RobertFludd(1574-1637)
TimeforanotherRenaissance,
areawakeningtoenliventhefieldofmusicthanotology
LynnRedding
Copyright©1998LynnRedding
AllRightsReserved

——————————————————————————————————————————-

Acknowledgments
Itisnotpossibletoexpressadequatelyinwords,mygratitudetothemanypeople
whohavetouchedandtransformedmylifethroughmyconnectiontoTheChaliceof
ReposeProjectsince1990. Ithasbeenanincrediblejourneysofar,filledwithtreasured
experiences;atrueawakening. Thankyouallforyourloveandtheprivilegetobeapart
ofthiswork.SpecialappreciationgoestoThereseSchroeder-Shekerforhervisionand
hardworkingrowingthefieldofmusicthanatolo. Sheisabeaconformany,bringing
greatbeautyintobeingandchangingourworld.SincerethankstoSharonMurfin, Lois
Mandelko, LauraMoya, SileHarriss, Gloria Viglione, Jocelyn Botkin, LindaSchneck,
Mary WernerBrown, DeannaHolzer, andSandy LaForgeforyourdevotiontocreating
andnurturingthiswork, andthecarewithwhichyouhavesustainedme.Manythanksto
FredPaxton, RobertSardello,KenThorp, andAliceReichfortheirinspiration,guidance,
andthewealthofresourcesthattheysogenerouslyshare. ToCherriNewtonandMaria
Louizegoheartfeltthanksforencouragingmetodigdeeperanddiscovermoreofmyself,
aswellasinspiringmetoworkwiththeimagesofFludd. Gratefulacknowledentto
JasonKurtzforhiswillingnesstohelpfinetunethewritingofthispaper. Lastbutnot
least, thankstomyfamily andfriendswhohaveseenmethroughthisandmuchmore.
2.

RobertFludd(1574-1637)TimeforanotherRenaissance,
areawakeningtoenliventhefieldofmusicthanotology
Connectionsbetweentheartsandscienceshavevariedthroughouthistory.
Consciouslyornot,humanbeingscreatetheirownphilosophyandcosmolo, waysof
makingmeaningintheirlivesanddescribinghowtheuniverseworks. Thisfundamental
humanactivityshapesourlivesasindividualsandcultures. Throughthelifethathelived
andtheworldviewthathecreated,RobertFluddfosteredcommitmentandcontroversyin
hisquesttobroadenandutilizeknowledge. Heformedandreformedhisunderstanding
oflifeandthecreativecontextinherentinourworld. Itislikelythatthislifegiving
processnourishedhimasanindividual, andenrichedhiscommunity. Itcanalsoserveas
awellspringforrevitalizationtoday.Hisapproachofintegratingdiversematerialin
servicetohealingisespeciallyrelevanttothoseconnectedtothefieldofmusic
thanotolo, whoseworkisenhancedthroughcontemplativepractice, bringingcareand
comforttothedyingthroughmusic.Fluddwasaphysicianwithadeepdesirefor
spiritualunderstandingandaction. Thisgroundingguidedhislife,becomingasourceof
thededicationandcarethatheprovidedinmanyfields. Musicisintegralwithinhis
cosmolo,anditmayhavebeenpartofhismedicalpracticeaswell. Heusesitto
describethestructuralframeworkofrelationshipoperatingatalllevelsintheuniverse,
pointingtoitspowertotransformandheal. Hisdrawingsandwritingsofferusthe
opportunitytoexplorehislegacy. Thestudyofhismaterialservestodeepenourability
tobuildacontemplativepractice.Whetherweapproachthroughthesingledoorofa
familiarartoropenallofthem,hismessagecallsustodiscovertheorganizing patternsof
harmonyinourlivesandtheuniverse.Becomingattunedtothemourrelationshipsgrow
moresoundinloveandunderstanding. Digestingandassimilating,themusicofourlives
becomesmoreresonant. Theseboundariesaredefinedandredefined. Whethersharpand
clearorsoftandblurred, theyaremovingintime,creatingourimprint.
3.

Spanningthebridgeof1600,FluddhasbeencalledthelastRenaissanceman
(WilliamHuffman). Hewasbornintoatimeoftransition,notonlyachangeofcentury,
butashiftinphilosophyandcosmolo,asWesterncivilizationembarkedonacourse
towardthevaluesoftheScientificRevolution. Forsome, thismerelyservestolocatehim
inhistory, asadinosaurpoisedonextinction, exhalinghislastgaspthroughvoluminous
workinmanydisiplines.Hisvoicecalledforrenewalanddeepeningintospiritualityto
discovergreaterresourcesforlifeonalllevels.Hewasanavidscholar,pullingtogether
diversesources,thenblendingandconveyingtheminhisuniqueway.Hewroteand
publishedprimarilyinLatin,andmuchofhisworkisaccompaniedbydetailed
illustrations. Hisviewswereexpandedandfurtherclarifiedthroughhislettersand
shorterworks,manyofwhichwerewritteninEnglish.Asaphysician,hehada
flourishingmedicalpractice.Musicwasalsoanimportantcomponentinhisstudyof
divinerelationships.Embracingtheoryasascientistandphilosopher, heengagedin
debatewithluminariesofhistime, suchasKepler, Mersenne,Bacon,andHarvey.The
breadthanddepthofhisworkisamazing. Unfortnatelythereislittlerecordedknowledge
ofhisactualmedicalpractice,exceptwithregardtohisworkoncirculationoftheblood
andtheweaponsalveremedy(AllenDebus). Bothoftheseprovideinterestingavenues
ofstudy, establishinghismetaphysicaltheoriesandtheirdefense, includingpatient
anecdotes.
Forme,heembodiesanassimilationofwisdom, disseminatedthroughdrawing
andword,thatinfusesmyworkasastudentinternmusicthanotologist. TheChaliceof
ReposeProjectisaneducationalcenter,combiningaschoolandclinicalpractice,
developingthefieldofmusicthanotolo.TheprogramwasfoundedbyTherese
Schroeder-Sheker, asamedicalmodality, utilizingprescriptivemusic.LikeFludd, its
riseistakingplaceduringatransitionperiod. Thecuspof2000ismorethanachangeof
century.Philosophyandcosmoloareundergoingrapidawakening, reassessment, and
revision. Thiscanhaveprofoundimplicationsforhealingandmedicalcare. Music
4.

