Goodwood Races

Racehorses owned by the Duke of Richmond exercising at Goodwood 1759

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

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

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

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

View of Sussex Downs at Goodwood

Evening Cloudscape

He cannot see the heavens, nor the flow 
Of  rivers, nor hill-flowers running wild 
In pink and purple chequer, nor, up-piled, 
The cloudy rack slow journeying in the west, 
Like herded elephants; nor felt,nor pressed
Cool grass, nor tasted the fresh slumbrous air;

from John Keats (1795-1821)  Endymion Book 1 lines 285-290

The Man in the Moon

The man in the moon came tumbling down

And asked his way to Norwich;

He went by the south and burnt his mouth

With supping cold pease porridge.

It's quite surprising these days just how many Norvicensians are unfamiliar with this medieval 'Mother Goose' nursery rhyme. But what's far more interesting is the fact that the 15th century 'Norwich School' stained glass at the Norfolk church of St Mary at Burnham Deep, (above) is one of the oldest representations of  'the man in the moon' extant in the world. The glass [1] was in all probability painted by a skilled member of the 'Norwich school' who may well have known of the nursery rhyme. In any event its quite an androgynous, heavy-lidded and sleepy-looking moon face. It's also believed that originally this quite unique depiction of 'the man in the moon' would have been accompanied by a crucifixion scene together with a sun representing a face. 

The man in the moon is puzzled over by the poet John Lyly (1553-1606) in the prologue to his Endymion (1591) who stated-  There liveth none under the sunne, that knows what to make of the man in the moone.

From the invention and use of the telescope by Galileo (1562 -1642) among others, speculation in the 17th century upon whether the moon was inhabited and the mapping of its surface, rocketed astronomically. Sometime in the 1620's Bishop Francis Godwin (1566-1633) wrote a book entitled The Man in the Moon which argued how a voyage to the moon is no more fantastic than a voyage to America was once earlier. Godwin proposed  that the earth is magnetic and that only an initial push would be necessary to escape its magnetic attraction. When on the moon Godwin discovers it to be inhabited by tall Christians living in a pastoral paradise. Godwin's book influenced John Wilkins (1614-72) to pen his A Discovery of a new world in the Moon (1638). But its to the credit of the Dutch astronomer Johannes Hevelius (1611-87) that the first scientific mapping of the moon's surface was made in his Selenographia (1647).  

Sir Thomas Browne in his encyclopaedia Pseudodoxia Epidemica (1646-72) queried -

The sun and moon are usually described with human faces: whether herein there be not a pagan imitation, and those visages at first implied Apollo and Diana, we may make some doubt. [2]

Browne's vivid imagination noted of an egg sent to him-

The egg you sent with this notable signature of the figure of a duck so fully detail'd as to the body, head, eye & bill somewhat open'd from the shell, all in a... colour, was a point greatly remarkable & one, not made out by phancy butt apprehended by every eye, is a present greatly remarkable. In stones we find trees & often in common flints: in agates sometimes arise figures beyond all help of imagination & in such pit stones we have found screws, snakes, darts, cockles &c.

The like I had not formerly seen though have very intentively looked upon the goose egg in Aldrvandus with man's head & hair sped fury-like & terminating in some shape of geese heads.Though not meeting with any discourse thereon, I suspected much made out by fancy in that description.[3]

Once defined by the psychologist C.G.Jung as the alchemist's 'active imagination', today all such seeing of faces in phenomena such as clouds, egg-shells, or the moon's surface are now defined as a product of pareidolia. According to Wikipedia, pareidolia is a psychological phenomenon which involves vague and random stimulus such as patterns and markings found in nature being perceived as significant to the viewer. What was until quite recently known simply as plain imagination is now defined as a psychological aberration !

