Romeo and Juliet

A scene from Moscow City Ballet performing Romeo and Juliet

Last night I attended a performance by the Moscow City Ballet of Sergei Prokofiev's Romeo and Juliet. Composed in 1935 during the dark days of Stalin's iron rule of Russia, the story of the tragic lovers of Verona is of course originally the subject of a play by William Shakespeare.  The ballet Romeo and Juliet is the musical work which established Prokofiev's fame as a composer upon his return to Soviet Russia - its become firmly established in the ballet repertoire. Written for a large orchestra including 6 horns, mandolin, violin d'amore, piano, organ and an extensive 'kitchen-department' of percussion, an unusual aspect of the musical score is the addition of a tenor saxophone. This single instrument adds lush colouration to the orchestral timbre. Prokofiev was not averse from occasionally re-cycling earlier musical material, and in Act 2 of Romeo and Juliet  inthe Ball room scene, the Gavotte of the Classical symphony (1917) is used to great effect.

Romeo and Juliet  has been choreographed a number of times. When Kenneth MacMillian re-interpreted it  for the Royal Ballet company in 1965  the leading roles were danced by Margot Fonteyn and Rudolph Nureyev to great critical acclaim, re-launching and extending Fonteyn's dancing career. In 1977 Nureyev himself choreographed a new version of Romeo and Juliet for the London Festival Ballet company.

The Moscow City Ballet company was founded in 1988 by Russian choreographer Victor Smirnov-Golovanov. Their performance at the Theatre Royal Norwich, was marked with vitality and sensitivity. With lavish costumes and designs by Natalia Povago, the dance company  added gaiety and humour to the essentially dark tale of tragic love. In particular the company's leading female dancer Oryekhova Liliya in the role of Juliet, and Kozhabayev Talgat as Romeo, carry the success of the night's performance. It's a fairly long ballet with the best pas de deux of the ill-fated lovers occurring in the last ten minutes of Act I. If there is a weakness to any choreographing of Romeo and Juliet, it occurs in Act III which demands a lot of scene changing and coming and going during night-time in the plot. Indeed I noticed the love of my life glancing at her wrist-watch more than once during this final act. One highly original aspect of Golovanov's choreography of Romeo and Juliet is its very beginning coinciding with its ending. The bodies of all three tragic deaths are  presented to the audience carried in bier-fashion as if upon an  upside-down cross.

De Lapide Philosophorum

De Lapide Philosophorum from Alchymia by Andreas Libavius 

It was on a bright Spring morning in May 2011, when casually browsing through Adam Maclean's fascinating book, 'The Alchemical Mandala', that I noticed there were several striking similarities between Maclean's reproductions of  De Lapide Philosophorum  to the four statuettes of the Layer Monument. 

It's recorded that Christopher Layer's youngest son erected the Layer Monument in memory of his father (d. 1600) and mother, Barbara (d.1604). Because the first edition of Alchymia (1596) by the German chemist Andreas Libavius (c.1555 -1616) does not apparently include any illustrations whatsoever, in all probability it's from a later edition of Alchymia that the Layer Monument's symbolism is developed. Although there are considerable differences between the top quaternity of figures in  De Lapide Philosophorum to the quartet of statuettes of the Layer Monument nevertheless the two works share several corresponding motifs.  In addition to shared solar and lunar imagery there is an allusion to the 'sacred wedding' or hieros gamos, often depicted in alchemy as Sol et Luna, and represented by Pax and Gloria in the Layer Monument - an inferior or 'Ethiopian' pair, represented by Vanitas and Labor in the Layer Monument  -  a figure with blackened feet standing upon a Rotundum (the Rotundum being a frequent motif in alchemical depictions of Mercurius) and the holding of identical votive vegetation in both works. But what tips the balance against mere coincidence is the fact that the labels of Gloria and Labor occur in both works.

 There are  two variation illustrations in the chapter entitled  De Lapide Philosophorum. Through the juxtaposition of versions two and three new interpretative insights on the Layer monument can be acquired. Nor can one overlook the medium of both art-works. The intriguing development of an illustration entitled the Philosopher's Stone quite literally transformed into the medium of stone in the form of carved marble is worth consideration.

The observations of Carl Gustav Jung greatly assist towards interpretative insight upon the Layer monument's complex symbolism. The second of the three versions of Libavius' extraordinarily densely-laden symbolic image is reproduced in C. G. Jung's 'Psychology and Religion' (1944). Jung is content to add yet one more intriguing image to his lavishly illustrated volume, merely remarking of version 2 of  De Lapide Philosophorum (fig.142). 

In an explicato locorum signatorum, Libavius gives the following  "explanation" of the second of the three versions of this image.

RR: An Ethiopian man and woman,supporting two higher spheres. They sit on the big sphere and according represent the nigredo of the second operation in the second putrification.

All of this is reduced and transformed in the Layer Monument to the figures of Vanitas and Labor. The blackened feet of Vanitas standing upon a golden Rotundum may be an allusion to his original Ethiopian hue. But it also leaves little doubt that the Layer monument's lower pair of statuettes represents the inferior, Nigredo stage in the alchemical opus.

a - The king, clad in purple with a golden crown, has a golden lion beside him. He has a red lily in his hand, whereas the queen has a white lily. 

b - The queen, crowned with a silver crown, strokes a white or silver eagle standing beside her.

In the Layer Monument both Pax and Gloria have golden hair but no crowns. In version 3 of De Lapide Philosophorum  it's the Queen who holds a votive palm, which in the Layer Monument is held by the King. It's interesting to note in passing that Jung designates the palm as a symbol of the soul. 

