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 it defies any dictionary definition, being an invented word; nor is there any suggestion by the author that it is an alternative title, it 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.

It's just possible that the word HYDRIOTAPHIA is 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

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

Drought

After one of the driest Springs recorded, the drought in five English counties, all in the east of England has now been made official. I would suggest however that this current drought, and the severe shortage of rain which farmers and food-growers are experiencing,  goes much deeper. There's a serious and  wide-spread drought and thirst throughout many regions of the world for a fairer distribution of wealth and resources, moral integrity, compassion, leadership and  spiritual  vision. These droughts can't begin to be remedied until humanity acknowledges, as drought along with volcanic eruption, earthquake, hurricane, flood, famine and  war,  painfully reminds those suffering, that humanity isn't as much in control of its destiny as it imagines, and the words of the Prince of Peace  are heeded-

Whoever drinks water shall be thirsty again; but whoever drinks the water  I  give shall not thirst;  for the water  I give shall be a well of water springing up into everlasting life.

Uranus

                                 Photo of Uranus taken by Voyager 2

  

230 years ago today the German-born British astronomer Sir William Herschel observed a new planet. (March 13, 1781). Herschel’s discovery expanded the known boundaries of the solar system. At first the new planet was named after its discoverer, but was later named after a Greek god as other planets of the solar system. The name of the new planet was chosen  from mythology as the logical progression in genealogical sequence; for Mars was believed to be the son of Jupiter, who in turn was the son of Saturn, who was born from Uranus.

In Greek mythology Uranus (from Greek Ouranous, sky) personifies the heavens and the night sky. Believed to have been born from chaos, Uranus was the primogenitor  of all Greek gods. He was castrated by Cronos or Saturn with a sickle because of his  fathering of monstrous progeny.

Astronomically, Uranus is the seventh planet in orbit from the sun and the third largest of all planets. It was detected as having a ring-system similar, if less spectacular than Saturn on March 10, 1977 by an American astronomical  team led by James L. Elliot (b. 1943 – d. March 3, 2011). Only a little more than 200 years since its discovery, the American space-probe Voyager 2 reached Uranus in 1986, its closest approach occurring on January 24, 1986.  Voyager 2  which was launched in 1977 encountered  the Jupiter system  in 1979, Saturn in 1980 and finally Neptune in 1989. It was the first space probe to provide detailed images of the  ice-giant  planets Uranus and Neptune.

 Astrologically, Uranus is associated with individuality and eccentricity, new and unconventional ideas, discoveries such as electricity, television and invention in general. When Uranus was discovered the events of the French and American revolutions along with the Western Industrial revolution  were shaping the modern world of today. Uranus is also believed to govern societies and any group dedicated to humanitarian or progressive ideals. It  is also the planet associated most with sudden and unexpected change, ruling freedom and originality. Above all planets Uranus rules genius and the characteristics of the zodiac sign of Aquarius. Astrologers noted that the slow-moving  planet of Uranus which takes 84 years to orbit the Sun, entered the zodiac sign of Aries on March 12, 2011. The orbit of the planet Neptune is even slower;  first observed in 1846 it will have completed just one full circuit of the Sun since its discovery on July 12,  2011.

The Mutiliation of Uranus by Saturn by Vasari circa 1560

 Palazzo Vecchio, Florence.

 Book  -   Uranus by John Townley  pub. Aquarian Press 1978

The Tower

The Tarot card of the Tower seems a highly symbolic and appropriate depiction of contemporary world-events, not only of the unrest and challenge against incumbent governments throughout North Africa, but also of the sudden change of fortune experienced by many today. The card depicts a tower struck by lightning with two figures falling headlong from it.

It’s probably best to state at the very outset that personally I give little credence whatsoever to any fortune-telling aspect of Tarot cards, all such methods of divination of individual destiny being prone to highly subjective interpretation; but its also worth reminding those who condemn any form of occult divination that the foremost book which has shaped the Western psyche for millennia, namely the Bible, has itself been used as a source of divination in the form of bibliomancy, that is, the casual choosing of  a  verse from a randomly opened Bible to be heeded as God-given advice upon a situation.

The Tarot is believed to have originated from Northern Italy, a hand-painted Tarot pack was created for the Duke of Milan in 1415. Sometimes believed to contain the wisdom of the mythic ancient Egyptian god Thoth-Hermes, Tarot cards have fascinated and intrigued many minds throughout history. Even the eminent 20th century psychologist Carl Jung, after attending a lecture upon Tarot cards was open-minded enough to confess that- 

'It seems as if the set of pictures in the Tarot cards were distantly descended from the archetypes of transformation'.  (CW 9 i:81) 

 It’s in this context, as  pictorial representations of  archetypes, that the  cards of the Tarot are of particular  psychological interest.