Just as stained glass was a source of wonder to the medieval spectator, so too the viewing of motion pictures were an equal marvel for early 20th century spectators. In the pioneering cinematography of George Méliès' (1861-1938) the creator of  A trip to the Moon (1902), the man in the moon, far from being a remote or mysterious figure, is hit in the eye by a spaceship! Méliès' famous image is an innocent farewell to belief in 'the man in the moon'  and a handsome anticipation, not only of man's great achievement of 1969, but also of his cavalier exploitation of a new and pristine environment.

[1]  Saint Mary's south porch west window, Burnham Deepdale, Norfolk.
[2]  P.E. Book 5 chapter 22
[3] On Eggs in miscellaneous writings
Wikilink - Man in the Moon

Dance of Death

At present there's a season of films by the Swedish film-director Ingmar Bergman being broadcast on Channel 4. Included in the season is Bergman's classic film, 'The Seventh Seal' (1957). Early in the film one of the most iconic images of cinema is depicted, the figures of  Death and a Knight playing a game of Chess by the sea. 'The Seventh Seal' makes several such references to the 'Dance of Death', a frequently-worked theme by the medieval artist. 

It was during the Medieval era that the Black Death occurred. The pandemic reached its peak in the years 1348-50 and is believed to have devastated Europe's population by an estimated 40-60%. In addition, high infant mortality, poor sanitary conditions, crop failure, war and famine resulted in a short life for many. Because death was ever-present in the lives of all strata of medieval society, the 'Dance of Death' became a frequently-worked morality genre for artists, featuring in mystery plays and printed wood-cuts; however the sole surviving medieval stained glass depicting the 'Dance of Death' in England can be found at Norwich, in the church of Saint Andrew's.

The city of Norwich was once famous for the artistry of its stained-glass. In fact the city had a flourishing and distinctive school of glass painting during the 15th century. Characteristics of 'Norwich School' stained glass include excellence of drawing and colouring, motifs of ears of barley and patterns using seaweed and chequers. The Saint Andrew's glass uses the chequer pattern allegorically, perhaps as an allusion to the game of chess. According to the expert Christopher Woodforde the fifteenth century glass craftsmen of Norwich -

'avoided the suggestions of sweetness and sentimentality which mars some contemporary work….there is a bracing strength and vigour which well accords with the Norfolk climate and character'.

Throughout the county of Norfolk and in several Norwich churches superb examples of medieval stained glass can still be viewed. In Saint Andrew's stained glass window dated circa 1510, the figure of Death is seen leading a bishop by hand to his death. The message of medieval  'Dance of Death'  imagery being that all levels of society, whether pawn-like peasant, knight or bishop, are under the rule of Death.

Wall mural north of Stockholm circa 1480 

Wikilinks
 Dance of Death
Black Death
The Seventh Seal
and   Norfolk Stained Glass

John Dee

On this date (July 13th) in 1527 the mathematician, astrologer, alchemist and occasional tutor and advisor to Queen  Elizabeth I, John Dee was born. Dee was one of the most learned men in Europe and highly influenced by the Neo-Platonic, Pythagorean philosophy inaugurated by the Italian scholar Marsilio Ficino (1433-99). Curiously, John Dee's eldest son, Arthur Dee was also born on July 13th in 1579. From these dates it can be calculated that John Dee became a father for the very first time on his 52nd birthday ! 

The Elizabethan dramatist Shakespeare may have modelled the character of Prospero in his drama The Tempest upon John Dee. 

Its worth noting that the author Peter French stated of Dee's eldest son, Arthur that -

'Little is known of this son of Dee's; one cannot help but wonder however, how much he may have influenced Browne, who was one of the seventeenth century's greatest literary exponents of the type of occult philosophy in which both the Dee's were immersed'. 

Books - Peter French - John Dee 1972
Peter Ackroyd - The House of Doctor  Dee 1993
Gustav Meyrinck - The Angel of the Western Window 1927
Wikilinks -  John Dee
Correspondence by Sir Thomas Browne - On John and Arthur Dee