Jung’s fixation upon the number four or quaternity as the number which he believed symbolizes totality and wholeness best, citing the four points of the compass, the four seasons, four elements and the Christian tetramorph among numerous examples, as expressions of totality.

Whether intentional or not, Rodulfo’s Laughing Elephant features no less than four mammals - an elephant and a fox, a youth and an elderly woman. Together the polarised figures of elephant and fox may be considered as having a relationship to the youthful figure astride a sea-shell and the elderly woman contemplating the sea, that of anthropomorphic aspects of the human psyche. All four mammals in totality form a Jungian quaternity no less; for once the polarity of the figures of youth and elderly woman are identified as symbols representing Youth and Age, (technically known as puer et senex in both Mannerist art and alchemical iconography and commonly associated with the planetary symbolism of Mercurius ei Saturnus), then the pairing of the utterly antithetical fox and elephant may also hint of planetary symbolism when explored through the prism of comparative religion and mythology. 

In Hindu mythology the elephant's thick, grey skin is likened to the latent and hidden power and strength of the sun when occulted by thick and heavy grey cloud [8]. Such symbolism is highly suggestive of the elephant's s association with the solar.

In almost all world mythology and folk-lore the fox with its nocturnal activities and changeable nature is associated with the feminine and the moon. The fox’s feminine and deceptive qualities are reflected in the anima projections of  rock-music lyrics such as Jimmy Hendrix’s ‘Foxy Lady’ and Jim Morrison’s song ‘20th century Fox’ .  More recently lyrics by the brothers Mael of Sparks in their 2008 song This is the Renaissance in which there are Paintings filled with foxy women. Thus its possible to extract from Rodulfo’s Laughing Elephant a planetary quaternity consisting of Sol et Luna in conjunction with the pairing of puer et senex (Youth and Age) which are invariably represented by the planetary opposites Mercurius et Saturnus. This planetary quaternity of two luminaries and two planetary opposites, is identical to those named in the German alchemist Michael Maier’s book of Mannerist styled emblems Atalanta Fugiens (1617). The very same quartet of planetary symbolism is allude to by the quartet of statuettes found upon the funerary monument known as the Layer monument (c. 1600, Norwich).  

Yet even in the ecstatic rubedo moment depicted, there’s a hint of a curtain ready to fall and in an instant black-out Rodulfo’s vision of the inter-connection of life, and for a cyclical return from rubedo revelation to a nigredo state of darkness, gloom and unknowingness. This return to a nigredo state is hinted by a spectral church, perhaps an allusion to the death-throes of Christianity in the 21st century, to houses perched precariously upon cliffs, and above all, by a raven seen entering in full-flight intruding into the frame. (top-right). 

Birds and avian symbolism in general often occur in the surrealist art of Max Ernst and Leonora Carrington, as well as in alchemical iconography where the black raven, dove, eagle, white swan, peacock, pelican, phoenix and vulture among others, are frequently encountered. Birds can also be seen in several of Rodulfo’s paintings, sometimes making a nuisance of themselves by playfully intruding into the frame of a well-ordered composition, quizzically eye-balling the viewer.

In the early 17th century alchemical anthology the Theatrum Chemicum  a black raven settles upon a melancholic adept under the influence of  the malefic planet, Saturn.

An Elephant in the Garden

Rodulfo’s Laughing Elephant has a remarkable affinity with another great art-work which also expresses itself in a lighthearted, optimistic and idiosyncratic, yet visionary manner, and which likewise delights in multiplicity and variety, as well as concerning itself with evolution and the inter-connectivity of life on earth, namely Sir Thomas Browne’s Discourse The Garden of Cyrus . 

Although differing in form, Browne’s hermetic discourse The Garden of Cyrus (1658) shares the same geographical place of origin to Rodulfo’s Laughing Elephant, namely the city of Norwich. Not only does it make specific reference to a wide variety of life, including those depicted in Laughing Elephant such as trees, star-fish and seas, but also elephants, Browne giving example of the quincunx pattern when used as a battle-formation which effectively 'defeated the mischief intended by the  elephants’. 