Mention of towers can be found throughout the Old Testament; frequently alluded to in the form of a fortified frontier post or watch-tower for vine-yards. More importantly, the tower in the Bible often symbolizes  an impregnable stronghold in which to place one’s trust in God.

For thou hast been a shelter for me, and a strong tower from the enemy. 

-Psalm 61 v. 3

But occasionally  the tower in the Bible is likened to the human body, especially in the love poetry of Solomon’s Song –

Thy neck is like the tower of David builded for an armoury. 

Thy neck is  as a tower of ivory;….. thy nose  is as the tower of Lebanon.

I am a wall, and my breasts like towers.    Solomon’s Song  4:4, 7:4 and  8:10

The symbolism of the tower card in the Tarot may originate  from the Biblical Fall of Man, or more aptly, to the tower of Babylon which was destroyed by God as punishment for Man’s overweening pride (Genesis 11). In modern times the symbolism of a tower struck suddenly by lightning holds a peculiar resonance to the devastating trauma of the 9/11  attack upon the twin towers of the World Trade Centre.

There are a number of interpretations relating to the Tarot  card of the Tower but most conform to a standard meaning. These include - Chaos, Sudden change, Hard times, Crisis, Revelation, Disruption, Realizing the truth, Disillusion, Uncomfortable experience, Downfall, Ruin, Ego blow,  Explosive transformation, failure and catastrophe.

Other interpretations of this flexible and inevitably inexhaustible symbol include the paradigms constructed by the ego and the sum total of all schemata which the mind constructs to understand the universe. Frequently a symbol of ascent heavenwards, as in the Babylonian tower, the Tower is struck by lightning when reality does not conform to expectation. Another interpretative insight of the Tower card is the war between the structures of lies and the lightning flash of truth, in which, ‘false concepts, beliefs and institutions come tumbling down, suddenly, violently and all at once resulting in being blinded by a shocking revelation'. It sometimes takes a devastating  lightning strike to see a truth that one refuses to see. Such  cataclysmic activity is sometimes necessary for real change and growth.

Yet another highly relevant interpretation of this enigmatic, yet archetypal card is that it symbolizes hard times, sudden change, crisis and ruin, a trauma experienced by many individual lives at present.

                                                         *  *  *   *  *   *
Highly  Recommended reading-
Meditations on the Tarot : A journey into Christian Hermeticism
by Anon, Element  1985
(Although the author is stated as anon, the Russian theosophist,
Valentin Tomberg is considered to be the author).

Cosmo's Factory

 Probably the greatest American 70’s rock album ever !

 Can it really be 40 years ago today that I purchased for my birthday at the princely sum of 39 shillings and 11 pence, the album 'Cosmo's Factory'?  As a choirboy the  singing of John Fogerty, Creedence Clearwater Revival’s front-man simply astounded me.  Not only did he pen the band’s numerous hits, playing  a mean, lean, clean and bluesy lead guitar, but also sang  like some crooning Mississippi swamp bull-frog. It was unknown to me and to most Brit’s probably, that in fact the band hailed from Berkeley, California and  were  not from the south at all, but  were  creating a highly original pastiche, inspired by the music of New Orleans and the bayou swamp lands. In fact their first ‘hit ‘Proud Mary’ alludes to New Orleans.  When Tina Turner covered 'Proud Mary' it regenerated her career.  But what a lot of people don’t know is that  the British band Status Quo's  mega-hit  ‘Rockin’ all over the world’   was also penned by J .C. Fogerty.

Emerging out the late 60’s Creedence  Clearwater played at the swan-song  festival of the 60’s,‘Woodstock’, but because of the over-indulgence of the previous act, Grateful Dead, they didn’t appear on stage until 3 a.m. Not too surprisingly  given the circumstances, the footage of their performances is long lost.

 It’s just the sheer joy of hearing Creedence’s tight, 3 minutes  of feelgood songs with strong melodies which makes them  continue to be one of the most played bands on American radio. The quintessential all-American band, as  American as Mom's apple-pie, they have now sold over 26 million records world-wide. When other bands went for a slick studio production Creedence’s ‘keep it simple’ style ensured that they were as good to hear live as in the studio.

