There always comes the moment
When you receive the confirmation
Of what you half intuited all along
No more evasions or denials
The truth is written on the wall
Writ large and quite plain to see
You are entangled within the trap
Held fast now there is no escape
It was all a set up a complete illusion
A vast conspiracy centred on you
Always and forever you alone
How can you ever begin to fathom
The depths you are plunging into
You never even knew it was a game
Until I showed you the aces in the hole
And demanded payment or satisfaction
So many questions you wanted to ask
But crumpling beneath the realisation
Of all I had in store you remained silent
Submitted docilely to my desires
However perversely strange or subtle
All your striving had come to naught
Think of this as a complete education
Now maybe you will understand
What I would sacrifice for pleasure.
In my post on the enigmatic French architect Jean-Jacques Lequeu I mentioned two other Utopian revolutionary Neoclassical architects whose visions remained largely on paper, Étienne-Louis Boullée and Claude-Nicholas Ledoux. As both architects produced interesting work in their own right and help situate Lequeu in the correct historical, intellectual and aesthetic context I felt follow up posts were necessary, starting with the originator of visionary architecture, Étienne-Louis Boullée.
Born in 1728, Boullée reacted against the frivolous decadence of the Rococo by returning to Classical forms (hence Neoclassicism), removing all unnecessary ornamentation and developing an abstract geometric style. Boullée stated that regularity, symmetry and variety were the golden rules of architecture. Another defining feature of Boullée’s projected work was it monumentalism, designed to invoke the sublime.
Boullée’s most famous work is the Cenotaph for Newton, a gargantuan monument consisting of a sphere taller than the Great Pyramid, to the idol of the Enlightenment. He also planned other Cenotaphs and tombs.
Peter Greenaway’s 1987 film The Belly of an Architect centers on an American architect staging an exhibition in Rome on Boullée. At one point a character remarks that Boullée’s work seems like a vision of Hell and I have to agree, though Boullée remains something of a hero of the Age of Reason.
Below are images of planned projects, including the Cenotaph for Newton, and two pieces of music from The Belly of an Architect.
Your fingertips glance
Glide press down there
Glissade here yes
Definitely right there
Now your touch
Locks me up
In a prism of colour
Jade hazel verdigris
Slate azure golden
Still-point the centre
Implosion the taste
Of mouths filled
Consumed with star
Light turning inward
The horizon event
Vanilla honeyed tristesse.
The 40 illustrations of the Sapientia Veterum Philosophorum are among the finest and most striking of later (18th Century) alchemical art. Stanislas Klossowski De Rola, Balthus son and resident occult adviser to the Chelsea set in Swinging London, notes that it deserves to be seen in full, however I am unfortunately only able to present a limited number of images.
Reducing the royal art to only essential imagery, (glass vessel, dove, lion, rain, sun and moon), Sapientia shows the process of conjuration and separation of the elements in the ascent and descent of the dove, which occurs seven times in the manuscript. This transmigration of matter where the fixed is rendered volatile and the volatile fixed result in the so-called eagles, of which seven precede the exaltation of the Quintessence.
The German physician and alchemist Michael Maier served as a counsellor to the occult besotted Holy Roman Emperor Rudolf II in Prague, Capital of Bohemia, however the forces that would lead to the Thirty Years War were conspiring against the Emperor and Maier was forced to leave, first to England, where he composed a song for the royal wedding of Frederick V of the Palantine to Elizabeth Stuart, the daughter of James I, and then back to Germany in 1616, settling in Frankfurt am Main.
Atalanta Fugiens (Atalanta Fleeing) was published in 1617 by Johann Theodor de Bry in Oppenheim. de Bry published numerous works by authors aligned with the Rosicrucian movement and/or followers of the Swiss physician and occultist Paracelsus (incidentally also known as the ‘father of toxicology’).
An early example of a multi-media project, Atalanta is comprised of 50 discourses, each accompanied with an engraving by Matthias Merian of an alchemical emblem, an epigram, prose, a poem and a musical fugue for three voices.
Atalanta, as suggested by the title, frequently references Classical mythology, especially the story of the virgin huntress Atalanta, in addition to alchemical allegories featuring dragons, lions, the worm ouroboros and eagles..