C.G.Jung on Emotion

You see, whenever you make an emotional statement, there is a fair suspicion that you are talking about your own case; in other words, that there is a projection of your emotion. And you always have emotions where you are not adapted. If you are adapted you need no emotion; an emotion is only an instinctive explosion which denotes that you have not been up to your task. When you don’t know how to deal with a situation or with people, you get emotional. Since you were not adapted, you had a wrong idea of the situation or at all events you did not use the right means, and there was as a consequence a certain projection. For instance, you project the notion that a certain person is particularly sensitive and if you should say something disagreeable to him he would reply in such-and-such a way. Therefore you say nothing, though he would not have shown such a reaction because that was a projection. You wait instead until you get an emotion, and then you blurt it out nevertheless, and of course then it is far more offensive. You waited too long. If you had spoken at the time, there would have been no emotion. And usually the worst consequences of all are not in that individual but in yourself, because you don’t like to hurt your own feelings, don’t want to hear your own voice sounding disagreeable and harsh and rasping. You want to maintain the idea that you are very nice and kind, which naturally is not true. So sure enough, any projection adds to the weight which you have to carry. 

– C.G.Jung Nietzsche’s Zarathustra 2: 1494-8 

Neptune Collonges

Neptune Collonges ridden by Daryl Jacobs wins the 2012 Grand National by a nose in a thrilling finish at 33-1.  I've been following champion horse-trainer Paul Nicholls's grey horse for a few years and have now been amply financially rewarded for doing so. As ever the Scylla and Charybdis the committed gentleman of the turf must steer between to avoid devastation are fear and greed. Still in the game after 20+ years.

Mercurius and Saturnus

Together Puer et Senex or child and old man represent not only the earth-bound human condition of Adamic man in Christianity, but also quite specific planetary symbolism.  The reason why Christian art absorbed pagan symbolism and why such syncreticism occurred during the Renaissance is discussed on the page on the Layer monument. 

The lower pair of Vanitas  and Labor on the Layer monument can  also be interpreted as highly-charged vessels of alchemical symbolism. In the realm of alchemical and astrological correspondences Saturn is the ruler of time and old age, melancholy, grey beards, agriculture and digging. A more fitting example of Saturnine attributes could not be found in the statuette of Labor with his highly expressive suffering features.

Similarly Mercurius, the messenger to the gods is often depicted as a youth or child, sometimes standing upon a rotundum in alchemical iconography to represent his world-wide influence and winged communication. The Layer monument's youthful Vanitas with his playful bubble-blowing could not be more allusive to Mercury in his symbolism. However most revealing of all as regards understanding the rich and complex symbolism embedded within the Layer mandala  is the four-fold relationship between each statuette, human and divine, temporal and eternal.

If C.G. Jung had ever seen photographs of the Layer monument he would immediately have recognised the reason why Vanitas and Labor are paired together, for he noted-

Graybeard and boy belong together. The pair of them play a considerable role in alchemy as symbols of Mercurius. [1]

C.G. Jung amplifies the close relationship between Mercurius and Saturnus -

But the most important of all for an interpretation of Mercurius is his relation to Saturn. Mercurius senex is identical with Saturn, and to the earlier alchemists especially, it is not quicksilver, but the lead associated with Saturn, which usually represents the prima materia.... In Khunrath Mercurius is the "salt of Saturn," or Saturn is simply Mercurius..Like Mercurius, Saturn is hermaphroditic. Saturn is "an old man on a mountain, and in him the natures are bound with their complement [i.e., the four elements], and all this is in Saturn". The same is said of Mercurius. Saturn is the father and origin of Mercurius, therefore the latter is called "Saturn's child". Quicksilver comes "from the heart of Saturn or is Saturn......Like the planetary spirit of Mercurius, the spirit of Saturnus is "very suited to this work".  [2]


[1] CW 9 i:39

[2] CW 13: 274-5

Mary Magdalene and the Red Egg

"Some believe that during the ministry of Jesus it was Mary Magdalene who helped support him and his other disciples with her money. When almost everyone else fled, she stayed with Jesus at the cross. On Easter morning she was the first to bear witness to his resurrection.

"The Eastern tradition believes that after Christ's Ascension Mary Magdalene travelled to Rome where, because of her high social standing, she was admitted to the court of Tiberius Caesar. After describing how badly Pontius Pilate had administered justice at Jesus' trial, she told Caesar that Jesus had risen from the dead. To help explain his resurrection she picked up an egg from the dinner table. Caesar responded that a human being could no more rise from the dead than the egg in her hand turn red. The egg turned red immediately, which is why red eggs have been exchanged at Easter for centuries in the Byzantine East. In the Eastern Orthodox Church including Russia there is a continued tradition of blood red eggs at Easter. Gold letters are painted onto the red eggs.