 During their meteoric and short-lived rise to fame CCR spawned number one hit after hit  in America and the UK.  Powered by the driving bass and drums of Stu Cook and Doug Clifford with Tom Fogerty on rhythm guitar CCR became the sound of early 70's American pop-rock. However, a grueling schedule of near non-stop recording sessions and touring meant that the  band did not last long with artistic conflicts between band-members, notably between John and his elder brother Tom Fogerty.

 At first hearing many believe the band’s  2 minute hit-single ‘Travelling Band’  on 'Cosmo's Factory'   to be a 50’s song, but its evidence  of  J.C.Fogerty’s genius to pastiche classic 50’s pop in an updated way. Every track on ‘Cosmo’s Factory’ is a classic.

One of the most amazing rock-guitar solo’s ever occurs on Cosmo’s Factory.  Fogerty, who is easily a guitar virtuoso equal to Carlos Santana or Jimmy Page,  covers Marvin Gaye’s ‘I heard it through the Grapevine' with soulful vocal and blistering guitar solo.  His funky soul-based guitar playing on the track confirms him to be  a musical  adept  of many genres, including country and western,  R 'n' B, pop, rock  and soul music.

I had the pleasure of seeing John Fogerty interviewed on a T.V. chat-show a few years ago.  A modest, soft-spoken, American gentleman, ever the musician-trooper he continues to successfully tour and is popular in  Scandinavian countries.

Tonight  I hope to be celebrating my birthday with  friends and a 1970’s cold war drink, vodka and coke, cranking  up the volume for what is quite simply in my humble opinion, the greatest guitar solo ever  - as heard on the 11 minute studio jam track of Creedence's cover version of ‘I heard it through the Grapevine’.  

Today is the birth-dates of Wolfgang Amadeus Mozart, Lewis Carroll and Leopold von Sacher-Masoch. It is also World Holocaust Memorial Day.

Dad

My father died on January 22nd 1996, aged just 60, 15 years ago today. He was a sailor when this photo was taken on his wedding day. Just a few days before he died I picked up a copy of Sir Thomas Browne for the first time since my undergraduate days. On the day he died I had a numinous experience and several coincidences in my life occurred.  I remember my father's sound advice  - specialize in order to become an authority upon a subject. 

The figure of the cucullatus  points to the hooded, that is, the invisible one, the genius of the departed, who reappears in the child-like frolics of a new life, surrounded by the sea-forms of dolphins and tritons. The sea is the favourite symbol for the unconscious. -Jung CW 9 i 298.

Gnome in the Snow

  

Gnomes are hardy creatures and can endure the most severe conditions,  rarely grumbling at the weather no matter how adverse.

The Layer Quaternity

Almost hidden from view in the church of Saint John Maddermarket Norwich there's a highly theatrical and dramatic Monument - the Layer monument, a large slab of sculptured marble in polychrome is an early seventeenth century funerary momento mori. The symbolism of its fascinating, yet enigmatic quartet of statuettes  is  complex, but well worth analysis.

The strictly literal-mindedness of our age, combined with the Layer monument's relative obscurity has prevented  it from being identified as an art-work which  utilizes esoteric symbolism. The narrow belief that the Word, in this case the moral label which accompanies each statuette, is a fully-developed definition has effectively blinded viewers from actually looking closely at each statuette.

Each of the four statuettes of the Layer Monument corresponds to a specific archetypal figure. They are Pax 'the wise ruler' here depicted treading the weapons of war underfoot, Gloria,  'the Great Mother', frequently associated with lunar imagery, Labor, 'the old man' complete with grey hair and beard, and Vanitas, 'the child/trickster' figure, not only a cherub and psychopomp of the  recently deceased but also the messenger of alchemy, Mercurius,  who is often depicted standing upon a Rotundum in alchemical illustrations. 

The psychologist C.G. Jung who wrote at great length and depth upon alchemy and its symbols noted,

'the statue plays a mysterious role in ancient alchemy'. (CW14:559)  and that, 'The statue stands for the inert materiality of Adam, who still needs an animating soul; it is thus a symbol for one of the main preoccupations of alchemy . (CW 14 Para 569)

One is encouraged in interpreting the Layer Quaternio as a work which utilizes esoteric symbolism when reading C.G.Jung's observation-

Graybeard and boy belong together. The pair of them play a considerable role in alchemy as symbols of Mercurius. (CW 9 i:39)

Number, along with colour, is embedded deep in the human psyche as  primordial of  all symbols. The number four and its geometric arrangement in the form of four corners or points upon the figure X  was of especial significance to C.G.Jung . He  defined the  quaternio thus-