thanotoloisameansofpalliativecare,intendedtoservethephysicalandspiritual
needsofthedyin.
Ascontemplativemusicians, ourphilosophyandcosmolosustainus.Howdo
weasindividualsrootourselveswithinthefieldofmusicthanotology, andwithinour
culture?Theviewsthatweholdandourability totransformarevitaltoourworkandour
lives.Weneedanewcosmologystory, articulatedthroughlanguage, music,andart.It
isouraccountofreality, thegenesisandevolutionofourworld,andourrelationshipto
thatworld.Butitismorethanjustastorythatwetellourselves, itisthestorythatwe
liveby(BrianSwimme).Inherclasslecturesonanthropolovisitingfacultymember,
AliceReichechosthesethemes, tellingusofthedeepimportancemakingmeaninghasto
humanbeings.Oneofthemostchallengingaspectsoflifeisthethresholdofdeath.As
musicthanotologists,wearecalledtoaccompanyothersatthiscriticalpassagethrough
themediumofmusic.ThesixfundamentaleducationalassumptionspreparedbyTherese
Schroeder-Shekerformtherootofourwork.Throughthispaper, Iwouldliketo
introduceyoutoRobertFludd, andsharesomeofmyexplorationofhiswork,aswellas
itsinfluenceinstrengtheningmyformationasamusicthanotologist,perhapsencouraging
youtoposequestionsanddiscoveryourownrelationshiptohismaterial.
RobertFluddwasbornincounty Kent,England.Hisfather,SirThomasFludd,
servedQueenElizabethandreceived hisKnighthood.Littleisknownabouttheearlylife
oftheyoungerFludd, buthelaterusedtheadvantagesthathisbirthrightaffordedhim,
suchashistitles, financialresources, education, andconnections. In1598, hegraduated
fromSt.John’sCollege,OxfordwithaB.A.andM.A. Theknowledgefosteredthere
coveredabroadscope, butitwasacenterfortheologicalstudies.Thiseducational
foundationservedFluddforlife,atalltimesafaithfulandattachedfriendandmemberof
theChurchofEngland(J.B.Craven). Hissteadfastreligiousaffiliationisofinterestin
lightofthediverseideasthathereconciledwithinhiswork, drawingfromantiquity,
Greek, earlyChristian, Kabbalah, Rosicrucianandotherphilosophiesofhisday.His
5.

alchemicalworkwastodistill whathebelieved tobeessentialspiritualtruthswherever
hefoundthem.Heriskedhisstatusandhislifeexpressingthem, tothepointof
successfully defendinghimselftoKingJamesIonchargesofheresy. Duetohis
metaphysicalinterests, someportray Fluddasbeingonthescientificfringe.Butstudies
suchasalchemyandastrology werecondonedwithintheuniversitiesofhisday.Itis
believedthatJohnPerrin,studentofThomasAllen,whowasanassociateofJohnDee,
tutoredFluddinalchemyandastrology(SarahMajercik).MatthewGwinnewasthe
medicalFellowatthetime.AlthoughhisviewpointwasstronglyGalenist,Gwinnehad
readthechiefworksoftheParacelsiansaswell(AllenDebus).SoitislikelythatFludd
receivedthetraditionalmedicaltrainingoftheGalenistapproachwithpossibleexposure
tothemethodsofParacelsiusfromGwinne.Upongraduation, hedecidedtopursuethe
studyofmedicalsciencesontheContinentforsixyears.Severalschoolsofferedmedical
studiesconsideredsuperiortoOxford.Bythistime, Fluddhadmany contactswith
similarbroadinterests, sohemovedaroundFrance, Italy,andGermany studying, aswell
asteaching. Formedicalstudies, Italianuniversities werebelievedtobethebestinthe
world, andtheywerelesssteepedintraditional Galenicstudies.
WhileinGermany, FluddmetwithMichaelMaier,personalphysiciantoEmperor
RudolfII.MaiertendedtoParacelsianteachingsandalchemy.Heislinkedbysomewith
theRosicrucianmovementanditsintroductionintoEngland. Therehasbeenspeculation
thatFluddwasinitiatedbyMaierintothegroup, whosememberspreferredtoremain
anonymous.Theorganizationmaintainedsecrecy, protectingitsknowledgeandpassing
itprivately fromgenerationtogeneration, aswellasissuingmanifestoscallingtounitein
ascientificandspiritualreformofEurope. Many whorespondedtothemanifestoswere
interestedinParacelcianmedicineandalchemy. Inlaterpublications, bothMaierand
Fluddusedthesameengraver andpublishinghouse, DeBry, inOppenheim.AfterFludd
returnedhomeandchosetopublishoutsideofEngland, criticism andsuspiciongrew
surroundinghisactivities.ThesewerefurtherinflamedbyhisRosicruciantiesandfiery
6.

manner, makinghimacontroversial figure.DuringhistimeontheContinent, Fludd
begantoformhisphilosophyandcosmology inearnestthroughuniversity studies,
tutoring, discussions, andexperiments. Theseincludedtheideasofcreationtheory in
macrocosmandmicrocosm, thedwellingplaceofthevitalspiritofman,principlesof
magnetismatadistance, anddevelopinghismethodofworkingwithdrawingstoenhance
andconvey histheories. Thisperiod wasthecrucibleinwhichmuchofhislaterwork
wasgenerated, particularly Utriusquecosmimaiorisscilicetetminorismetaphysica,
physicaatquetechnicahistoria, hismajorwork, TheHistoryoftheMacrocosmand
Microcosm. Alongwithtreatisesandteachingnotes, hisillustrationsbecameeducational
toolsandmemorydevicesforhisstudentsandreaders. Fluddwasalsodedicatedtothe
artofmemory, developingmnemonicmethods, whichincludedTheTempleofMusic.
InEnglandduringtheseventeenthcentury, therewasahierarchy ofhealers, that
usually didnotmingle. Theuniversity trainedphysicianstendedtohavewealthand
privelege, withtimeandmoney todevotetotheirstudies. Theygenerallycontinuedto
mentoratuniversities,developingtheoriesandwritingtextsratherthanpracticing
medicine. Surgeonsandbarber-surgeons treatedmostofthepatients. Theywereusually
trainedinanatomy andphysiology, andlicensedbutdidnothaveuniversity degrees.
Apothecariesandmidwives madeuptherestofthepracticalprofession.Thereisa
paralleltoourcurrenthealthcare system, inwhichtraditional medicineisoftenseparate
fromvariousalternativetherapies.Buttransitionistakingplace, asWesternmedical
practiceopenstothevalue ofotheroptions.Musicthanatology seekstobridgethe
separationbyworkingdirectly withinthemedicalsettingtoprovide patientsandtheir
physiciansanotherpalliative carechoice.
WhenFluddreturnedtoEngland, heenteredChrist ChurchCollege, Oxfordand
receivedhisM.D. in1605. Hewasconsideredoutspokenandarrogantinmakinghis
views known, failinghisfirsttwoexaminations forentryintotheLondonCollegeof
Physicians because hismedicaltheoriesdiffered, andheappearedinsolentbeforethe
7.