"In the Tiberius red egg legend, no mention is made of Mary Magdalene's marriage to Yeshua/Jesus. That part of the story has been kept alive by gnostics, becoming one of the secret teachings of esoteric Christianity.

"Many of the Gnostic Gospels were revered early in the Christian Church only to be excluded from the canon of official Gospels. Mary Magdalene is portrayed in Gnostic gospels as Christ's most beloved disciple. They report that Jesus often kissed her on the mouth and called her - "Woman Who Knows All." Other disciples went to her for Christ's teachings after he died. Mary Magdalene  is described sitting at Jesus' feet to listen to his teachings (Luke 10:38-42) and also as anointing his feet with oil and drying them with her hair. (John 11:2, 12:3)."

The story of Mary Magdalene reminds us of how a patriarchal bias has strongly dominated Christianity ever since it was sanctioned as an official, State-approved religion. Today, whether an embroidered legend or plain truth, the story of Mary Magdalene serves to challenge all Christians to re-examine whether any of their cultural prejudices regarding race and gender, in particular in relationship to spiritual leadership are justifiable  or merely 'received wisdom' acquired from tradition without question or reason.

- quotes from website dedicated to  Mary Magdalene and esoteric Christianity

Wind on the Heath

 There's a wind on the heath brother, who would wish to die ?

Norwich's connection to the Romantic movement is embodied in the figure of the author George Borrow (1803-1881). As a teenager Borrow studied languages, in particular the German language, under the tutorship of William Taylor (1765-1836). Taylor was the scholar who personally  influenced and encouraged Coleridge and Wordsworth to read his translations of German romantic literature. Together Coleridge and Wordsworth in the early poetry of their Lyrical Ballads (1798) inaugurated romanticism into English literature. This was in no small measure due to both poets being introduced to German authors such as Goethe and Lessing by William Taylor, a name nowadays scarcely known either inside or outside the medieval walls of Norwich.

George Borrow himself cuts as a dashing Byronic-like figure. Of athletic build and over 6 feet tall with a shock of white, not blonde, hair, as a young man he roamed the length and breadth of Britain in gypsy fashion as an itinerant tinker. He also travelled extensively through Spain, as well as visiting Morocco and Russia. Borrow was in near equal measure, an intrepid traveller,  a scholar and polyglot  and  on occasions, a rabid anti-papal preacher and belligerent pugilist. He's depicted above contemplating the splendid view of Norwich from Saint James Hill, adjacent to the large expanse of heathland known as Mousehold and is accompanied by the hat-wearing gypsy Petulenegro, an equally colourful character who, in addition to making his life-affirming statement, adopts the youthful Borrow to teach him the Romany language and traditions. 

George Borrow recounts his semi-autobiographical adventures on the highways and byways of England in Lavengro (1851) and in its sequel Romany Rye (1857). When the adventures of the self-styled scholar, gypsy, priest in Borrow's first book, The Bible in Spain (1843) were first published, such was the travelogue's popularity that its sales exceeded those of Charles Dickens' latest tale, A Christmas Carol  (1843). 

Borrow's homage to Norwich, the urban setting of his youth, and his acknowledgement of the city's civic pride can be found in Lavengro - 

A fine old city, perhaps the most curious specimen at present extant of the genuine old English Town. ..There it spreads from north to south, with its venerable houses, its numerous gardens, its thrice twelve churches, its mighty mound....There is an old grey castle on top of that mighty mound: and yonder rising three hundred feet above the soil, from amongst those noble forest trees, behold that old Norman master-work, that cloud-enriched cathedral spire ...Now who can wonder that the children of that fine old city are proud, and offer up prayers for her prosperity?

The classic panorama photograph of  Norwich looking south from Saint James Hill. From left to right above the horizon-line - the Norman Castle, the church of Saint Peter Mancroft, City Hall bell-tower and the Norman Cathedral (centre). On the right, the tower of Saint Giles and the Roman Catholic Cathedral are in view.

Wiki-links   -  George Borrow  -   William Taylor

Diana and Actaeon

From March 3rd until April 15th as part of a Nation-wide tour organised by the National Gallery, Norwich Castle Museum is show-casing Titian's marvellous painting Diana and Actaeon. 

The painting captures the moment when the hunter Actaeon stumbles into a woodland grotto where the goddess Diana is bathing. For his transgression seeing the chaste goddess of the hunt naked, Diana in a fit of embarrassed fury splashes water into Actaeon's face and transforms him into a stag. Unable to make his former identity known to his hunting pack Actaeon is chased and devoured by his own bloodhounds.

The Venetian artist Titian's late masterpiece Diana and Actaeon (1556-59) is the work of an artist at the very height of his powers. Commissioned for Philip II of Spain as one of a series of six mythological scenes, its worth remembering that Venice like Spain was during Titian's era, the centre of a vast Empire; included among the many goods which the sea-port traded were rare and costly pigments and dyes used to colour fabrics. Titian's masterful skills as an artist themselves became a highly sought-after commodity, in his life-time he was commissioned by Popes and Emperors.

