1. ‘Utriusque Cosmi, Majoris et Minoris, Technica Historia,’ 2 vols., folio, Oppenheim, 1616; 2. ‘Tractatus Apologeticus Integritatem Societatis de Rosea-Cruce Defendens,’ Leyden, 1617; 3. ‘Monochordon Mundi Symphoniacum, seu Replicatio ad Apologiam Johannis Kepleri,’ Frankfort, 1620; 4. ‘Anatomiæ Amphitheatrum effigie triplici Designatum,’ Frankfort, 1623; 5. ‘Philosophia Sacra et vere Christiana, seu Meteorologica Cosmica,’ Frankfort, 1626; 6. ‘Medicina Catholica, seu Mysterium Artis Medicandi Sacrarium,’ Frankfort, 1631; 7. ‘Integrum Morborum Mysterium,’ Frankfort, 1631; 8. ‘Clavis Philosophiæ et Alchymiæ,’ Frankfort, 1633; 9. ‘Philosophia Mosaica,’ Goudac, 1638; and 10. ‘Pathologia Dæmoniaca,’ Goudac, 1640.
The last two treatises were posthumous publications. Fludd died in London in 1637, and was buried in Bersted Church, where an imposing monument perpetuates his memory. It represents him seated, with his hand on a book, from the perusal of which his head has just been lifted. Just below are two volumes (there were eight originally) in marble, inscribed respectively, ‘Mysterium Cabalisticum’ and ‘Philosophia Sacra.’ The epitaph runs as follows: ‘viii. Die Mensis vii. Ao Dni, M.D.C.XXXVII. Odoribvs vana vaporat crypta tegit cineres nee speciosa tros qvod mortale minvs tibi. Te committimvs vnvm ingenii vivent hic monvmenti tvi nam tibi qvi similis scribit moritvrqve sepvlchrvm pro tota eternvm posteritate facit. Hoc monvmentvm Thomas Flood Gore Courti in-coram apud Cantianos armiger infœlicissimum in charissimi patrvi svi memoriam erexit die Mensis Avgvsti, M.D.C.XXXVII.’
I shall not weary the reader with an analysis of any of Fludd’s elaborately mystical productions. They are as dead as anything can be, and no power that I know of could breathe into them the breath of life. But I may quote a few specimen or sample sentences, so to speak, which will afford an idea of their style and tone:
‘Particulars are frequently fallible, but universal never. Occult philosophy lays bare Nature in her complete nakedness, and alone contemplates the wisdom of universals by the eyes of intelligence. Accustomed to partake of the rivers which flow from the Fountain of Life, it is unacquainted with grossness and with clouded waters.’
In reference to Music, which he says stands in the same relation to arithmetic as medicine to natural philosophy, he revives the Pythagorean idea of the harmony of the universe: ‘What is this music (of men) compared with that deep and true music of the wise, whereby the proportions of natural things are investigated, the harmonical concord and the qualities of the whole world are revealed, by which also connected things are bound together, peace established between conflicting elements, and whereby each star is perpetually suspended in its appointed place by its weight and strength, and by the harmony of its herent spirit.’
Light.—‘Nothing in this world can be accomplished without the mediation or divine act of light.’
Magic.—‘That most occult and secret department of physics, by which the mystical properties of natural substances are extracted, we term Natural Magic. The wise kings who (led by the new star from the east) sought the infant Christ, are called Magi, because they had attained a perfect knowledge of natural things, whether celestial or sublunar. This branch of the Magi also includes Solomon, since he was versed in the arcane virtues and properties of all substances, and is said to have understood the nature of every plant, from the cedar to the hyssop. Magicians who are proficient in the mathematical division construct marvellous machines by means of their geometrical knowledge; such were the flying dove of Archytas, and the brazen heads of Roger Bacon and Albertus Magnus, which are said to have spoken. Venefic magic is familiar with potions, philtres, and with the various preparations of poisons; it is, in a measure, included in the natural division, because a knowledge of the properties of natural things is requisite to produce its results. Necromantic magic is divided into Goëtic, maleficent, and theurgic. The first consists in diabolical commerce with unclean spirits, in rites of criminal curiosity, in illicit songs and invocations, and in the invocation of the souls of the dead. The second is the adjuration of the devils by the virtue of Divine names. The third pretends to be governed by good angels and the Divine will, but its wonders are most frequently performed by evil spirits, who assume the names of God and of the angels. This department of necromancy can, however, be performed by natural powers, definite rites and ceremonies, whereby celestial and Divine virtues are reconciled and drawn to us; the ancient Magi formulated in their secret books many rules of this doctrine. The last species of magic is the thaumaturgic, begetting illusory phenomena; by this art the Magi produced their phantasms and other marvels.’