exarmners.Hewascaughtpracticing withoutalicense, buteventuallywentontobecome
adistinguishedmember, evenservingseveraltermsexaminingcandidatesforadmission.
Fludddidnotlimithimselftolocaleducationorpointofview.Thoughpushingthe
boundaries,heoperatedwithinthemedicalandsocialestablishment, whilebeingcapable
ofexpandingandpresentinghispositionsufficiently welltofindacceptanceamongpeers
andpatients.Inanotherunusualmove togainmorepracticalmedicalknowledge,
regardlessofsocialconsequence, hedecidedtojointheBarber-Surgeons’Company.He
employedhisownapothecary, alongwithmaintainingalaboratoryforpreparingchemical
remediesandalchemicalexperiments.Whether thiswasduetothesuccessofhismedical
practice, ornecessity tosupply compoundsthatwereunavailablefromotherpharmacists,
isdifficulttoknow.Healsomadeuseofastrology, whichwaspartofGalenicand
Paracelsianmethods, indiagnosingandprescribingbychartingboththepatientandtheir
disease, aswellasdeterminingcriticaldaysbaseduponplanetary transits.Galenic
practicecenteredonbalancingthefourhumours:choleric, sanguine, phleatic, and
melancholic. Itutilizedavariety oftreatmentsincludingsurgery, andmaybeconsidered
akintoallopathicmedicine. Diagnosiswasalsodeterminedbyexamining pulsesand
urine.Paracelsianmethodsfavoredtreatinglikewithlike,similartohomeopathy,and
madeuseofalchemicaldiscoveriestoprepareremedies.Fluddattemptedtocreatea
holisticapproach, bringingtogetheralloftheoptionsintreatingnotonlythephysical
body, butalsothesubtleones.
Insocialterms, Fluddwonfavorinmany circles, associatingwithavariety of
people, manyofwhomwereenemiesofoneanotherthoughsupportiveofhim. Everin
searchofbroadeninghisknowledge, hewasconsideredbysometobedemandingand
offensive.Heenjoyedtwenty yearsofpatronagebyJamesI.Perhapsfamilyname
providedtheroyalintroduction, butFluddfostered therelationship. Amongotherthings,
hedevelopedavaluablemethodformakingsteel, producinghigherquality more
efficiently, andtheKinggrantedhimapatentagainstthewishesoftheroyalmonopoly.
8.

Fluddnegotiatedtocontributeasubstantialportionofprofitsfromtheimprovedmethod
intothecoffersofthestate,thusbreakingthepriorsteelmonopoly.Healsosuccessfully
defendedhismetaphysicaltheoriestotheKingunderthreatofheresy. Inadditionto
political, medicalandalchemicalassociations, healsomadeconnectionsintheSociety of
Antiquaries, agroupformedin1585todiscusshistory, thathadaccesstoextensive
librariesofbooksanddocumentsasacommunity.BythiswecanseethatFluddwas
capable ofmovingindifferentsocialcircles,creatinginvariousfields,generating
necessaryresources,andmakinghisservicesandproductsavailabletothosewhomight
beinterested. Many ofthesequalitiescanbehelpfulinpioneeringthefieldofmusic
thanotology aswell.
DuringhistimeinGermany, Fluddforgedimportantrelationshipsindeveloping
andpublishinghistheories.Hebeganorganizingmaterialsforhismajorwork,Utriusque
cosmi. ..Historia, orHistoryoftheMacrocosmandMicrocosm.Themacrocosmicvolume
wasnotactually publisheduntil1617, thoughitwasprobablycompletedby1612, andthe
completework, includingthemicrocosmicvolumewasnotinprintuntil1621. Rather
thanachronologicalhistory, thevolumesaremorelikeencyclopedia,thefirstdescribing
themacrocosm, oruniverse,andtheseconddescribingthemicrocosm,orthehuman
being. Fluddpublishedotherworksexpandinghisideasbeforeandafterthis,aswellas
manylettersindefenseofhistheories.Mostofthesepublicationsdidnotcontainthe
wealthofillustrationsdetailingthecomplexrelationships, thatheproposed, insteadthey
expandedthedialogbetweenFluddandhispeers, givingusgreaterinsightintotheir
perceptionsvialanguage.Themysticsaredealingwithimages, andthat’showyou
redeemlanguage-yougobacktoexperience. Somysticismisabouttrustingyour
experience. Andthenearestthing toexperienceisnotwords, itisimages(MatthewFox).
WhiletheillustrationsthatFluddproducedmaybeperceived asmerelydiagramsshowing
histheories, Ibelievethattheyalsoactasalchemicalimageswiththepowertotransform.
Thedeeperthatoneentersintocommunionwiththem, thestrongerthattheyresonate.It
9.

isnotnecessarytobeavisualartisttobetouchedbythemandgainvaluableinsight. Like
silenceandmusic,theycommunicatebeyondwords.Thisisanotheropportunityfor
contemplativepractice, thatisavailabletoanyonewithinterests,suchasspirituality,
healing,andmusic.Duringclasslecturesvisitingfacultymember, RobertSardello
introducesdifferentexercisestoexpandourawarenessandincreaseoursensingability.
TheFludddrawingscanbeusedinsimilarmanner. Thesepracticesencourageour
flexibilityandbroadenthedepthofunderstandingthatwebringtothevigilsettingas
musicians,clinicians, andsimplyaswitnesses, honoringthedyingandtheirlovedones.
Inherpublications, Schroeder-Shekerhascitedatleastsixfundamental
educationalassumptions.Thesecanalsobeseenastheorganizingprinciplesfora
philosophyandcosmoloofmusicthanotology. Thefirstassumptionconcerns
recognizingdyingasaspiritualprocessandasanopportunityforgrowth. ..thepossibility
ofhealingwithoutcuring. ..throughtheabilityofmusictomediate,connect,soothe, and
servephysical, mental, emotional, andspiritualwell-being. Thesecondassumptionis
thatthemusicaldeathbedvigilismorethanmechanical,technicalskill.Itisa
contemplativepracticewithclinicalapplication, thatrequiresseriousinnerworktoward
integratingthelifeofthecaregiver, inanongoingprocess. Thethirdassumptionisthat
deathisnotanenemy; itispartofthelifecycle. Musichasthecapacitytoharmoize
thoughtsandfeelingsinthemoment, eveninthefaceoffear.Thefourthassumptionis
thatthewayinwhicheachpersondiesisasimportantasthewayinwhichtheperson
lived,meaningthatbeauty, reverence, dignity, andintimacyarecentraltohumanityat
anytimeinthelifecycle, andespeciallysoindeath. Musiccanbringthesetolight. The
fifthassumptionaddressestheconstantrecognitionthatthisworkisnotmerelyacareer,
itisavocation. Itrequiresclearintentionandattention,aswellasrenewal. Thesixth
assumptionsupportstheeducationofindividualsandcommunitiesindeathanddying
processesandseekstoreturnimportantresposibilitiesbackintotherealmofhuman
10.