Rodulfo’s Laughing Elephant like Browne’s Garden of Cyrus, is in essence an idiosyncratic vision of the inter-connection of the cosmos. Although separated by centuries, both works of art delineate nature’s multiplicity and variety throughout the macrocosm. Crucially, both creative artists possess the necessary technical skills of their respective craft in order to construct a communicative frame-work for their vision of evolution. Rodulfo’s Laughing Elephant  like Browne’s discourse The Garden of Cyrus is a work of art which expresses an awareness and sense of wonder of the artist’s own unique place in the world, as an individual and as artist. Ultimately, both works of art engage in transcendent synthesis, that is, the total sum of their imagery and symbolism multiplies into a greater vision, one of evolution and humanity’s place within it.

Conclusion

Not only are all four elements represented in Rodulfo’s Laughing Elephant  via fish and bird, tree and star, but also imagery allusive to the Microcosm and Macrocosm, with its depiction of  the small world of humanity represented by a mercurial youth and a matriarchal senex, as well as the large and cosmic, the Macrocosm; thus it may be be interpreted as a mandala, that is, a work of art which invites contemplation, reminding and refreshing the individual of their place in the cosmos. Together, microcosm and macrocosm, in conjunction with the metaphysical framework of Space and Time, the basic template of all mandala art, can be discerned within the canvas.

The art-historian Arnold Hauser defined Mannerist art as, ‘a vision of a new spiritual content in life, with a tinge of the bizarre and the abstruse’ [8].

Hauser’s definition is applicable to Browne’s Garden of Cyrus as much as Rodulfo's Aquarian-tinted vision of evolution. Indeed, visionary art, such as both Browne's and Rodulfo's invites a receptive viewer to a cosmic ‘soul-journey’ of the imagination. As such Rodulfo’s Laughing Elephant is a canvas which is capable of producing a transcendent or numinous moment by transporting a receptive viewer from the ordinary and mundane, to a place where imagination is unconfined and to where future possibilities and unrevealed relationships are found.

K.Faulkner 2012-2016

In Memorium  David Bowie (Jan 8th 1946 - Jan 10th 2016)

Starman singer and song-writer, actor and multi-media performer.

With thanks to Krzysztof Fijalkowski

Notes

[1]  Religio Medici (1643) Part 1 Section 15
[2] Pseudodoxia Epidemica  (1646) book 7 chapter 15
[3]  Pseudodoxia Epidemica (1646) book 3 chapter 1
[4]  Miscellaneous Tract 13 Museum Clausum pictues Item 13

[5]  John Banville ‘The Sea’  pub. Picador 2010

[6] Dictionary of Symbols ed.Chevalier and Gheerbrant Penguin 1996

[7] http://tanjastark.com/2015/06/22/crashing-out-with-sylvian-david-bowie-carl-jung-and-the-unconscious/

[8]  De Gubernatis, Angelo - Zoological Mythology (Volume II)  1872. 

[9] Arnold Hauser -  Mannerism: The Crisis of the Renaissance and the Origin of Modern Art 1964 

Bibliography

Mannerism - John Shearman Penguin 1967

The Alchemy of Paint  - Spike Bucklow pub. Marion Boyars 2009 reprinted 2010 and 2012.

Arcanum 17 - Andre Breton 1945 pub. Sun and Moon 1999

See Also

Rudolfu's Mandala of Loving-Kindness

That Vulcan gave Arrows unto Apollo and Diana

What is more beautiful than the Quincunx, which, however one views it, presents straight lines.

- Quintilian

Just how Sir Thomas Browne’s discourse The Garden of Cyrus (1658) has not been recognised as exemplary of literary writings influenced by hermetic philosophy remains a mystery. The  first page of Browne's discourse alludes to no less than six major themes, symbols and preoccupations associated with western esoteric traditions including hermeticism.

Opening with highly original proper-name symbolism featuring the patron "deity" associated with Paracelsian alchemy, namely Vulcan -including Browne’s study of comparative religion - employing highly original spiritual-optical imagery - speculating upon the Creation and life’s beginnings - citing Plato’s discourse the Timaeus, and finally, utilizing the potent alchemical symbol of Sol et Luna, Browne could not spell out the esoteric theme of his discourse louder if he tried.

Unsurprisingly, perhaps because of its esoteric theme, the reception and literary appreciation of  The Garden of Cyrus over the past three hundred and fifty years, has been little more than a potted history of the many prejudices, misapprehensions and hostilities surrounding the hermetic arts. Within twenty years of its publication, the theologian Richard Baxter opposed Browne's Neopythagorean and Neoplatonic vision, declaring to newly-ordained priests in 1678 -

'You shall have more.. solid truth than those in their learned Network treatises'. 