On a canvas measuring 185 x 202 centimetres, Titian (c.1490 -1576) portrays the fatal moment of Diana and Actaeon's encounter. What captures the eye immediately is its rich colouration and detail. Against a vivid azure sky with a mountainous background, the action depicted in the woodland grotto includes various textures. An orange-striped sarong worn by an Ethiopian nymph alluding to the exotic, is contrasted to the domesticity of a lapdog which yaps at Actaeon's hunting hound. Water trickles and reflects the bathing nymphs startled at their intrusion.  A mirror and gleaming drinking goblet hint of famed Venetian exports. Resting upon a stone column there's a stag's skull, a portent of Actaeon's tragic fate. But above all else it's Titian's ability to paint the drama of the moment,  its the varied human postures and realistic skin tones which makes the painting come alive.

A quarter century after Titian completed his masterpiece, the Hermetic and Neo-platonic philosopher Giordano Bruno (1548-1600) in an essay entitled On the Heroic Passions (1585) interpreted the myth of Actaeon and Diana as a parable on the process of knowledge, stating-

'Here Actaeon represents the intellect, on the hunt for divine wisdom at the moment of grasping divine beauty'. 

Just when Actaeon thinks he grasps Sophia (wisdom) in the glass of outer nature, lifting the veil from her lunar mystery, he himself becomes the victim or object of his own striving. Bruno philosophised on Acteon's fate -

'He saw himself transformed into that which he sought, and realised that he himself had become a much-desired prey for his hounds, his thoughts. Because he had actually drawn the godhead into himself, it was no longer necessary to seek them outside himself'. 

For Giordano Bruno the hunter Actaeon is the new heroic man who, killed by his many hounds, is radically inverted. Actaeon's encounter with Diana, at first seemingly his down-fall and the end of his mortal life is for Bruno a transformation which allows Actaeon to experience the life of the gods and immortality. Actaeon's mortal life and final fate are interpreted by Bruno thus-

'Here, his life in the mad, sensuous, blind and fantastic world comes to an end, and from now on he leads a spiritual life. He lives the life of the gods'.

The consequences of mortals accidental caught up in the affairs of the gods and the resulting tragedy  places the Greek gods as being supremely indifferent to the fate of mortal man. There's no forgiveness, regrets, redemption or second chances available to those who encounter them and their implacable will. Bruno's optimistic interpretation of the myth of Diana and Actaeon is contrasted to Diana's more frequently acknowledged dark side. The English scholar Robert Graves noted that Diana in ancient Roman means 'bright' or 'heavenly', and that another name for Diana was Nemesis (from the Greek nemos, 'Grove') which in Classical Greek denoted divine vengeance for breaches of taboo.

The twentieth century psychologist C.G.Jung described the goddess Diana's dark nature thus  -

Diana's hunting animal the dog represents her dark side. Her darkness shows itself in he fact that she is also a goddess of destruction and death, whose arrows never miss. She changed the hunter Actaeon, when he secretly watched her bathing, into a stag, and his own hounds, not recognising him, thereupon tore him to pieces. This myth may have given rise first to the designation of the lapis as the cervus fugitvus (fugitive stag), and then the rabid dog, who is none other than the vindictive and treacherous aspect of Diana as the new moon. [1]


A  possible Jungian interpretation of the myth of Diana and Actaeon is that of a fatal encounter with the anima. The hunter Actaeon's sudden, unprepared vision of the anima, that is, the feminine dimension within the masculine psyche, is one in which he's overwhelmed by its contents. Unable to assimilate or integrate the anima into his psyche, he's transformed into animal and devoured by his failure.

The element in the myth of Diana and Actaeon of the chaser being chased as vengeance is in hindsight somewhat applicable to  events of the modern era - as regards the activities of the papparazzi who once hounded Diana the late Princess of Wales. I'm sure H.R.H. Diana (1961- 1997) would have wished herself able to transform her own hunters into being the hunted. I think if I remember rightly, this myth was alluded to at her funeral in 1997.

Putrefactio

C.G. Jung identified the 17th century as the era of alchemy's last and greatest flowering.  And indeed, many noble flowers from the garden of alchemy including lavishly illustrated art-works, ornate in their imagery, accompanied by extraordinary dense texts which elaborate upon 'Celestial Agriculture', germinated and bloomed during the 17th century. 

It was also during the 17th century that the slow, but decisive, fissure and schism between Science and Faith opened up; the new man-made truths in astronomy, anatomy and physics unearthed by the enquirers and advocates of the 'New Learning', embryonic scientists no less, eventually challenged and competed for dominance in intellectual supremacy over the God-given Cosmology and the eternal  truths of Christianity.