The quaternity is an organizing schema par excellence, something like the crossed threads in a telescope. It is a system of coordinates that is used almost instinctively for diving up the visible surface of the earth, the course of the year, or the collection of individuals into groups, the phases of the moon, the temperaments, elements, alchemical colours, and so on.  (CW 9ii. 381)

As if with the Layer Monument in view, Jung states of the quaternio -

We have then, two contrasting pairs, forming by mutual attraction a quaternio, the fourfold basis of wholeness. As the symbolism show, the pairs signify the same thing: a complexio oppositorum or uniting symbol  (CW Vol 9i: 245)

Reinforcing the Layer Monument's significance as an example of a complexio oppositorum that is, a complex of opposites, Jung once more as if  having the Layer monument quaternio in view remarks- 

 Like all archetypes, the self has a paradoxical, antinomial character. It is male and female, old man and child, powerful and helpless, large and small. The self is a true complexio oppositorum. (CW  9 i: 355)

Polarity and the union of opposites along  with its resultant synergy was an essential  tool of alchemical symbolism. There are numerous opposites within the Later Quaternio - Young/Old -Heaven/Earth -Male/Female, Time/Space and Pleasure/Suffering are discernable.

Just as the upper pair of Pax and Gloria  represent the eternal 'heavenly' realms, so to in contradistinction the figures of Labor and Vanitas represent the temporal dimension of time in earthly existence, thus  the essential co-ordinates of Time and Space may be attributed to the Quaternio. Jung explains this essential component  of the quaternity thus-

From the lapis, i.e. from alchemy, the line leads direct to the quaternio of alchemical states of aggregation, which, as we have seen, is ultimately based upon the space-time quaternio. The latter comes into the category of archetypal quaternities and proves to be an indispensable  principle  for organizing the sense-impressions from which the psyche receives from bodies in motion. Space and time form a psychological  a priori, an aspect of the archetypal quaternity which is altogether indispensable for acquiring knowledge of physical processes.  (CW Vol 9 ii: 40)

It can also be  discerned  that together the four statuettes of the Layer Monument  correspond to  a commonplace  template of antiquity, the four elements.  The crescent moon which Gloria stands upon is often associated with the element of Water.  Pax, a Christ-like figure who closely corresponds to Sol Invinctus  represents the element of Fire. It follows from the  activities which the lower case pair  Vanitas and Labor are engaged upon, namely blowing bubbles and digging earth,  that they symbolize the two elements of Air and Earth.

In essence  the four statuettes upon the two pilasters of the Layer Monument  represent  a highly original,  profound and intriguing religious symbol. They are none other than a quaternio or four-fold whole of archetypes which represents the Self. Plexiformed in their  relationship and ostensibly a product  of Christian  iconography, the Layer quaternio are in fact a syncretic fusion of both Christian and  esoteric symbolism, a rare and important  example of how  the  symbolism of Hermetic philosophy occasionally infiltrated and integrated with  Christian iconography.

An essay upon the symbolism of   the Layer Monument and the intellectual history of its era can be found here.

Postscript 23rd Oct: The lavish production  of Ken Follett's 'The Pillars of the Earth' set in Medieval England  now on Channel 4, states for  the synopsis of episode 2  - 'Jack's statue of the cathedral's saint has a shocking effect on the King'. One couldn't make up the timing if one tried!
 

Pears

Ripening Pears first appear in late summer only to disappear early winter.

The current World recession has resulted in economic hardship and unemployment for many. However, the suffering engendered by natural disasters such as the Haiti earthquake earlier this year, the floods in Pakistan and China in which millions of people face enormous challenges of survival are quite simply beyond the imagination and endurance of much of Western society. Such natural disasters firmly place mere economic hardship into perspective.

One wonders how many individuals in Western society who continue to enjoy a comfortable life-style could ever begin to cope with the suffering faced by those experiencing natural disaster. And yet our comfortable life-styles are often maintained by exploitation, inflicting great suffering upon innocent fellow humans, even if geographically remote, in the form of Warfare, military occupation of land and unfair trading conditions.

The Renaissance physician and alchemist Paracelsus possessed a deep insight into human nature. He was not only a radical doctor but also a theologian as profound as Luther; even though much of his writings remain untranslated from an obsolete Middle German dialect; nevertheless Paracelsus made important observations upon human nature worthy of contemplation.

The following quotation is exemplary of Biblical and alchemical notions of the trial of metals being likened to the testing of the human soul.