Though appreciative of the stoic gloom and doom of Urn-Burial, Victorians literary critics considered The Garden of Cyrus to be an aberration of the imagination. Walter Pater, a leading  Victorian literary critic complained of  Browne’s Platonic inclinations -

'his fancy carries him off it into some kind of chimeric frivolousness here'. 

Edmund Gosse was another who detested it,  petulantly stating 

'gathering his forces it is Quincunx, Quincunx, all the way until the very sky itself is darkened with revolving Chess-boards' 

Yet Gosse also conceded- 

'this radically bad book contains some of the most lovely paragraphs which passed from an English pen during the seventeenth Century'. 

Thus the publishing practice began, utterly against Browne's creative intentions, of dissecting his literary diptych and of publishing Urn-Burial separately, an erroneous trend which persists to this day. [1]

Literary critics however have rarely understood the pervasive influence of the hermetic arts, or the vitality of the esoteric, especially during the 1650’s decade. The decade of the Protectorate of Cromwell saw a ‘boom-period’ in the publication of esoteric literature, encouraged by a relaxation in printing-laws and the psychological Endzeitpsychosis of the era. There can be as few readers now, as in 1658, who have any idea of the artistic motivation behind Browne's penning a Pythagorean hymn in praise of the number five and Quincunx pattern during England’s short-lived Republic.The solitary  contemporary figure of the Welsh alchemist Thomas Vaughan (c.1621-65) however may have been alert to the hermetic content of Browne's literary diptych. Alluding to the dominant symbol from each respective Discourse  Vaughan defines Mercurius as -

‘our true, hidden vessel, the Philosophical Garden, wherein our sun rises and sets'.

In many ways The Garden of Cyrus with its mention of astrology, Egyptology, the philosophy of Plato and Pythagoras, the kabbalah, physiognomy and Paracelsus, is a condensed compendium of esoteric lore of interest to Browne. Its central chapter also features Browne’s contribution to the emerging new science. Dozens of sharp-sighted, detailed and meticulously recorded botanical observations are recorded.

Like other alchemist-physicians, Browne was fascinated with life's beginnings and observations upon embryology, germination and generation feature in the central chapter of the discourse.

The Garden of Cyrus opens with the Creation being likened to the alchemical opus - God operating as a demi-urge figure and cosmic alchemist.

'That Vulcan gave arrows unto Apollo and Diana the fourth day after their Nativities, according to Gentile Theology, may pass for no blind apprehension of the Creation of the Sun and Moon, in the work of the fourth day; When the diffused light contracted into Orbs, and shooting rays, of those Luminaries.'

This extraordinary cosmic opening, besides naming the Roman god nominated by Paracelsus as representative of the alchemical art and introducing the important themes of Light, optics and Space, also features Browne’s study of comparative religion. Browne detected that the ancient Greek myth which describes the god of fire Vulcan donating arrows, i.e. Light, to Apollo and Diana, as recorded in the Fabulae of Hyginus [2] was a Creation myth in which - just like in the Biblical account of the Creation - Light appears upon the fourth Day. (And God said Let there be Light. Genesis 1:3). The ancient Greek myth was in Browne’s view no blind apprehension but confirmation of the Biblical account of the Creation.

Browne reconciled the wisdom of antiquity to Christianity in exactly the same way as Renaissance scholars Marsilio Ficino and Pico della Mirandola, by giving credence of a Prisca Theologia, that is, a belief in a single, true theology threading through all religions whose wisdom passed in a golden chain through a series of mystics and prophets, including Zoroaster, Pythagoras and Plato. In particular, the mythic Hermes Trismegistus was believed to be a wise pagan prophet who foresaw the coming of Christianity. Christianity appropriated hermetic teaching for their own purposes, proposing that Hermes Trismegistus  or ‘thrice greatest’ on account of his being the greatest priest, philosopher and king, was a contemporary of Moses. Such imaginative comparative religion not only justified the study of philosophers such as Pythagoras and Plato, but also sanctioned the antiquity, wisdom and superiority of the Bible to devout Christians. 

Proceeding from 'plainer descriptions' by 'pagan pens' Browne next acknowledges the primary source of another influential Creation myth, Plato's discourse the Timaeus.