The 17th century, often described as the last great age of religious Faith and private devotion, was an era of specific interest to C.G. Jung. According to the Swiss physician in his autobiography Memories, Dreams, Reflections, his many years study of alchemy were inaugurated by a dream in which he visited a large Ducal Palace situated somewhere in Northern Italy. While exploring the palace's vast chambers, he heard in his dream, its heavy doors slamming shut. Jung interpreted his portentous dream as signifying he was now 'trapped' in the 17th century, his confinement signified he believed, a long study of alchemical literature originating from the baroque century, until somehow set free.  

C.G.Jung recognised that the single profession which engaged in the art of alchemy were physicians. These alchemist-physicians, invariably of a Protestant background, many of German or English background were often cautiously sympathetic to the new 'chemical' medicine of Paracelsus. They used distinctly apt symbols closely related to their profession, notably from anatomy, optics and astronomy to discourse upon their sometimes unorthodox, and even near-heretical, spiritually-orientated studies. 

Included among the treasures of seventeenth century alchemical art are a series of illustrations rich in symbolism entitled Philosophia reformata (1622) by the German author Johann Daniel Mylius (c.1535-1642) who wrote on medicine and alchemy. Emblem 9 in Mylius's sequence of 28 illustrations is entitled Putrefactio (above). It is described thus - 'On the top of a flaming black globe stands a skeleton holding a black crow in its right hand. On each side of him there is a winged angel, both of which point to the black globe. In the heavens above, the Sun and the Moon are visible. In the lower foreground can be seen a regenerating tree stump'.

The skeleton and the skull are frequently encountered in Christian and alchemical art symbolism. They retain a vestige of their numinous content as reminders of mortality and Death.   

A belief in angels was once a vital entity of spiritual belief. Many people, educated and illiterate, throughout 17th century Europe fervently believed in both angel and witchcraft. Angel's roles include that of musician and  psychopomp, most often they are depicted as celestial messengers. 

The Rotundum is a symbol frequently encountered in alchemical imagery, as are the crowded perches and aviaries associated with bird symbolism in alchemy; a feathered assembly of swans, ostriches, doves, eagles, vultures and pelicans flock the pages of alchemical art. The blackbird, crow and raven are each associated with the Nigredeo stage as is the operation of Putrefactio, along with the variant stages of Mortificato and Calcinato.

Whether Thomas Browne as a young medical student studying abroad circa 1627-1630 ever perused the books of the German alchemist-physician J.D. Mylius isn't known, nor is there any recorded evidence of J.D. Mylius's books being listed in the 1711 Sales Auction catalogue of Browne's library. However, several decades after completing his three years medical study on mainland Europe, Browne made what is credited as his single scientific discovery. Its a discovery utterly characteristic of his era, when human life was often precarious and short for many from the ravages of Civil War, plague and disease and utterly compatible to the dark Nigredo contemplations of Urn-Burial.

Browne augments his solemn funerary threnody adding to the heaped pyre of images and symbols, a short, but detailed description of his medico-scientific discovery. His observation on the effects of Putreficato and the formation of the waxy substance which coagulates upon body fat, known as adipocere, can be found in chapter 3 of Urn-Burial, a work which has been described as 'reeking of the Grave'.

  

In a Hydropicall body ten years buried in a Church-yard, we met with a fat concretion, where the nitre of the Earth, and the salt and lixivious liquor of the body, had coagulated large lumps of fat, into the consistence of the hardest castile-soap: wherof part remaineth with us.

More than one scientific observation can be found in Urn-Burial along with several archaeological hypotheses, there is even a far-sighted prediction of future forensic science  in the proposal that - 'Physiognomy outlives our lives, and ends not in our graves.'

Upon more than one occasion the Norwich-based early scientist concludes his observations with the remark, 'whereof part remaineth with us'! 

Inward Optics

Behold thyself by inward Optics and the Crystalline of thy Soul. Strange it is that in the most perfect sense there should be so many fallacies, that we are fain to make a doctrine, and often to see by Art. But the greatest imperfection is in our inward sight, that is, to be Ghosts unto our own Eyes, and while we are so sharp-sighted as to look through others, to be invisible unto our selves; for the inward Eyes are more fallacious than the outward. The Vices we scoff at in others laugh at us within our selves. Avarice, Pride, Falsehood lay undiscerned and blindly in us, even to the Age of blindness: and therefore, to see our selves interiorly, we are fain to borrow other Men's Eyes; wherein true Friends are good Informers, and Censurers no bad Friends. - C.M.Part 3:15

If Sir Thomas Browne had ever only been known as the author of  Christian Morals his name in English literature would have been  celebrated. As it is, his late work remains the least-known of his literary oeuvre. But it seems we're are lucky to even have the text of the late advisory moralistic essay  at all, the preface to the 1716 posthumously published work informing the reader that, 'The Reason why it was not Printed sooner is, because it was unhappily Lost, by being Mislay'd among Other MSS'. One shudders to think what else of Browne's writings may have been lost or mislaid due to haphazard  literary executorship.

