Robert Fludd and the Mirror of Nature

  One of my favourite images is Robert Fludd’s engraving Integrae Naturae Speculum Artisque Imago (The Mirror of Whole Nature and the Image of Art) which comes from his book Utriusque Cosmi.... or Metaphysical History of the Two Worlds which was published between 1617 and 1621. The two worlds are macrocosm and microcosm, the universe and man. Here is that famous picture in a colourised version which may appal the purists but helps to identify detail.

One is first of all struck by the female figure. She is clearly not the Virgin Mary, the usual feminine figure in Western religious art so who is she? Here I would like to examine just who and what she is, and use that as a jumping off point to look at the rest of the image in terms of the masculine and feminine poles of being because it sums up just what these are better than anything else I know. 

The image is a visual representation of the hierarchical nature of the manifested cosmos, and it shows the twin polarities of being as they are expressed in the field of creation. Here we have clearly delineated the metaphysical structure and relationship of the Transcendent Father (Spirit), the Immanent Mother (Matter), and the human being in a precise cosmic map.

There are three levels of this cosmic layout. At the apex of the vertical axis sits the Tetragrammaton (the Name of God), surrounded by a dark cloud radiating pure, unconditioned light. This is the Transcendent Source or Unmanifested Pole which represents the supreme masculine principle—the self-existent, independent root of being that sits outside and above the concentric circles of the manifested universe. It includes the formless Logos and originating Will that has its being entirely in itself.

Descending from the divine cloud is a vertical chain held by the hand of God. This chain is attached to the right wrist of a cosmic woman crowned with stars. She is the anima mundi or soul of the world who stands spanning the earthly and celestial spheres, and she represents the Immanent Feminine Principle or Nature in her universal aspect. She is not the self-existent source but the contingent reflection. Her posture embodies the sacred sequence of submission and containment. Her right hand, the vertical link is passively raised, chained to the Transcendent Father, showing that she derives her being, authority, and life-spark downward from the vertical axis. Her left hand which is the down stepping conduit holds a second chain that descends to the arm of a small monkey who sits on top of the central terrestrial globe. This monkey represents human art and intellect.

Nature acts as the cosmic transformer. She takes the formless fire of the Father and uses her macrocosmic body which includes the nested concentric rings of the elements, planets, and stars, for all this emanates from her body to shape, contain, and crystallise that power of the Father into an ordered material reality. His word shapes her substance.

 At the centre of the image is the Earth, the dense and lowest point of the horizontal plane which is where the light that flows down from the Father and through the receptive womb of Mother Nature reaches the physical world. When that hierarchy is respected order and harmony prevail, but when it is neglected then disorder makes an appearance because the sacred has been disrupted.

Fludd's engraving is a pictorial rejection of modern horizontal and egalitarian materialistic flattening. It demonstrates that the vertical axis must hold structural superiority because it is the thread that keeps the material worlds from collapsing into a chaotic vacuum. Mother Nature does not try to usurp the position of the cloud. She honours her duty as the divine vessel, ensuring that the self-existent, primary law of the transcendent Father is properly held, shaped, and anchored into the fabric of space and time.

 Moving from the terrestrial centre toward the outer rim, Fludd lays out the geocentric planetary rings from the Moon to Saturn. In spiritual terms these spheres are not just the physical planets, they are the cosmic transformers of the Anima Mundi. As the supernal light of the Father comes down the vertical axis, it passes through each planetary ring, each one of which acts as a filter, slowing down the frequency, imprinting it with a specific vibration, and stepping it down so that it does not vaporise physical matter.

Likewise, for the individual soul undergoing the training of the Masters, these spheres represent initiatory checkpoints. To return home along the vertical axis, the consciousness must climb back up through these rings and pass the tests of the emotional vehicle (Moon), master analytical discrimination (Mercury), transform desire into love (Venus), achieve integration of the heart and spiritual sovereignty (Sun), learn wisdom, benevolence and justice (Jupiter) and endure the structural discipline, restrictive pressure and final humility of the boundary line (Saturn). The planetary spheres ensure that the path of return is an orderly, geometric ascent, preventing the soul from dissolving into chaotic, unstructured mysticism.

At the apex of the vertical column, inside the radiant cloud, sits the Tetragrammaton representing the First Person of the Trinity, the source of Will and Power that commands time, space and phenomenal being into existence.

Fludd and his engraver/publisher Johann Theodor de Bry demonstrate visually that the First Person cannot touch the lower three worlds directly. He remains enclosed within the sacred cloud of unmanifested positivity. His being and energy must be funnelled down the vertical chain into the wrist of the Feminine Principle or Nature who acts as the primary transformer to hold, shape, and distribute the power of God through the cosmos.

At the centre of the image, sitting on top of the terrestrial globe (Animalia, Vegetabilia, Mineralia), the small monkey holds a compass which Fludd calls Art mimicking Nature. The monkey is man and the compass stands for his creative work as expressed through the divine order of geometry. Without that compass and the higher connection it symbolises as it measures divine law into concrete form the work of man becomes destructive because it is separated from the source.

In Western esoteric thought the Anima Mundi is not an abstract concept. She is the universal being that bridges the gap between unmanifested Spirit and physical Matter, and, as such, the intermediary between the pure spirit of God in the formless cloud and the material world. She mediates his energy so that it can manifest on lower levels, and this is shown by the fact that her head touches the starry heavens while her feet rest upon the earth thereby connecting the top of the hierarchy of manifestation with the bottom. Her right hand and upper body are aligned with the heavens, chained to the unmanifested Source, showing her essence to be purely spiritual and deriving its light and life-spark directly from the Father. At the same time, as the mother of the physical world, her lower body and womb are positioned over the terrestrial spheres. She takes the formless spiritual fire of the Father and translates it into the concentric rings of the elements and planets, so organising the physical laws of nature.

When all is said and done everything is spirit. We may think of the unmanifested source as like vapour—pure, unconditioned, formless Spirit. This is stepped down to the Anima Mundi where this spirit becomes like flowing water. The Anima Mundi is the intermediate matrix that catches the vapour and carries the divine blueprints from the Logos through space to the etheric and astral planes, the fluid, psychic, and energetic levels of being where substance is not yet locked into rigid shapes but highly mobile, permeable, and constantly flowing.

We then come to physical matter where originating spirit has become like solid ice. It is not a different substance than the water; it is simply the water itself brought down to its lowest possible temperature and frozen into a dense, rigid structure which includes our familiar solids, liquids and gases, the final crystallisation of the cosmic substance. It is the time-bound realm of rigid boundaries.
The etheric plane holds the invisible, energetic grid or template upon which the dense physical ice congeals. The astral plane holds the emotional desires and cosmic magnetism that draw the atomic particles together. The Anima Mundi catches the formless vapour of pure spirit descending down through the vertical chain and from her fluid water-matrix distributes the blueprints down into the physical world.

Therefore, matter is simply the outermost garment of the World Soul. Physical matter is universal spirit operating at its slowest, most dense, and highly crystallised vibrational frequency.

The Anima Mundi is the form-building matrix. She acts as the macrocosmic womb of manifestation and as such takes the formless ideas of the Divine Mind and spins them into form, first as etheric blueprints which then congeal into physical objects, plants, animals, minerals. Matter derives its being from her and is sustained by her life force.

Returning to the engraving, we see concentric rings branching upward and outward directly above the three foundational kingdoms of Mineralia, Vegetabilia, Animalia. These show how formless spirit is gradually crystallised into physical reality in the formation of the cosmos, and we will consider them in the next post.