personalscale, rather thanignore ordenyissuesoflossandleavetaking,thusreducing
themtolegalorcorporatemedicaldecisions (ThereseSchroeder-Sheker).
Ibelieve thattheworkofFluddandhowweapproachitisvaluabletous,aswe
rootmoredeeply inthesixfundamentaleducationalassumptions, andseektoflower
withintheworkanditscomtemplative aspects. Inourcurrentculture, thereisan
undercurrent, oftensilently expressed, thatGodisdead, fearrules, andhumanbeings
seemtobeintheprocessofkillingeveryotherlivingthing. Faithandhopearedim.
Perhapswearedeadwhileliving, andneedtoberevitalized, awakenedagaintolifeand
itspossibilitiesinevery moment. Many maydiewithouthavinglived. ThomasAquinas
saidtherearetworesurrections, andthefirstoneiswakingupinthislifetime …and
revelationcomesintwovolumes,thatoftheBible andthatofNature(MatthewFox).
Resurrection isnotresusitation. Awakeningisnotrestorationtoourformerlife,but
transformingintonewlife.Throughhiswritingsandlectures, RobertSardelloalsopoints
usinthedirectionofspiritandnaturetoawakenoursenses.Itisourchallengeashuman
beingstoliveourliveswithbeauty, reverence, dignity, andintimacy, trulyopeningto
them. Knowing thattheyarealways there, evenwhenwecannotperceivethem. Inthe
contextofthevigilsetting, thefirstandsecondassumptionsgivelifetoeachotherasan
opportunity ofgrowthandrenewalforallpresent, facilitatedthroughthemusic,assuchit
issacredtime. Thismaybethefinalopportunity forthedyingpersonintheirlifetime.
Whensurvivors canremember thateverypossible effortwasmadetodignify, beautify,
transform, and/or supporttheirloved oneasunique individuals, worthy ofunconditional
careandlovewhiletheywerealive,theycanrest,enterthegrievingprocess, andcome
outtheother side. …Music thanotologyisacontemplative practicewithclinical
applications ….Thesixthcentury Romanstatesman andphilosopher Boethiussaidthat
music wasanallpervading force, streaming through theuniverse, asacurrent that
weavesbody,soul,andspirittogether (ThereseSchroeder-Sheker). Itisthechallengeof
thethirdandfourthassumptionsofourworktoaccessandtransformthemusicwithinthe
11.

vigilsettingandalsowithinourownlives,abreathingthreedimensionallemniscate,
expandingandcondensin.Usethelightthatiswithinyoutoregainyournatural
clearnessofsight(Lao-tsu).
ImageisintegraltotheworkofFludd.Withoutthedrawings, hismessagewould
havebeenlosttome.TheLatintextofhisprimaryworksstillhasnotbeencompletely
translatedintoEnglish.Throughtheimagesalone, itispossibletobecomeabsorbedin
thespiraloftheirteachingandemergerefreshedwithnewinsight. Keytranslationsand
interpretationsbyJoscelynGodwinofferimportantguidepostsforworkingmoredirectly
withthewordsthatFluddintendedtoaccompanyhisimages.Historianandvisiting
facultymember,FredPaxton, alsoprovidedtranslationsforspecificdrawingtexts.My
processwastogathermaterials, returntotheoriginaldocuments atWidnerLibraryof
HarvardUniversity,thendrawtheillustrationsmyselfwiththeoriginalLatintext,and
allowthediscoveriesofimageandwordtolivewithinmeovertime.Copiesofthese
drawings,Englishtranslationdrawings, andotherrelatedimagesfollowthismaterial.
Thephilosophy andcosmoloofRobertFluddhavebeenhelpfulinrekindling
myawareness.Hisimagestakemeonanelasticjourneythatholdsourinherentunityand
diversity, theunionofopposites. Itisimportant tochallengefromanattitudeofopeness,
notstubborness;thatissurrendertofaith, notunquestionedbelief. Thisviewpointopens
oureyestoseemore.Ourabilitytoawakenandbeawareinthevigilsettingbringswith
itheightenedcreativepossibilitiesforservice.Howdoweseewhatunfoldsbeforeus?
Considertheimageoftheoldwomanortheyoung
maid.Canyouseethemoneatatime?Ifyouare
awarethatbothexist,tryswitchingbackandforth
betweenthem.Canyouseebothimagessimultaneously?
Howdoeachofthesewaysofbeingwiththeimagefeel,
physically,emotionally, andspiritually?
12.

OnemustnotconJuse asymbolwithamereallegory, nortrytoseeinitthe
expressionoJsomemistyandirrational collective instinct. Truesymbolism depends on
theJactthatthings, whichmaydifferJromoneanotherintime,space, materialnature,
andmanyotherlimitative characteristics, canpossess andexhibit thesameessential
quality. Theythusappearasdiversereflections, orproductions ojthesamereality –
whichinitselfisindependent ojtimeandspace. Itisthusnotquiterighttosaythatgold
representsthesun,andsilverthemoon; rather isitthecasethatthetwonoble metals and
thetwoluminariesarebothsymbols ojthesametwocosmicordivinerealities (Titus
Burckhart).Thisisattheheartofalchemicaltraditionanditsprocesses. Returntothe
spiritualsourcetoperceivetheessence ofrelationshipsmoreclearly. Theetymoloof
relationship comesfromtheLatinrelatus, pastparticiple reJerremeaningcarried back.
Withthismovement,theimageideaiscarriedbackandrefinedbydivinewisdom, and
wecanreceive freshinspiration.Breathingoutourpastandmaking roomforthepresent
ineachmomentofawareness, wecomealiveagain.Thepossibilitiesareinfinite,butour
choicetofocus isabsolutelyfiniteandprecious.Thisistheplaceofcommitment, Latin
committe, meaningtosendorgiveover. Itisourcontribution, activating andcooperating
inthecreationprocess, acalltothedivinethatwearewillingandwelcome being carried
back, surrenderingintorelationship.TheLatinrootofsurrendercomesfromsur-related
totheprefixsuper-meaningabove orbeyond, andrendere, toalter,formedbyanalogy
fromprenderetotakeandreddere togiveback.Untiloneiscommitted, thereis
hesitancy, thechance todraw back, always ineffectiveness, concerning allactsoj
initiativeandcreation, thereisoneelementarytruth, theignoranceojwhichkills
countless ideasandsplendidplans: thatmomentonedefinitely commits oneself then
Providencemoves too.Allsortsojthingsoccurtohelponethatwouldneverotherwise
haveoccurred. Awhole streamojeventsissuesJromthedecision, raisinginone’sJavor
allmannerojunJoreseen incidents andmeetings andmaterialassistance, whichnoman
13.