'Plainer Descriptions there are from Pagan pens, of the creatures of the fourth day; While the divine Philosopher unhappily omitteth the noblest part of the third'.

With its myth of the lost civilization of Atlantis, description of the eternal, archetypal forms and proposal that the world was a living being or anima mundi Plato’s Timaeus, first translated in 1462 by Marsilio Ficino, wielded a near Bible-like authority amongst thinkers, artists and mystics throughout the Renaissance. The Timaeus was of particular interest and influence upon the imagination of alchemist and hermetic philosopher alike. Browne speculated upon the existence of the anima mundi in Religio Medici thus-

'Now besides these particular and divided Spirits, there may be (for ought I know) an universal and common Spirit to the whole world. It was the opinion of Plato, and is yet of the Hermeticall philosophers; if there be a common nature that unites and ties the scattered and divided individuals into one species, why may there not be  one that unites them all?'  [3] 

Throughout his literary diptych, Browne displays an uncommon familiarity with Plato, the ancient Greek philosopher’s writings are well-represented in his vast library. Browne even calls the 'father of western mysticism' with the self-same phrase as Ficino and John Dee, describing him as the divine philosopher. (Divine pertaining to Plato’s theology rather than the modern term of adulation). The influence of Platonic thought looms large throughout The Garden of Cyrus, in particular the Greek philosopher’s advancing of the anima mundi or Universal Spirit permeating Nature. 

According to C.G. Jung -

'The alchemist thought he knew better than anyone else that, at the Creation, at least a little bit of divinity, the anima mundi, entered into material things and was caught there'. [4] 

Just as the diptych companion discourse Urn-Burial depicts the human soul trapped within the corporeal body, so too in The Garden of Cyrus Browne endeavours to demonstrate that the anima mundi or World-Soul is imprisoned in nature, alluding to the anima mundi or World-Soul on several occasions.

In the 'Great Work' of alchemy the initial dark nigredo stage is followed by the albedo or whitening phase and the light of illumination. While Urn-Burial represents the nigredo stage, its polar opposite and antithesis The Garden of Cyrus represents the albedo and growth of consciousness. According to Jung-

'By means of the opus which the adept likens to the creation of the world, the albedo or whitening is produced.' [5]  

Starting from the Garden of Eden Browne traces the ubiquity of the Quincunx pattern, firstly as a method of planting to the ancients. The Garden of Eden was a favourite symbol in Christian iconography of Paradise. Its early appearance in The Garden of Cyrus as representing the albedo stage of Browne's diptych, is confirmed by Jung's observation that-

'For the alchemists Paradise was a favourite symbol of the albedo, the regained state of innocence'. [6]

Gardens are often mentioned in alchemical literature. At their highest level they symbolize civilization and man's mastery of Nature, as well as being symbolic of pleasure, Nature's beauty, Order and Rationality, themes highly relevant to Browne's discourse. 

The densely-packed symbolism and imagery of the opening paragraph of The Garden of Cyrus also alludes to the potent symbol of the alchemical opus, the hierosgamos, or sacred wedding, or Conjunctio of Sol et Luna.  Sun and moon are among the most psychologically potent of all symbols, encapsulating nature's greatest division (male and female) as well as the active and passive, light and dark, and consciousness and unconsciousness. Browne’s usage of this commonplace symbol is another strong clue to the alchemical nature of The Garden of Cyrus. 

Mention of the alchemical conjunctio occurs several times in the discourse in images and symbols drawn from nature, mythology and esoteric literature.

There's also a Gnostic element in Browne’s literary mandala with its highly original usage of optical imagery of light and darkness.The basic mandala of Gnosticism and alchemy, the Ouroboros can also be detected as a template of the diptych. Throughout Urn-Burial  imagery of shade and darkness abounds. As the nigredo stage of the alchemical opus, the discourse is 'lost in the uncomfortable night of nothing' as Browne succinctly defines it. In contradistinction, throughout the pages of The Garden of Cyrus imagery of light including starry, astral imagery occurs. At its apotheosis, in its short revelatory rudebo the 'patron deity' of Vulcan  appears, before a final coda and a circular return of night, darkness and doubt concludes the discourse.

Developing his optical imagery in The Garden of Cyrus Browne in a rapturous, cosmic outburst, which concludes in a subtle, humorous observation.