It is in extremis, things reveal their nature and become visible; then we can say: he is an upright man, a steadfast man, he manifests his inner being.....One man reveals more traits of loyalty and less of disloyalty; one man is to a large extent this, another man that. Therefore we should keep an eye on the outward characteristics which nature gives a man by shaping him in a certain way. For nature shapes the anatomy of a pear in such a way that the pear develops into a pear tree; and she creates a medlar's anatomy, in such a way that it develops into a medlar bush; and the same is true of silver and of gold. Nature also forges man, now a gold man, now a silver man, now a fig man, now a bean man.



Quotation from -Parcelsus Selected Writings ed. Jolande Jacobi Princeton Uni. Press 1951

Bus in a Hole

1988 - A surprise stop for the passengers of the number 26.
No-one was hurt.

Perhaps I should not have mentioned the other day that geologically Norfolk is predominantly composed of chalk, (Aug 7th post) because a new hole has now appeared in a Norwich road some 9 feet deep! Memories from 1988 when a double-Decker bus fell into a hole have now resurfaced. This world-famous image of an extraordinary event is well worth seeing again aS visible proof that living in Norwich can sometimes be exciting!

Norwich in fact  is renowned for having subsidence problems. Not only does it have many chalk mines, but also a network of tunnels underneath its streets and buildings, including more undercrofts than any other UK city.

It's possible that the chalk mines of Norwich date from as early as the 11th Century. Chalk was mined underneath the City and extracted in great quantities to burn into lime for mortar. Flint was also mined and used as stone for building. Mining tunnels known to exist under medieval Norwich can be found between 12 and 90 feet under the surface . They vary in size from 6 to 16 feet in height and from 6 to 12 feet in width . These tunnels and mines are often arranged in a grid-like pattern. City engineers have to regularly inspect these tunnels in order to determine their condition and to prevent any further collapses.

The most investigated system of these tunnels is a 1600-feet-square grid maze of tunnels beneath Earlham Road. It was re-discovered in 1823; coloured lights were fitted and some of the large passageways were given attractive names such as Beehive Lane, Bacchus Street and Royal Arch. They were once a popular attraction for tourists and local courting couples to wander through.

A full history and record of the extensive underground passages, undercrofts and mines in Norwich has yet to be written.

Volcano

A second eerie plume in the sky this decade causing grounded planes. One feels for the thousands who are experiencing disrupted travel plans, but this looks bigger on the global repercussions than individual plans thwarted. Vulcanologists are a bit quiet upon the eventual outcome, the last time this occurred in Iceland in 1821 it continued for 18 months, causing a 'year without Summer'.

I can't see this natural disaster improving the fragile British Summer much, just the consolation of spectacular sun-sets, caused by the refraction of dust and ash. I remember being in Sicily in '83 when Europe's largest Volcano, Etna, was stirring. 'Il Volco, fuma'  locals would say, shrugging their shoulders. 

Tetramorph

Although many Christians stubbornly refuse to believe it, there is astrological symbolism in the Bible! This is simply due to the fact that the Hebrew people absorbed some of the astrological beliefs of the ancient Babylonian civilization when held in captivity in Babylon. The Hebrew people were liberated by the conqueror of Babylonia the Persian Shah, Cyrus.

Astrological symbolism occurs in the prophet Ezekiel's vision-

As for the likeness of their faces, they four had the face of a man, and the face of a lion, on the right side: and they four had the face of an ox on the left side; they four also had the face of an eagle. Ezekiel 1:10.

Its interesting to note that the great winged beasts of the Babylonian are a composite of beasts and human. The better-known Egyptian Sphinx is another example of a four-fold mixture of beasts and human likeness. Saint John in the 27th and only book of prophecy in the New Testament, re-iterates Ezekiel's vision thus-

And the first beast was like a lion, and the second beast like a calf, and the third beast had a face as a man, and the fourth beast was like a flying eagle. Revelation 4:7

One notable interpretation of this frequently found symbol throughout various civilizations, notes of its pre-Christian origins-

The Ancients in their wisdom had drawn from the riddle of the Sphinx four basic rules for conduct of human life -knowledge with the human brain; will with the lion's strength; daring (or lifting oneself) with the bold strength of the eagle's wings; silence with the powerful concentrated bulk of the bull.

Although the astrological schemata differs fractionally from the prophet Ezekiel and John's vision in its usage of the far-less well-known creature, the scorpion, to represent one quarter of the 'Fixed Cross' of Astrology, the Tetramorph quarternity is still a remarkable example of syncretism in religion, that is the over-lapping and adoption of one schemata by a differing belief-system.