The Creation.—‘According to Fludd’s philosophy,’ says Mr. Waite, ‘the whole universe was fashioned after the pattern of an archetypal world which existed in the Divine ideality, and was framed out of unity in a threefold manner. The Eternal Monad or Unity, without any regression from His own central profundity, compasses complicitly the three cosmical dimensions, namely, root, square, and cube. If we multiply unity as a root, in itself, it will produce only unity for its square, which being again multiplied in itself, brings forth a cube, which is one with root and square. Thus we have three branches differing in formal progression, yet one unity in which all things remain potentially, and that after a most abstruse manner. The archetypal world was made by the egression of one out of one, and by the regression of that one, so emitted into itself by emanation. According to this ideal image, or archetypal world, our universe was subsequently fashioned as a true type and exemplar of the Divine Pattern; for out of unity in His abstract existence, viz., as it was hidden in the dark chaos, or potential mass, the bright flame of all formal being did shine forth, and the spirit of wisdom, proceeding from them both, conjoined the formal emanation with the potential matter, so that by the union of the divine emanation of light, and the substantial darkness, which was water, the heavens were made of old, and the whole world.’38
THOMAS VAUGHAN.
Another English Rosicrucian to whom allusion must briefly be made is Thomas Vaughan, who in his writings assumes the more classical appellation of Eugenius Philalethes (‘truth-lover’), and in his travels was known as Carnobius in Holland, and Doctor Zheil in America. He was born about 1612; was educated at Oxford; wandered afterwards through many countries; embraced the delusions of alchemy and the Rosy Cross; accreted round his personality a number of wild and extravagant stories; and finally disappeared into such complete oblivion that the time and place of his death are alike unknown.
The writings attributed to him are: 1. ‘Anthroposophia Magica; or, A Discourse of the Nature of Man and his State after Death;’ and ‘Anima Magica Abscondita; or, A Discourse of the Universall Spirit of Nature,’ London, 1650. 2. ‘Magia Adamica; or, The Antiquities of Magic,’ same place and date. 3. ‘The Man-Mouse taken in a Trap;’ a reply to Henry More, who had criticised his ‘Anthroposophia Magica.’ 4. ‘Lumen de Lumine; or, A New Magicall Light discovered and communicated to the World,’ London, 1651. 5. ‘The Second Wash; or, The Moor Scoured Once More, being a charitable Cure for the Distractions of Abazonomastix’ (Henry More), London, 1651. 6. ‘The Fame and Confession of the Fraternity of R. C., with a Preface annexed thereto, and a short declaration of their physicall work,’ London, 1652. 7. ‘Euphrates; or, The Waters of the East, being a Short Discourse of that Great Fountain whose water flows from Fire, and carries in it the beams of the Sun and Moon,’ London, 1656. 8. ‘A Brief Natural History,’ London, 1669. And 9. ‘Introitus Apertus ad Occlusum Regis Palatium. Philalethæ Tractatus Tres: i. Metallorum Metamorphosis; ii. Brevis Manductio ad Rubrium Cœlestem; iii. Fons Chymicæ Veritatis,’ London, 1678.
Vaughan seems to have led a wandering life, and to have fallen ‘often into great perplexities and dangers from the mere suspicion that he possessed extraordinary secrets.’ The suspicion, I should say, was abundantly justified, since he made gold at will, and knew the composition of the wonderful elixir! On one occasion, he tells us, he went to a goldsmith, desiring to sell him twelve hundred marks’ worth of gold; but the goldsmith at first sight pronounced that it had never come out of any mine, but was the production of art, seeing that it was not of the standard of any known kingdom. Vaughan adds that he was so confounded at this statement—though, surely, he must have expected it—that