Darkness and light hold interchangeable dominions, and alternately rule the seminal state of things. Light unto Pluto is darkness unto Jupiter. Legions of seminal Idea's lie in their second Chaos and Orcus of Hippocrates; till putting on the habits of their forms, they show themselves upon the stage of the world, and open dominion of Jove. They that held the Stars of heaven were but rays and flashing glimpses of the Empyreal light, through holes and perforations of the upper heaven, took of the natural shadows of stars, while according to better discovery the poor Inhabitants of the Moon have but a polary life, and must passe half their days in the shadow of that Luminary.

The concept of polarity (a word introduced by Browne into English language in its scientific context) is an essential component of much esoteric symbolism. The opposites and their union were a fundamental quest of Hermetic philosopher and alchemist alike. Browne’s literary diptych, like all good mandalas of any psychological depth, is a complex of opposites or complexio oppositorum  in imagery, truths and symbols. It corresponds well to the polarity of the Micro-Macro schemata of Hermeticism in which the little world of man and his mortality (as in Urn-Burial) is mirrored by the vast Macrocosm of Eternal forms in The Garden of Cyrus. 

The alchemical maxim solve et coagula (decay and growth) also closely approximates the respective themes of the diptych. The Gnostic progression from darkness and unknowingness to Light and awareness using optical imagery has already been noted. 

The alchemical feat of palingenesis, the revivification of a plant from its ashes, as reputedly performed by the Swiss alchemist Paracelsus is another template upon which the Discourses may be considered to bear comparison. The funerary ashes of Urn-Burial burst into  flower in the botanical delights of The Garden of Cyrus. 

Browne’s hermetic vision of the interconnection of Nature via the closely related symbols of the Quincunx pattern, the  number five and the figure X  - identify The Garden of Cyrus, however much previously misunderstood is a quintessential work of Hermetic literature. The mission of its author is synonymous with the ultimate quest of alchemist and hermetic philosopher alike, namely, to redeem mankind from the dark prison of unknowingness (as portrayed in Urn-Burial) towards recognition of the wisdom of God, found in number, shape and archetype, all of which are transcendently delineated by the Quincunx pattern through Browne's Dedalian imagination. 

In an era of considerable psychological stress and uncertainty, the Quincunx pattern in The Garden of Cyrus assumes a spiritual, mandala-like significance, suggestive that Browne believed he had been permitted to glimpse into Nature's highest arcana and thus acquire the wisdom of the Stone of the Philosophers no less. Browne’s fixation with the Quincunx pattern may therefore be interpreted as none other than his recognition of a symbol of totality and wholeness - the Unio mentalis or self-knowledge of the alchemists. As ever the foremost interpreter of alchemy in the 20th century, C. G. Jung places Sir Thomas Browne's creativity in clearer perspective, helpfully and tantalizingly Jung notes -

'The quinarius or Quino (in the form of 4 + 1 i.e. Quincunx) does occur as  as symbol of wholeness (in china and occasionally in alchemy) but relatively rarely'. [7]

Crucially, in words utterly apt to Browne's creativity in The Garden of Cyrus C.G.Jung observed- 

Intellectual responsibility seems always to have been the alchemists weak spot... The less respect they showed for the bowed shoulders of the sweating reader, the greater was their debt.. to the unconscious. The alchemists were so steeped in their inner experiences, that their whole concern was to devise fitting images and expressions regardless whether they were intelligible or not. They performed the  inestimable service of having constructed a phenomenology of the unconscious long before the advent of psychology. The alchemists did not really know what they were writing about. Whether we know today seems to me not altogether sure. [8]

See also -

Urn-Burial and the Nigredo of alchemy

Dr. Browne's alchemical mandala

'the theatre of ourselves' -the proto-psychology of Dr. Browne

 Notes

[1] American academic Stephen Greenblatt perpetuates this error in his recent edition 

[2] Section 140 in Hyginus Fabulae listed in 1711 Sales Catalogue page.13 no.35 

[3] Religio Medici Part  I Section 32

[4]CW 14 764 

[5] CW 9 ii: 230

[6]  CW 9 ii: 372.
[7] C. W.  18: 1602

[8] CW 16:497

This essay has been roughly hammered out in time for the anniversary of Urn-Burial and The Garden of Cyrus. Both discourses have dedicatory epistles dated May 1st Norwich.