The allotting to the King and Queen in version 2 of  De Lapide Philosophorum  to the 'Regal' creatures of Lion and Eagle can be identified as representing two aspects of the Tetramorph, the most developed of all quaternity symbols in western religious symbolism. They are also the two creatures which are  associated with the 'Fixed Cross' of astrology, namely Leo and Scorpio. Because the King and Queen in version 2 are associated with Leo and Scorpio who represent the elements of Fire and Water respectively, one can with confidence assert that Vanitas and Labor also represent  two of the ancient world  quaternity or four-fold division of the elements, that of Air and Earth. This is quite overt in their respective symbolism. (Vanitas is depicted making bubbles blowing air, Labor is seen digging earth).   

In the Layer Monument Pax is not only the Christian Prince of Peace, but also a much deeper-rooted archetype in the human psyche. Utterly Solar in his symbolism and associated with the element of Fire, as well as the zodiac sign of Leo, representing one quarter of the 'Fixed Cross' of astrology, Pax as an archetype symbolises the 'wise Ruler' whose historical counterparts include - Alexander the Great, King Cyrus and the better of the  Roman and Greek 'warrior' rulers' of antiquity. 

In fact each of the four statuettes of the Layer monument are collectively archetypal in their symbolism. Individually they are 'the Wise Ruler', 'the Great Mother', 'the Child/Trickster'  and 'the Old Man'. Together the four statuettes of the Layer Monument may  quite appropriately be defined as an alchemical mandala of the western tradition, this is because they not only represent Christian moral values but also archetypal components of the psyche and its unity. 

Since studying the symbolism associated with the Layer Monument and De Lapide Philosophorum one becomes aware one is not only commentating upon art, but in fact relating to complex symbols of  psychological and spiritual depth.

Books consulted

C.G.Jung -  Psychology and Religion 1944 CW 13 RKP

Adam Maclean -The Alchemical Mandala  1989 Phanes 2nd edition 2002  

See also - De Lapide Philosophorum

Wiki - links  Tetramorph  -  Andreas Libavius

Joseph Stannard

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

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

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

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

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

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

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

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

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

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

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

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

Ascension

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

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

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

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

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

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

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

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

Links to -

Norwich HEART

Norfolk Stained Glass

Saint John Maddermarket

Annunciation

I'm lucky to spend time at present as a volunteer at the church of Saint John Maddermarket. Now that the tourist season is under-way I get to meet visitors from all over the world. The window in the North chapel depicts the Annunciation and was designed by James Powell & Sons. It was donated by  parishioners of the church and cost £165 in 1913. Many visitors to the church of  Saint John Maddermarket  have commented on its pre-Raphaelite style, and it's arguably the most popular stained-glass window in the church.  The centre panel depicts lilies, emblematic of the Virgin Mary. On the well which Mary stands beside there can be seen two scenes from Genesis, the Garden of Eden and Adam and Eve's expulsion from paradise on the right, the scene thus sharply contrasts Eve's disobedience to Mary's obedience.

I'm technically a little late posting this because March 25th  is the date of the church festival  commemorating Lady Day and the Annunciation in the ecclesiastical calender.

But of all the many beautiful religious artifacts located in Saint John Maddermarket my favourite remains the utterly fascinating  Layer Monument.

4th Duchess of Norfolk

Today I discovered that the church of Saint John Maddermarket at Norwich now has a page on Wikipedia. The church has memorial stones of several notable people, including the marine artist  Joseph Stannard  (1797-1830) and the theatre director Walter Nugent Monck  (1877-1958) founder of the Maddermarket Theatre nearby. There's also a large funerary  monument to the memory of    Margaret Howard 4th Duchess of Norfolk (1540-1564) which can be seen  high up towards the clerestory at Saint John's.

Here's the  magnificent portrait  of her by the Flemish painter Hans Eworth (c. 1520–1574).

Labor

The statuette named Labor  in the Layer monument has the most expressive portraiture of all four statuettes. With his care-worn features, gray hair and beard, engaged in digging, he is utterly Saturnine in character. One can only speculate upon the nationality of the craftsman, but I am inclined to think it's the work of a commissioned and travelling sculptor of the Northern Mannerist school, perhaps from a city based in close trading with Norwich, from Flanders or North Germany. It's only when  close-up that one gets a true sense of the expressiveness of this portrait. Compare how different his face  appears from a  lower view-point  in the photo below to this sharp angle close-up shot.

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!
 

Stag

19th century stag (damaged with only one antler)  a heraldic device found at floor level in the church of Saint John Maddermarket.

Gloria

Gloria, a detail from the Layer Monument, Saint John Maddermarket, Norwich.

Carl Jung makes an apt observation upon the symbolism of the moon in religious iconography.

According to the ancient view, the moon stands on the borderline between the eternal, ethereal things and the ephemeral phenomena of the earthly, sublunar realm. Macrobius says: 'The realm of the perishable begins with the moon and goes downward. Souls coming into this region begin to be subject to the numbering of days and to time... there is no doubt that the moon is the author and contriver of mortal bodies.' Because of her moist nature, the moon is also the cause of decay. The loveliness of the new moon, hymned by the poets and Church Fathers, veils her dark side, which however, could not remain hidden from the fact-finding of the empiricist. The moon, as the star nearest to the earth, partakes of the earth and its sufferings, and her analogy with the Church and the Virgin Mary as mediators has the same meaning. She partakes not only of the earth's sufferings but of its daemonic darkness as well.         

CW 14: 173

Sotherton Coat-of-arms

A detail from the early 17th century Sotherton memorial. 
The Sotherton coat-of-arms.

Norwich Heraldry

A detail from the early 17th century Sotherton memorial

 Norwich City's coat of arms, the Lion and Castle.