Written from the vantage-point of a life-time's experience as a doctor, the entire essay is an  advisio on how to live a sound Christian life. Highly original optical imagery is employed in the essay along with many of the symbols and images which fascinated the Norwich physician throughout his life. Browne may well have had Luke 6:42 in mind - developing and expanding upon the scripture verse with typical profound psychological insight and artistry. 

How can you say to your brother, 'Brother, let me take the speck out of your eye,' when you yourself fail to see the plank in your own eye? You hypocrite, first take the plank out of your eye, and then you will see clearly to remove the speck from your brother's eye. - Luke 6:42

Iron makes a Nation Strong

I've been hearing the sound of tons of metal continuously roaring through the stratosphere this morning. Even though the New Depression  has resulted in a decline of living standards for millions in the United Kingdom, the UK as does America, persists in spending an astronomically high percentage of its GDP on military hardware. Indeed the export and sale of military weapons to whoever can pay the price, regardless of their human rights record, continues to be a big export industry worth billions to the British economy.

In many ways the domestic policies of the UK now differ little from those of pre-World War II Germany. Blaming and scape-goating the dispossessed for the Nation's economic woes, rampant xenophobia and hostility to all who question authority, are traits the UK now shares with pre-World War II Germany. Although the UK likes to imagine it possesses a higher moral stance, the recent  proposal to make the unemployed engage in unpaid work for benefits, differs little from the policies of 'solving' unemployment as implemented in large-scale public works projects in 1930's Germany. 

Cupid's Dart

And sure there is music even in the beauty, and the silent note which Cupid strikes, far sweeter than the sound of an instrument.

           ♥         ♥         ♥        ♥                  

And therefore in reference unto Man, Cupid is said to be blind. Affection should not be too sharp-Eyed, and Love is not to be made by magnifying Glasses.

 

-Sir Thomas Browne of Norwich

As the Elephant Laughed - An evening with Peter Rodulfo

Recently I had the pleasure of an evening with the artist Peter Rodulfo. Modest and soft-spoken, Rodulfo is a gifted, prolific and visionary painter who is equally adept in portraiture as in fantasy as in landscape. His paintings are by turns graphic, witty and mystical.

While in conversation with the artist, over a bottle or two of wine, and in between reminiscing about 1970's Norwich, the setting of our youth, and while listening to recent songs by Lou Reed and Kevin Ayers, Rodulfo insists there's a strong element of the charlatan within most artists. The public these days, he states, demand a constant pulling-rabbits-out-of-a-hat conjuring act from artist's and are required to provide ready-made meanings and answers to all of life's questions. Some artists, more than others are willing to fulfil this role of conjurer, often compromising their artistic integrity with financial reward. Rodulfo's’s art however speaks strongly of independent creativity. He is indebted to nothing other than the combustive energy of his own industriousness and imagination.

There’s more than a little of the rebellious and eccentric about Rodulfo who exhibits archetypal Aquarian characteristics in his personality and art. Reticent and even downright self-depreciating at times, a casual glance at his book-case reveals favourite authors such as Honore de Balzac, who was no mean occultist and physiognomist, and the autobiography Memories, Dreams, Reflections by the seminal psychologist C.G.Jung. Almost all the available wall space at his home is given to a kaleidoscopic gallery of his art, recent work and older personal favourites are all mixed together - Tolkienesque landscapes, animated portraiture of sharply-observed character and dream-like imagery jostle for the viewer's attention. Such a cornucopia of paintings gives a strong impression of a life-time's productivity and testimony to an industrious and disciplined creativity.

Although he’s travelled the globe, it’s the city of Norwich which Peter Rodulfo has chosen as home for decades. Here in an ancient, almost forgotten corner of the English psyche, the mysterious east of England,  life moves at a Do Different pace. Many artists have appreciated Norwich's relative calm; its been the home to gifted artists throughout the centuries, from the days of medieval stained-glass designers to nineteenth century 'Norwich School' artists, John Crome, John Sell Cotman and Joseph Stannard, who celebrated Norfolk’s ‘bootiful’ landscape. Norwich has often quietly nurtured creative artists with it’s relatively stress-free urban living. The city is encircled by an expansive, yet intimate landscape; a not quite flat, but undulating rural county; which makes the city geographically remote and not easily accessible, to the delight and consternation of its inhabitants.