Often the figure of Christ is depicted at the heart of the Tetramorph, as a Pantokrater, that is, an omnipotent Ruler over All.  The Swiss psychologist Carl Jung explains why-

He (Christ) holds an important position midway between the two extremes, man and God, which are so difficult to unite. ..He is lacking in neither humanity nor in divinity, and for this reason he was long ago characterized by totality symbols, because he was understood to be all-embracing and to unite all opposites. The quaternity of the Son of Man,indicating a more differentiated consciousness, was also ascribed to him (via Cross and tetramorph. (CW 10:692)

As for whether early Christians knew that John's vision referenced back to Ezekiel which itself originated from Babylonian astrological symbolism; one can only presume it be nothing other than an act of knowingly supplanting one set of religious symbols over another.

It was in fact the early Church Father Saint Jerome who is credited as first nominating the symbols of Bull, Eagle, Angel and Lion to the four Gospel authors.  Jerome's selection of the so-called 'Fixed Cross' of Astrology, (Taurus, Leo, Scorpio and Aquarius) as emblematic 'Logo's' to the 4 Gospels is a superb example of syncretism , that is, how belief systems overlap and are adopted by newer beliefs, often entirely different from their sources.

However, in the final analysis the quaternity symbol the Tetramorph can never be fully explained or exhausted; for as a symbol, it will always transcend interpretative attempts.The original definition of a symbol, as a tally of two halves, helps our understanding here; for Man only ever holds one half of the broken coin, tally stick or object used for identification, recognition or completeness, the other, 'invisible and missing half' of the symbolon, is held by God.

Illustrations from the Book of Kells, circa 8th CE, Babylonian Lion and (top) a 13th CE Ivory Casket

Hazel-nut Vision

I came across a book somewhere (I'll find it soon promise) which proposed that Shakespeare knew of Julian's famous hazel-nut vision because Prince Hamlet alludes to it. There's also the suggestion that Julian was a member of the Beguine order, a continental religious community which had only one Community based in England at Norwich. Finally found the Shakespeare quote of Prince Hamlet and nutshell image!

'O God, I could be bounded in a nutshell, and count myself a king of infinite space - were it not I have bad dreams'. (Act 3: Scene 2).

There's also a Sir Thomas Browne 'nutshell' image, an imagery in essence of essence worth quoting here-

And since instructions are many, hold close unto those whereon the rest depend. So may we have all in a a few, and the Law and Prophets in a Rule, the Sacred Writ in Stenography, and the Scripture in a Nut-shell. (Christian Morals 3:4)

Here's Julian of Norwich's famous 'nutshell' vision-

At the same time, our Lord showed me a spiritual vision of his familiar love. I saw that for us he is everything that we find good and comforting......In this vision he also showed a little thing, the size of a hazel-nut in the palm of my hand, and it was as round as any ball. I looked at it and thought, 'What can this be?' And the answer came to me, 'It is all that is made.' I wondered how it could last, for it was so small I thought it might suddenly disappear. And the answer in my mind was,'It lasts and will last forever because God loves it; and in the same way everything exists through the love of God'.

Underwater

A long-time  resident Shubunkin  of the Aquarium; sadly recently gone.

The city of Norwich has historically the distinction of association with two Christian mystics. Both Dame Julian and Sir Thomas Browne's writings includes imagery of the submarine, that is, life at the bottom of the sea, perhaps because of the close proximity of the North Sea.

Julian’s spiritual meditations in her Revelations of Divine Love lead her to the seabed-

On another occasion I was led in imagination down on to the sea-bed, and there I saw green hills and valleys looking as though they were moss-covered, with sea-weed and sand.

Browne’s underwater image occurs in his inventory of lost and imaginary books, pictures and objects Museum Clausum (c.1675) which includes-

9. A Sub Marine Herbal, describing the several Vegetables found on the Rocks, Hills, Valleys, Meadows at the bottom of the Sea, with many sorts of Algae, Fucus, Quercus, Polyonum, Gramens and others not yet described.

Such matching pieces of imagery could excite a student of comparative religious literature. However, this coincidence of imagery may simply be the result of both Julian and Sir Thomas having a complete knowledge of the Bible.

Julian’s seabed image, which is only in the Long Text, is probably inspired from Scripture; submarine imagery occurs in the Book of Jonah when Jonah is on the seabed, wrapped in seaweed, and in the Psalm which he cites while there; even at the bottom of the seabed God is with Jonah.