couldhavedreamedwouldhavecomehisway. Whateveryoucandoordreamyoucan,
beginit(Goethe).
Inthevigilsetting, itisourjobtodiscernwhen, where, andwhattonesmustbe
madeaudibletoaffectthemusicalintegrityandtheharmonyofthevigilexperience.
Guidanceandwisdomforthiscreationmaycomeinmanyways, perhapsbeyondour
understandin.Throughourowncommitmentandsurrender, itispossibletoapproach
themusicthatBoethiusspokeofstreamingthroughtheuniverse. Faith, trust,and
intentiontobeopenholdthekeytodiscerningtheharmonyofthewhole,whichmayor
maynotbeperceivedthoughtheear.Inaclasslectureonthealchemicalharp,Therese
Schroeder-Shekerspokeofsoundorganizing andreorganizingintransfiguration.She
spokeaboutthewordharmony, whichoriginatedasaGreekwoodworkingterm,meaning
whatholdstogethertwoopposites.Asanarchitect, myunderstandingisthatjoineryin
ancientGreecedependeduponknowledgeandbalanceofunseenforces.Woodmet
wood. Thesearetheindividuals, oropposites, intheirdesiretoseparate.Todayweoften
replacethedirectconnectionandbalanceofforces, withanotherindependentsubstance,
theglue. Eventhoughtheforcesarestillatwork, itsetsupaverydifferentrelationship.
Thetwooriginaloppositesaremediatedbyathird, andnolongerindirectcontact. It
remindsmeoftheshiftintonaltransition frommonophonytopolyphony. Itisimportant
toconsiderharmonyasmorethanaspecificmusicaltool,butasastructuralorganizing
forcelikegravity, sound, lightortouch,creatingintegrity, thefieldofthesoul. Withthis
interpretationofharmony,itisthemusicalcurrentthatformsourconnectionwithinthe
vigil,makingitpossibletotransformtheexperience intosomethingmore, aplaceof
honorinsacredtimeandspace. Thenharmonyispresentwithinsilence, andthewholeof
musicalprogression.Inthealchemicalmodel, theessentialconnectionresonatesthrough
thedivineamongallbeingsoftheuniverse.Trytoperceive theconnectionwhichbinds
yourlaborwiththebuildingofthekingdomofheaven. ..thereissupernaturalvaluetoour
work..fartoomanypeopleareinsufficientlyconscious ofthedivineresponsibilityoftheir
14.

lives, andgiveonlyhalfofthemselves …fashioning ourownself..thisisaglorious
responsibility …Itisasoulofimmense powerwhichbestowssignificance andbeautyand
anewlightness onwhatwearealready doing. ..Thereisintrinsicdivinisation ofhuman
endeavor: thisleads toTransfiguration …Workisamainfoldinstrumentofimmersion
anddetachment. ..Workisalways accompanied bythepainfulpangsofbirth…Thereisan
innertensionandanxiety in”creation”…Tocreate, ororganize, materialenergy,ortruth,
orbeauty, bringswithitaninnertorment(Teilhard deChardin).
Amistakeaboutcreationresultsinamistake aboutGod(ThomasAquinas).This
statementcanstretchtoincludeanycreation, whatever thescaleorimpact. Thetheory
thatFluddholdsconcerningthecreation oftheworlditselfistheheartofhiswork.Inhis
synthesisofthecreationmyth, everything originatesindarkness. Thefirstactofcreation
isoneoflightbutitisdefinedintermsofappearance, bearingintelligence andlifeforce
fortherealmsthatfollow, theactive fireoflove.Thislightforcecreatesthefieldfor
relationship, andeverything thatfollows. Darkandlightoriginatebeforethealchemical
metaphorofthecentralsun,which resolves theirstrugleofdivisionandchaosas
opposingforces, creatingorder. Fluddshows thesuninrelationtotheheartofman,also
asadwellingplaceofGod.Nextthelightoftheheavensareformed,buttheyare
perceptibleonlytointellectnotthemortaleye.Thentheempyreanspheretransmitsthe
firstcreated light. Throughituncreated lightofSpirit isreflectedasamirror;withoutit
nocreaturescouldexist. Theetherealspherecontainsplanetsandstars.Itismadeupof
ether, thequintessence, orspiritus, whichbecomesthevehicle forsoultodescendinto
matter. ItisalsointerestingtoconsiderthatLatinspiritusmeansbreath.Fluddbelieved
thatthewindsalsooriginateatthislevel, animatingtheplanets. Thefourcardinalwinds
arealsotheetiology ofdisease, hotandcold,wetanddry,incombination. Eachcardinal
windisassociated withaprotective archangelandadeamonbringingdisease. Angels
anddeamonsoverseeeachoftheeightlesserwinds. Therearetwelve inall,which
correspondtothezodiac.Soastrology, meteorology, andprayerbecameessential
15.

componentsofFludd’smedicalpractice.Oneofhisillustrations,TheSoundMan,is
thoughttobethefirsttodepicttheideaofgerms,asthecarriersofdisease.Perhapsthe
effectivenessofmusicinhealingisalsoduetoitsoperationatthislevel. Thesubstance
ofetherisfreeofdecayandaffectsthelowerfourelements.Itmaybecomeinfectedby
deamonsorbeprotectedbyangelsoperatingatthelevelofthewinds.Thisregionisthe
placewherequalitiesofformandmatterareheldinbalance,beginningtheirprimal
duality.Therearefourelementalspheres:firerisestotheoutermostregion,hotanddry
whichleadsallthingstoputrefaction;earthwhosequalitiesarecoldanddry,sinksasthe
darkestheaviestelement;airandwaterareinbetweenwiththreepartsheatoffireand
onepartterrestrialcoldmakingupairandthereverseproportionsforwater.
Thereismuchtocontemplate hereintheessentialqualities ofwhatFludd
communicates.Thedrawingsareorganizedingroups, baseduponmyownimpressions,
andhowIsawthemcometolifeonthepage. Group/page 1and2aremoredetailed
expressionsoftheFluddcreationillustrations. Hefurtherdevelopstheserelationships,as
theyapplytomedicineandmusic inotherdrawings. Inthisview,everythinggrowsout
oftheessentialinteractionofpassivedarknessandactivelightinthefireoflove.The
balanceofthesethreeelementswithinthehumanbody, relatestotheworkofKenThorp,
physicianandvisitingfaculty member. Inclasslectures, hespokeofdark,light,andheat
processes,workingtogether,givinglifetothebodyinhealthordecliningthroughthe
imbalanceofdiseaseprocesses.Lifeissurrenderandcommitment tothecreation
process, facingintothetensionofdivisionandchaos.Theheat,orfireoflove,maybe
similartothevitalspiritthatFluddbelievedcirculated intheblood, enteringthebodyas
thebreathofdivinespiritthroughtheheart.InaccordwithBurkhardt, thisisthesame
cycleoflifewithintherelationshipofdarksilenceandthelightofaudible music,whose
essentialqualitiescalltoeachother,becomingmorepotentastheyunifyintheloveor
heatofharmony, inrelationship. Byactivatingthesensesandimagination, theyresonate
likeharmonictones.Mendonotbynoiseorbythemakingofmagicaltonesreach
16.