It’s easy for Rodulfo to give a nod to the art of Paul Klee, Max Ernst and De Chirico for example, while remaining very much his own man. Although his art utilizes some of the techniques and motifs associated with surrealism, as well as magical realism, he retains his artistic integrity. Labels are often misguiding and Rodulfo wisely eschews any eager and simplistic labelling of his still evolving creativity. But although comparisons can be misleading, there is one British artist whose art is worthy of note in both technique and imagination to Rodulfo's - that of the self-exiled British surrealist artist Leonora Carrington (1917-2011). Like Carrington, Rodolfo acknowledges the role the unconscious psyche plays in his creativity. Like Carrington, Rodulfo's symbolism is home-grown and capable of striking a deep chord in its unconscious association. Finally, like Carrington, Rodulfo is equally adept at draughting a layered field of perspective to showcase his artistic vision. His paintings, like the best surrealist or magical realist painters can be a vivid encounter with the unconscious psyche, or more correctly in Rodulfo's case, a polite enquiry into the viewer's relationship to their own unconscious psyche.

Rodulfo's canvas As the Elephant laughed (above) exhibits a rich vocabulary of symbolism evoking a panorama of life on earth. The relentless march of time is depicted by the eroding cliffs of the Norfolk coast framing the composition. Its detailed brushwork includes stars and the ocean, perhaps the most common of all symbols of the unconscious psyche. Protozoan marine-life, animals and ageing humans are also depicted in a skilfully layered composition evoking the cosmic nature of time. It's a canvas lush in colouration which instantly transports the viewer to internal landscapes of the imagination where as in much of Peter Rodulfo's art, imagery, technique and imagination coagulate to form an absorbing viewing experience.

Through decades of hard work Rodulfo has now become a grand-master of magical realism; his creativity has yet to reach its zenith. One cordially wishes the artist will enjoy many years more of painting to the delight of his growing number of admirers.

In January 2012 Peter Rodulfo released no less than twelve photographic images of new paintings to public view. I've chosen just two of his paintings from a total of over 60 in his facebook portfolio for 2011/12  alone. With such a varied and expansive back-catalogue and with many paintings quite different in subject-matter, but equal in terms of technical virtuosity, its well worth checking out more of Rodulfo's art-work.

                    An Intruder in the Forest by Rodulfo. 

See also -

Rodulfo's Mandala of Loving-Kindness

 more of Peter Rodulfo's paintings here

Wikipedia entry for Peter Rodulfo

As the elephant laughed - A panorama of evolution

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.

Golden Boy and Gherkin

Today on a  rare excursion to London, attending a conference, I saw this (above) with its inscription - This boy is in memory put up for the late FIRE of LONDON occasioned by the Sin of Gluttony 1666 and below - the 'Gherkin' tower, so-called because of its shape. Maybe it's an over-imaginative juxtaposition, but I can't help thinking the two monuments are related. But without doubt a certain seventeenth century Norwich physician and philosopher would have approved of Sir Norman Foster's quincuncial lozenge design in glass.

                                                                        

Wiki-links - Golden Boy of Pye Corner - London Gherkin

Philip Glass

         
Today's the birthday of American composer Philip Glass (b.1937)
   

Ever since hearing the song-cycle Songs from Liquid Days (1986) in  the year 1988  (it sometimes takes a year or two for American culture to filter through to British consciousness) I've followed with interest this most prolific composer's musical career. The three large-scale operas Einstein on the Beach (1976) Satyagraha (1978-9) and Akhnaten (1983) were for myself works which opened my eyes to Glass as a composer of unique vision. The ground-breaking 4 hour opera Einstein on the Beach is well-worth a fresh production (2012). It includes awe-inspiring ensemble singing and is as experimental today as when first performed in 1978. The last work in the trilogy of opera based upon Science and Religion, the dark and brooding Akhnaten (its dark orchestral colouring is achieved partially by the omission of violins) in particular the aria for counter-tenor Hymn to the Sun with its expounding of  monotheism and  plaintive coda chorus of Hebrew slaves is a personal favourite. The haunting Facades (1981) for saxophone and strings, is another relatively early work I enjoy hearing.

Philip Glass studied music under one of the most influential teachers of composition in the 20th century Nadia Boulanger (1887- 1979). He has integrated the hypnotic, rythmic patterns of Indian music with elements of pop and World-ethnic music to his classical training to formulate one of the most distinctive and instantly recognisable voices in modern music. It seems as if he has collaborated with  nearly every big name in modern music - David Byrne, Paul Simon, Laurie Anderson, Tangerine Dream, Mike Oldfield and Mick Jagger for starters as well as  Ravi Shankar, Brian Eno,  Patti Smith, Laurie Anderson and the Aphex Twins - testimony to the fact by all the evidence given, that he is no vain and difficult to work with prima donna, but of an easy-going nature and thoroughly professional in his music-making. Included among his many friends and artistic collaborators are the poets Allen Ginsburg (1926 - 1997) and Leonard Cohen (b. 1934) both of whom Glass has written a song-cycle based upon,  Hydrogen Jukebox (1990) and  Book of Longing (2006) respectively. The list of film directors, choreographers,  theatre directors and musicians Glass has collaborated with is seemingly endless, nearly every big name in theatre, dance, film and pop seems to have worked with him at one time or another.