Heaven,orviewHeaven,orreceiveofHeaven’sLight. Butmen,bylove,createthetone
bywhichtheytravel-thetonebywhichtheangelsmakepossiblethepassagebetween
earthandHeaven(AnnReeColton).Loveistheharmony,theconnectiontothedivine
source.Perhapsthistoneofloveinthedyingpatientisthesourceofprescriptivevigil
music.Itisparticulartoeveryhumanbeingineverymoment. Byitsnature,music
possessesgreatpowertomediateandheal,resolvingdivisionandchaos.Howdowe
identifywiththistoneandcreateaudiblemusic?Howdoesitstandinrelationtoourown
tone?Themusicalcreationcomestogetherthroughgrace,andthecontinuedworkof
immersionanddetachment. Thisinformsourrelationshipwiththefifthandsixth
assumptions.Toseemusicthanotoloasavocationandsupportcontinueddiscovery,
deepeningintheworkasacontemplativepractice,arhythmneedstoemerge.Inrelation
todevelopmentofawork-worship,AnnReeColton,clairvoyantandauthorwrites,The
rhythmofworshipshallbecomeasachaliceintheheart.
AfterreturningfromHarvard,theFluddillustrationscontinuedtocallme,
outliningtheirlawsthroughthe”LineofBeauty”,aphrasedeartoWilliamBlake,whoin
defenseofhistrainingasanengravergavemeanotherperspectiveonthevalueof
copyingthedrawingsofFluddwithintention,IfhemeansThatCopyingCorrectlyisa
hindranceheisaLiar,forthatistheonlySchooltotheLanguageofArt(WilliamBlake).
WhileworkingtheFluddmaterial,Istriveformoreconnectionstohim,aswellasthe
abilitytoarrangehisillustrationsincompositions,thatenhancetheechooftheirvoice
throughme.ItisakintoimmersioninChalicerepertoirethathasalreadylivedfor
centuries,transformedbysomany.Eachtimethemusicawakensitcanliveinanew
way,thatisnourishedbythemanytimes,ithaslivedbefore.HowdoIdeepenitslife
now,andhowdoesitsenliveningaffectthelifeanddeathofourpatients,communities,
andourselves?Likebuildingupovertones,whatispouredintothespaceresonates.SoI
findthattheimagesofRobertFludd,canbeatouchstonetoilluminateeachmusic
thanotologistindevelopingtheirownimaginationincontemporarycareofthedyin.
17.

Perhapsthegreatest resourceofanengraver ispatience, italsoseemstrueofbecominga
musicthanatologist. Inthevisionary imaginationofWilliamBlake, thereisnobirthand
nodeath, nobeginningandnoend,onlytheperpetualpilgrimage withintimetowards
eternity.Wordswereforhimobjects carvedoutofmetal,anditcouldbesaidthatthe
technicalrequirementsofhistrade- theneedforstrongoutline, forexample,andthe
importanceofminuteparticulars- helpedhimtoformulateanentiremetaphysical
system./I(PeterAckroyd)
Allofthefollowingdrawings, exceptmydepictionofTheTwelveSenses,.Ihc
PalaceofFineArtslivesinTheTempleofMusic, andLoveandCompassion,OneHeart,
arecopiedfromRobertFluddwithmyarrangementoftheimagesinthespiritofthe
wordsofWilliamBlake. Ratherthanguideyouintotheimagesthroughmywritten
impressions, Iprefertosharesomenotesandencourageyoutoenterthemasyouwish.
SupplementarynotesfortheFluddillustrationsrelyontheworkofJoscelynGodwinand
FredPaxton, translatingRobertFludd.
Group1drawings:Thesedrawings showthedevelopmentofthemacrocosm,
creationoftheuniverse. ThePrimevalDuality, (upperright)Theuppercircleisone
SupremeBeing, oneEssence, bothwillingandnillin.”Themonadgeneratesamonad,
volunty,andreflectsitsardourinitself, nolunty.”Thedarkcirclecontainstheprimal
stateofchaos, beforethecreationoftheworld.ThelightandessenceofGodremainsin
thecenter, andisnotsentout,manifestingintheworldasdarkness, silence, death,
disease, etc.inthecentralcircle. Theothercircle orproperty istransmittedtogivelife,
light, form, andharmony totheworld. Twohalves ofthesamewhole, Apollorestores,
makingvisible, whileDionysus destroys, makinginvisible, inendlesscycles.Growth,
DecayandRebirth, (lower right) RotationoftheSunsymbolizestheprocess, risingas
primalpointoflight, travelingacrossthesky,anddisappearing, butcontinuingitsjourney
toreappearinitsrighttimin.DarkandLightCombs,(upperleft)Lightrepresentsthe
downwardpointingspiritualforcesasradiation,thedarkcombforthematerialforcesas
18.

reflection. TheHemispheresUnited(centerleftandlowerleft)Fluddshowedtheseas
fourseparatedrawings,whereitiseasiertoseetherelationshiptoDarkandLightCombs.
Ihavecompressedthemtoemphasizethecyclicrelation expressedinGrowth,Decayand
Rebirth.Thecenterleftdrawingshows,malegenerativenatureatthetop,andthefemale
receptivitytotheseedoflightatbottom. Thesematerialhemispheresarelikewax,which
canbeformedbythesealofspirit. Lightanddarkbeingtransformedbyspirit,love,heat,
harmony,etc.Inthelowerleftdrawing,imaginethatthedarkandlighthemispheres
aboveunite.Theundersideshowsthemmeeting, whiletheuppershowsthemmixing,
withthespiritualfirediminishinggraduallytowardtheEarth.
Group2drawings:ThePythagoreanTetrad(upperleft)actsasamathematical
modelofcreation, inwhichabsolutedarknessprecedesMonad, firstcreatedlight;
generatesDyad,lightanddarkness;Triad, light,humidspirit,darkness;andTetrad,fire,
air,water, andearthfollow, layingthefoundationforworld. Thisstructurebecomes
basisformusicalproportionasuniversalscheme.Italsoformsabridgebetweenthe
drawingsinGroup1and2.Theotherdrawingsshowtherelationshipofmacrocosmto
microcosm. PyramidofBody,Soul,andSpiritus(upperright)showsproportionsof
activationoftheharmonicschemeinthehumanbein.Spiritusinthiscontextisnot
immortalSpirit. Itiscorporealvaporformedintheblood, vivifyingthebrainandlinking
bodyandsoul,akintopranaorvitalbreathformedfromether.Thedescentandre-ascent
oftheSouloccursinthreeoctaves.Man’sHigherFaculties(uppercenter)showsthe
corporealpyramidwith27levelsofmoralevolutionofthemacrocosminrelationto
microcosmofthehumanbeingfromthestateofvegetablethroughdevelopmentofwillto
loveandknowledgeofGod. TheSevenChakras(lowerleft)showsthathumanbeings
canoperateonanylevelfromterrestrialtoseraphic.Outsidearcreads: Theessential
harmonybywhichthehumansouldrawsintoitsownconstitutionanyportionofthe
regionsofthethreeworlds.ThreefoldManifestation(lowerright) relatesintervalstothe
previousdrawing, likesectionandplanviews.Thelighttrianglerepresentsthetrinity of
19.

God,beyondallthings, enteringtheblackholeofmatter. Fromitthethreeworldsarise,
theempyrean, ethereal, andelemental. Thereisanoctavebetween adjacentworldsand
doubleoctavebetweenempyrean andelemental. ThecenteristheTetragrammatonwith
HebrewlettersfromCabbala, withthepre-cosmicnumbersfromPythagoreantetrad.
Arcsshowtheharmonicrelations.
Group3drawings: Fluddillustration, Jacob’sLadder, (top)showsthestepsto
mountfromEarthtoHeaven. TheoutlineofintersectingpyramidsfromPyramidof
Body,Soul,andSpiritusisindicatedhere,echoingtheladder, connectingthehumanand
divine.Theyalsoexpressthedivinecontractingintocorporeality, andthathumanbeings
arecreatedtopraise.GodwinbelievesthatFluddhintsathisownexperienceof
meditationhere,andthenecessity toturninwardonthisjourney. Theintersecting
trianglesorpyramidsrecallthecosmicduality andthemonochordthatsymbolizesthe
chainofbeingthatrunsfromtheEarthtoGod. Themonochordisalsothemusical
expressionoftherelationship.MydepictionofTheTwelve Senses(bottom)from
lecturesgivenbyRobertSardellowasdevelopedtouseasapointofdeparturein
synthesizinghismaterial, andcombiningmyworkwithFludd.Thefollowingnotes
originatefromthelectures,andpatternrelationshipsthatIsawexpandedfromthere.Use
thecentertrianglesandsquarestoseethemmoreclearlyastheybecomemorecomplex.
IndividualSenses: Imagineeachasworldandworkwithinitasmicrocosmandin
relationtomacrocosmofsensory wholeness, worldsofvirtuesandarts.Forexample:
Considerasindividualentity: Alsoconsidertheirplacewithinthewhole:
(Aries) Senseof! Location, influence, aspects, gender, color,
VirtueofDevotion relationtothebody, etc.
ArtofLiving
Adjacent Senses: Imagineeachworldasstrengthened frombringingqualitiesof
theprevioussenseforward andreachingtowardthenextsense.Forexample:
Bring: Reachtoward: Deepeninto:
(Pisces)Sense ofTaste (Taurus)Sense ofThought (Aries) SenseofI
VirtueofLove VirtueofBalance VirtueofDevotion
ArtofCooking ArtofThinking ArtofLiving
20.

Polar Senses: Imaginesignificance ofunionofopposites, existinginbalance, and
possibilities associated withcompensatory allopathic relationships. Forexample:
(Aries) Senseof! (Libra) Sense ofTouch
Virtue ofDevotion VirtueofEquanimity
ArtofLiving ArtofArchitecture
Triadic Senses:Imaginesignificance oftriadrelationship, possibilitiesassociated
withhomeopathicqualitiesandassessmentofwhatissimilaranddissimilaramongthe
three. Forexample, realmofFireelements:
(Aries)SenseofI (Leo) Sense ofWarmth (Sagittarius) Senseof
Movement
VirtueofDevotion
ArtofLiving
Virtue ofCompassion
ArtofLove
VirtueofTruth
ArtofMime
QuadraticSenses: Imaginesignificanceofquadriplicities, inconnectionwithlife
qualitiesofcardinalorcreation, fixedorpreservation, andmutableordestruction,each
containingoneoftheelementstomakeupitsworld. Forexample, cardinalqualities:
(Aries) SenseofI (Cancer) Sense ofHearing
VirtueofDevotion VirtueofSelflessness
ArtofLiving ArtofMusic
(Libra) SenseofTouch (Capricorn) SenseofBalance
VirtueofEquanimity VirtueofCourage
ArtofArchitecture ArtofDance
Aftercompletingthedrawing, Idiscovered thisquotefromAnnReeColtoninher
manuscriptaboutJesusco-authored withJonathanMUITo, Menarenowexpressing twelve
prototypes, butthatsomepersonsoftheearthwilleventually achieveathirteenth
prototypalaction,andbecome”like”Jesus (IJohn3:1-3). Suchpersons willfulfillthe
Jesus-man prototype. ThemanuscriptpertainingtoJesuswasaccompaniedbyseveral
chartsanddiagrams. Onechart disclosed thethirteen vortice-pools ofworship. This
chartexplained whytherearesomany different worship-pathstoGod.SofarIhavenot
foundherdiagram, butthereareparallelswithTheTwelve Senses, thecentralvortice
beingthethirteenth, inevolutionfunnelingbetween theoutertwelve. Themovement is
similarinGroup2drawing, ThreefoldManifestation, towardtheTetragrarnmatoncenter.
Love andCompassion, OneHeart: Ontheoutsideoftheframearethe
winds, divine inspiration, activatingtheworldwithintheconfinesoftheframeofthe
21.

Universe.TheheartimagesanddrawingstyleareshapedfrommyworkwithFluddand
thesacredheartemblemsofDanielCramerpublishedin1617, acontemporaryofFludd
intheRosicrucianstream.Ihaveadaptedthemtoechotheexperienceineachofthe
heartsastheplaceofloveandcompassion. Theyalsorelatetodivineandhumanwaysof
beingintheworld.Thedrawingwasdone,asapersonalmeditationtool,andfora
benefittoraisefundsonbehalfoftheJeanetteRankinPeaceCenter.
ThePalaceofFineArtslivesinTheTempleofMusic:Thispiecewasinspiredby
CherriNewton.Discoveringthevisionarydrawing,TheTempleofMusic,wasmyfirst
introductionintotheworkofFludd. Combiningitwiththispoem:Music:thebreathing
ofstatues. Perhaps:thesilenceofpaintings.Languagewherelanguageends.Timethat
goesdownwardinthedirectionofheartsthatwearout.Feeling-forwhom?Place
wherefeelingistransformed…intowhat? Acountrysidewecanhear.Musicyou
stranger. Youfeelingspace,growingawayfromus.Thedeepestthinginus,thatrising
aboveus,forcesitswayout…aholygoodbye. Whentheinnermostpointinusstands
outside,asamazingspace, astheothersideoftheair:pureimmense,notforustolivein
now.(RainerMariaRilke)AndsurroundingthemwithThePalaceofFineArts,whichis
anactualstructurebuiltinSanFrancisco, allowedmetoworkwithmanylayersofthings
seenandunseeninlettinggoandbecoming moreaware. Itisaprayerofgratitude, that
allowedmetobeginvisuallyexploringtherelationshipbetweenthematerialandspiritual
worlds,lifeanddeath, andtheintegration ofmusic movingwithinthem.
Bibliography
Foliodocuments: Fasciculusgeomaticus1687, DukeUniversityLibrary.Jantz
Collection.(7plateswithillus.)
JohannesKepler, Prodromusdissertationvmcosmographicarvm…,bookformat,
Francofvrti,RecusustypisE.Kempferi, 1621. (50pgs.withillus.)
22.