In 2007 I had the pleasure of attending a performance of Glass's opera Satygraha at the Coliseum, London. Sung in Sanskrit, the opera celebrates the lives of those who have fought against racial prejudice in the 20th century.Each act of Satyagraha focuses on a major figure in the struggle against oppression, namely, Leo Tolstoy, Mahatma Gandhi and Martin Luther King. The demographics of the audience attendance of performances of this opera are worth noting. The London theatre discovered it was staging a performance attended by the highest percentage of people outside London who had booked tickets on-line and then travelled to the metropolis to hear the opera in its entire history. Some several years earlier I  attended a performance of The Making of the Representative for Planet 8 based upon a Doris Lessing novella, also at the Coliseum (world premiere 1988) yet another early memory of hearing Glass's music. Some of the best themes and motifs of  this work appear in the highly popular Violin concerto no. 1 (1987) which again I had the pleasure of hearing  performed  a few years ago in Norwich.

Throughout the decade of the 1990's Glass consolidated his status to the point of near over-exposure. There once seemed a time whenever one attended a cinema or turned on the TV one would encounter Glass's unique and hypnotic music, this is reflected in the fact that he has won awards for music for films such as Kundun (1997) Dracula (1999) performed by the Kronos Quartet and The Hours (2002). Wikipedia gives a long and comprehensive list of the many films Glass has written music for and in this context one cannot overlook mention of the trilogy of Qatsi films, Koyaanisqatsi: Life out of balance (1993) Powaqqatsi: Life in Transformation  (1998) and  Naqoyatsi: Life as War ( 2002)  all directed by Godfrey Reggio.  Each of these three films were inspired by Glass's music and filmed specifically and primarily to showcase his music. They contain the essence of the composer's message - a deep concern for the ecological survival of our endangered planet, whether from over-population, pollution or war. Glass's 'message' often seems to be a reminder that we are sleep-walking into our own extinction as a species and according to Wikipedia the composer describes himself as 'a Jewish-Taoist-Hindu-Toltec-Buddhist'. He's been involved  over the years in the campaign for Tibetan independence and is a friend of the Dalai Lama.

It's a few years ago now since the amazing coup by the organisers of the Norfolk and Norwich music Festival ( the oldest of its kind in the UK ) of booking Philip Glass to perform his piano music at the Theatre Royal. I really wanted as much to attend this recital, to meet the composer whose music has accompanied and inspired many moments of my listening for the last 20 plus years. I imagined quite wrongly, that after performing Glass would retire and rest up for the evening, but no, apparently and frustrating, taking advantage of  a warm May evening, he visited the park adjacent to the Theatre to meet and encourage young musicians. I wonder how many of those young people realised they were in the presence of one of the world's most successful and popular composers of the late 20th century. I shall just have to content myself with playing  recordings of his Dance No. 4  for Organ (1978) and a transcription for organ of the touching aria from the finale of Act IIII of  Satyagraha  in the church of Saint John Maddermarket occasionally for visitors.  

European Ice-Skating Championship 2012

The European Ice-skating championship was held in Sheffield, UK this year, not that TV coverage is exactly extensive these days. Long gone are the days of live coverage of each of the competitive events. As a sport ice-skating has lost some of its credibility, partially from blatantly biassed judging in the past. Nor is the sport quite so dominated by Russia any more as it once was. Anyway, here's a couple of pictures which covey some of the excitement and grace of the sport. 

Above - Siobhan Heekin-Canedy and Dmitri Dun of the Ukraine  

Below - Kiira Korpi of Finland. 

Results include - Gold for Carolina Kostner of Italy who won the Ladies event for the 4th time and Gold for Evgeni Plushenko of Russia who won the Men's event for an unprecedented 7th time. Nathalie Pechalat and Fabian Bourzat won  Gold in the Ice-Dance for France for a 2nd time.

Augustus consulting the Tiburtine Sibyl

The French artist Antoine Caron's  Augustus consulting the Tiburtine Sibyl (c.1578) exhibits notable characteristics associated with Northern Mannerist art including- a frequent recourse in subject-matter to allegory and mythology and depiction of animated figures, utilizing theatrical staging which is often heightened by an unusual perspective. Today the Sibylline oracle  most likely to be consulted would be Wikipedia which informs us that -

To the classical sibyls of the Greeks, the Romans added a tenth, the Tiburtine Sibyl, whose seat was the ancient Etruscan town of Tibur (modern-day Tivoli). At the mythic meeting of Augustus with the Sibyl, Augustus inquired whether he should be worshipped as a god.

Whether the Roman Emperor Augustus ( 63 BCE - 14 CE) was ever guided to Christ as a spiritual teacher by an ancient Roman oracle pointing heavenwards towards Mother and Child is, of course, highly improbable. Such recasting of mythology in religion was, however, a prime concern of early Church Fathers such as Saint Augustine (354 CE - 430 CE) and Eusebius of Caesarea (263 CE - 339 CE) both of whom wrote of sibyls who 'prophesied' the coming of Christ.

During the Renaissance philosophers such as Marsilio Ficino (1433-1499) and Pico della Mirandola (1463-1493) as well as late Northern Mannerist artists such as Caron, sought to re-integrate pagan antiquity by suggesting it pre-figured and 'anticipated'  Christianity. Most striking in Antoine Caron's painting is the depth of field conveyed by its perspective, drawing the eye deeper and further into a far distant infinity; an effect which is heightened by placing architecture at varied intervals to enhance its depth of space.  It's an effect similar to the early paintings of Giorgio de Chirico (1888-1978) which often feature desolate streets in shadowy cityscapes to create an unsettling effect.

As ever there's a Sir T. Browne connection to this post for he wrote a chapter entitled On the picture of the Sibyls in Pseudodoxia Epidemica  in which he ponders why various ancient sources number and name different sibyls. With characteristic humour Browne discusses artistic licence along with revealing  his access to reproductions of major western art-works stating -

Which duly perpended, the licentia pictoria is very large; with the same reason they may delineate old  Nestor  like Adonis, Hecuba with Helen's face, and time with Absolom's head. But this absurdity that eminent artist, Michael Angelo, hath avoided, in the pictures of the Cumean and Persian Sibyls, as they stand described from the printed sculptures of Adam Mantuanus.[1]

Michaelangelo's Cumean Sibyl

The veracity of pagan oracles must have been of particular interest to Browne for he's also the author of a miscellaneous writing entitled  - Of the answers of the Oracle of Apollo at Delphos to Croesus, King of Lydia. (Tract XI.) .


Notes
[1]   P.E. Bk 5 chapter 11
Wikilink -   Sibyl  -   De Chirico

The Triumph of Winter

January 27th is the birth anniversary of the immortal Wolfgang Amadeus Mozart, composer of Don Giovanni, 27 sublime piano concerto's and many other monumental classical works. Its also the birth-date anniversary of Lewis Carroll, an Oxford professor, author of Alice in Wonderland (1865) and Leopold von Sacher-Masoch, author of Venus in Furs (1870). It is also World Holocaust Memorial Day. These are the main historical characters and events associated with my birthday.

Because this morning is frosty, with a return to real Winter temperatures, The Triumph of Winter (1568) by Antoine Caron (1521-1599) seems a fitting selection. Caron was a French painter of the Northern Mannerist school, an art movement sandwiched somewhere between the Renaissance and Baroque (c.1560-1610) which delighted in unusual perspectives, animated movement and scenes allegorical and mythological. The figure of Mercurius, a god closely associated with the art of alchemy, can be seen holding his Caduceus wand. Standing next to him is a dancing Bacchanalian violinist. Winter, sitting upon a chariot, drawn in procession by storks in harness, is Triumphant. Any of the four statuettes of the Layer monument would, dare I suggest it, not be incongruous or out of place in this decorative and theatrical winter scene. 

World Indoor Bowls Championship 2012

The World Indoor Bowls Championship is currently being contested. Broadcast by the BBC from the holiday resort of Hopton, a Norfolk coastal resort located mid-way between Great Yarmouth and Lowestoft, the 3 week festival is hosted by Potters Holidays, sponsors of the event to the tune of £3 million since first played in 1999. Decidedly a cosy set-up for spectators at the intimate arena of raked seating with an uninterrupted view of the blue carpeted surface (not unlike an 18th century skittle alley) to watch the action and gasp 'oooo' and 'aahh' at the excitement of it all.

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

The Beatles at Norwich 1963

This Blue Plaque spotted en route Prince of Wales Road. There are 39 succinct and informative Blue Plaques researched by Nick Williams in Norwich. Besides this plaque there's another Norwich-Beatles connection. Pablo Fanque who was born in Norwich in 1796 was the  first Black Circus owner, an expert equestrian and a tightrope-walker. He is alluded to by John Lennon in 'Being for the benefit of Mr. Kite',  a song on the mega-seminal pop album 'Sergeant Pepper's Lonely Hearts Club Band' of 1967.  

The Hendersons will all be there 

Late of Pablo Fanque's fair

But I  just can't imagine today's music stars queuing up for chips with their fans.

Not lost, simply for a time mislaid

And suddenly this surprising earth,
No longer clouded, was known again,
And all you had thought lost you found
Was simply for a time mislaid.

(from a poem by Brian Patten b.1946)