PrimarysourcesbyRobertFludd:
Anatomiaeamphitheatrumeffigietriplici,moreetconditionevaris, designatum.
Francofurti:JohannisTheodorideBry,1623.
Medicinacatholica, seuMysticumartismedicandisacrarium[tomusprimus,
tractatusprimusj. ..Francofurti:WilhelmiFitzeri,AnnoMDCXXXIX.
MosaicallPhilosphy, groundedupontheeternalsapience. WrittenfirstinLatin,
afterwardsthusrenderedEnglishbyRobertFludd.Edinburgh:AdamMcLean,1979.
TheOriginandStructureoftheCosmos.BeingaTranslationbyPatriciaTahilof
BooksoneandtwoofTractateonefromvolumeoneofUtriusquecosmihistoriaeof
RobertFludd.WithanIntroductionbyAdamMcLean. Edinburgh:Magnumopus
HermeticSourceworks, 1982.
RobertFluddandhisPhilosophicalKey,beingatranscriptionofthemanuscript
atTrinityCollege, Cambridge, withanintroductionbyAllenDebus.NewYork:Science
HistoryPublications, 1979.
Utriusquecosmimaiorisscilicetetminorismetaphysica,physicaatquetechnica
historia.[v.1,pt.l;v.2,pt.l,sect.I:v.2,pt.1,sect.2;v.2,pt.2,sect.l, no.1-2;v.2,
pt.sect.l, no.3]Oppenhemij:Johan-TheodorideBry:1619-1624.
OtherSources:
PeterAckroyd, Blake,ABiography,BallantineBooks,NewYork,1997.
ToddBarton,RobertFludd’sTempleofMusic:adescriptionandcommentary,
ThesisMAUniversity ofOregon, bookformat, 1978.
CalvinBower, Boethius'”ThePrinciplesofMusic”,anIntroduction,Translation,
andCommentary,Ph.D.ThesisMusic, GeorgePeabodyCollegeforTeachers, book
format, 1967.
TitusBurkhardt,Alchemy:ScienceoftheCosmos.ScienceoftheSoul, Element
Books, London, 1987.
TeilharddeChardin,TheDivineMilieu, NewYork,HarperCollins, 1989.
23.

J.B.Craven, DoctorRobertFludd,GB,FirstImpressions, 1993, 1902.
Allen Debus, “Robert FluddandtheuseofGilbert’sDeMagneteinweapon- salve
controversy” ,Journalofthehistoryofmedicineandalliedsciences, v.19, 1964.
AllenDebus, “RobertFluddandthecirculationoftheblood”, Journal ofthe
historyofmedicineandalliedsciences, v.16, 1961.
RichardDurling, SomeunrecordedverseinpraiseofRobertFluddandWilliam
Harvey, Medicalhistory,v.8,bookformat,1964.
RobertFludd,RobertFludd: essentialreadings, London, AquarianiThorsons,
1992.
JoscelynGodwin, RobertFludd: hermeticphilosopherandsurveyoroftwo
worlds, GrandRapids, MI,PhanesPress, 1991. Reprint, originally publishedThamesand
Hudson,London, ArtandImagination1979.
Robert Greenler, Rainbows,Halos,andGlories, NewYork,CambridgeUniversity
Press, 1980.
WilliamHuffman, RobertFluddandtheendoftheRenaissance, London,
Routledge, 1988.
JamesJeans, ScienceandMusic, NewYork,DoverPublications, 1968.
PaulLarson, “TheGoldenSectionintheEarliestNotatedMusic”, Fibonacci
Quarterley, v.16,no.6,Dec.1976.
SarahMajercik, ThephilosophicalandprofessionalworldofRobertFludd, 1574-
l6.3.1, ThesisHarvardUniversity, ABHonorsinHistory andScience, bookformat, 1993.
HilaryMantel, Eludd, London, Penguin, 1990.
DaytonMiller, AnecdotalHistoryoftheScienceofSound,NewYork,Macmillan,
1935.
KennethMitchell, Musicalconceptionsinthehermetic philosophyofRobert
Fludd: theirnatureandsignificanceinGermanBaroquemusicalthought, Ph.D. Thesis
Washington UniversityDept. ofMusic, bookformat, 1994.
24.

ThomasMoore, ThePlanetsWithin,theAstrologicalPsycholoofMarsilio
Eicino, Hudson, NewYork, LindesfamePress, 1990.
HugoNorden,”ProportionsinMusic”,FibonacciQuarterley, v.2,no.3,Oct.1964.
ThereseSchroeder-Sheker, “MusicfortheDying:APersonalAccountoftheNew
Field ofMusicThanotolo-History, Theories,andClinicalNarratives”, Journalof
Holistic Nursing, v.12,n.1,March1994.
ThereseSchroeder-Sheker, “MusicfortheDying:APersonalAccount oftheNew
FieldofMusicThanotolo- History, Theories,andClinicalNarratives”, Advances, v.9,
n.3,Winter1993.
NancySiraisi,MedievalandEarlyRenaissanceMedicine:AnIntroductionto
KnowledgeandPractice,ChicagoandLondon:TheUniversityofChicagoPress,1990.
LynnThorndike, HistoryofMagicandExperimentalScience,v.7and8,New
York,ColumbiaUniversityPress,1958.
ArthurWaite,RobertFluddandFreemasonry:beingtheRosicrucianandMasonic
connection, Edmonds, WA,SureFirePress, 1994.
FrancesYates, TheArtofMemory, UniversityofChicagoPress,1966.
ArthurZajonc, CatchingtheLight,theEntwinedHistoryofLightandMind, New
York, OxfordUniversity Press, 1993.
25.

I,

·~.:.:.1!Y
./~Lux
..
;.
/-~,~-~-.”.”-~
~nebTa:. :•Lu.:x:.
,.,1 ‘”
/l_······A-h-···· ……..
Tenebra=.,.,1.
// J.. ~Lu:x:
~/ t_..____:.
/ i ‘
/ l .
•………………__J..-..–.-.-.–.,
~
‘”i..,
P’

s.

………
‘to

,/i
.’
•…_-.
tfi
~
~

Darkness•.”·–··T.._–.•”‘..
-‘ ~
/:—-.’–‘- -..–~..
Dad<:-ne.ss /
•
.'
+Mnid:j Spirit
•
/··································i···
.• t
!
…-…•—.–.!.-..–.— ..–~~
~
~
S;

——–~~-~~-~ ..~—"~~..~..-.."–..~ ….
(

.~
£0Loveandcomyassion:OneHeartes
Thisdrawinggrowsoutofmystudyofalchemy.Itisarichworldof
symbolandsubstance.Manyofthetheoriesareactuallyrootedindevelopingthe
innerlife.Drawingssimilartothiswereusedaspartofmeditationpracticeto
deepenspiritualitythroughlayers,ofmeaning,aswellasjustbeingwiththepiece.
Togetyoustarted,hereareafewideas.Therearetwodistincthearts
shown,buttheycanrepresentplaceswithinoneindividual,where~esense
wisdominourbeingandbeyond,whileexperiencingthechaosandcalmin
everydaylife.Traditionallytheelementsofearth,air,fire,andwatermakeupthe
physicalworld.Theforcesofthewindsandlightactivatechangeandtransmute
life.Itisalsopossibletoseeeachheartasaseparateindividual,withbothhearts'
inthedynamicofhumanrelationship.AnotherperceptionistheDivineheart
piercingthecloudsofunknowingtouniteallbeingsinharmony. .
Hopefullythispiecesparksinyouthedesiretodiscoveryourown.
relationshiptoit,andtheendlessopportunitiesthatwehavetocreateourlivesand
ourworldthroughloveandcompassion. .
LynnReddi1t1