Robert Fludd was a English Paracelsian physician who lived from January 17th 1574 to September 8th 1637 that delved into both science and the occult. His main interests were astrology, mathematics, cosmology, Qabalah, and Rosicrucianism.

He was born at Millgate House in Bearsted, Kent, he was the son of Sir Thomas Fludd, a prominent governmental official who served as Queen Elizabeth I's treasurer for war in Europe, and Member of Parliament. His mother, Elizabeth Andrews Fludd, played a huge role in his upbringing. 

He entered St John's College, Oxford as a commoner in 1591, and then got a B.A. in 1597 and an M.A. in 1598. It's worth mentioning that St. John's College, Oxford was among the few in England that offered a Fellowship in medicine. During his tenure at the college, the Medical Fellow in residence was Matthew Gwinne, known for his tract indicating familiarity with both Galenic and Paracelsian medical practices. It's possible that Fludd may have come across Gwinne or his writings during his time at Oxford, and possibly influencing his medical philosophy and approach.

Between 1598 and 1604, Fludd focused on the study of medicine, chemistry, and hermeticism as he pursued his education across the European mainland after his graduation. There isn't too much known about his travels, but he does recall spending a winter in the Pyrenees studying theurgy, and the practice of rituals alongside the Jesuits. He also hints at traveling through Spain, Italy, Germany and France.

Upon returning to England in 1604, Robert Fludd enrolled at Christ Church, Oxford. His purpose was to pursue a degree in medicine, a path that demanded an understanding of the required medical literature, which included the works of Galen and Hippocrates. Fludd presented and defended three theses based on these texts before making his supplication on May 14th 1605. This led to his successful graduation with both M.B. and M.D. degrees on May 16th 1605.

After graduating from Christ Church, Fludd moved to London, where he settled in Fenchurch Street. He made repeated attempts to get into the College of Physicians, but had difficulties with the examiners due to his open dislike for traditional medical authorities and his adoption of Paracelsus' views. Also, his attitude towards ancient authorities such as Galen also contributed to being denied. Despite at least six failed attempts, Fludd finally succeeded in gaining admission in September 1609.

Despite all the failed attempts, he did well in his career, holding the esteemed position of Censor of the College on four occasions (1618, 1627, 1633, and 1634). In 1614, he took part in the College's inspection of the London apothecaries and played a major role in crafting the Pharmacopoeia Londinensis in 1618, which was the first standard list of medicines and their ingredients in England. 

Both his career and his standing in the College took a turn for the better. He was on good terms with Sir William Paddy, and his support for the theory of the circulation of the blood, proposed by the college's William Harvey. 

William Harvey

William Harvey was an English physician who made influential contributions in anatomy and physiology. He was the first known physician to describe completely, and in detail, the systemic circulation and properties of blood being pumped to the brain and the rest of the body by the heart, though earlier writers, such as Realdo Colombo, Michael Servetus, and Jacques Dubois, had provided precursors of the theory.

He was appointed as 'Physician Extraordinary' to King James I on 3 February 1618

Sir William Paddy

We also have mentioned William Paddy before. In the Michael Maeir’s series we mentioned William. Michael’s first well-known book, Arcana arcanissima, was originally dedicated to the head of the Royal College of Physicians at that time William Paddy.

Back To Robert

While he followed Paracelsus in his medical views rather than the ancient authorities, he was also a believer that real wisdom was to be found in the writings of natural magicians. His view of these mystical ideas was inclined towards the great mathematicians, and he believed, like Pythagoras and his followers, that numbers contained access to great hidden secrets. Certainty in religion, he argued, could be discovered only through serious study of numbers and ratios. This perspective later brought Fludd into conflict with Johannes Kepler, highlighting the profound impact of his unconventional beliefs.

Now we will spend some time discussing Robert Fludd's medical practices and beliefs. 

Robert Fludd blended traditional practices with innovative ideas rooted in mysticism and alchemy, and he was also a strong advocate of Paracelsian principles and ideas. This was a departure from the dominant Galenic medical theories of his time.

He believed in the transformative power of alchemy, not just for turning base metals into gold but also for healing the human body. Fludd saw the body as a microcosm of the universe, and he sought to align its elements with the macrocosmic order for health and well-being.

Fludd's medical philosophy integrated physical, spiritual, and cosmic elements. He believed that healing required addressing not just the body but also the soul and its connection to the divine.

His medical practice relied on prayer and the Hebrew name of Jesus, which he believed held magical power. He associated Jesus with the angel Metatron, the world’s soul, equating Metatron with the Hermetic “anima mundi” or “Anthropos.”

Fludd argued that the first manifestation of the Godhead in Jewish Kabbalah, “Hochmah” (“Wisdom”), is the same as the Second Person of the Christian Trinity, Jesus Christ, the “Verbum” (“Word”) from the Gospel of John. This “Word” connects to the Hebrew letter “Aleph.” Fludd's concepts of divine creative and healing forces were illustrated through intersecting cones, or pyramids. 

The "pyramidis formalis" represent divine light from the Empyreum, while the "pyramidis materialis" points up from the earth. He termed these diagrams "pyramides lucis," claiming innovation despite their roots in ancient optical theory. Within the cones' intersection, Fludd positioned the sun to balance spirit and matter, male and female, sulphur and mercury.

Fludd's medical theories emphasized the importance of aerial nitre, or quintessence, for health. This celestial light, originating from the sun, was inhaled and transformed into vital spirit by the heart. In his work "Tractatus de Tritico," Fludd described distilling aerial nitre from wheat using the sun's heat and light, claiming it was a Universal Panacea. His account linked the healing properties of bread to Transubstantiation, suggesting that his panacea resembled the Body and Blood of Christ. 

He describes the production of this chemical in the "Tractatus de Tritico" ("Tractate on Wheat"), the first part of a longer work, the Anatomiae Amphitheatrum (1623).

The elixir, an alchemical equivalent of human blood, is derived from wheat's red oil and symbolizes Christ's body and blood. The sun is vital in Fludd’s process, channeling celestial virtues into the distilled wheat spirit, which mirrors the properties of the sun and gold. Initially, a white liquid forms during distillation, turning red in sunlight due to fiery nitre, creating a universal panacea. Fludd's ideas may have been influenced by Boehme, who suggests Christ is present in the Eucharist as the sun is in vegetation. The communion miracle is an alchemical transformation by Nature's spiritual forces, with wine likened to the tincture. Fludd asserts the sun serves as Christ's altar, embodying the "anima mundi" as the angel Metatron.

Robert Fludd was also a man who prescribed the holistic approach as a means of treatment.

Much of Fludd's writing, and his pathology of disease, centered around the sympathies found in nature between man, the terrestrial Earth, and the divine. While Paracelsian in nature, Fludd's own theory on the origin of all things posited that, instead of the Tria Prima, all species and things stemmed from first, dark Chaos, then divine Light which acted upon the Chaos, which finally brought forth the waters.

This last element was also called the Spirit of the Lord, and it made up the passive matter of all other substances, including all secondary elements and the four qualities of the ancients. The Fluddean tripartite theory concluded that Paracelsus' own conception of the three primary principles—Sulphur, Salt and Mercury—eventually derived from Chaos and Light interacting to create variations of the waters, or Spirit.

The Trinitarian division holds importance as it serves as a reflection of a mystical framework for understanding biology. Robert Fludd heavily drew from scripture, where the number three symbolized the principium formarum, or the original form, as well as the Holy Trinity. This association made the number three a representation of the perfect body, mirroring the concept of the Trinity. Thus, this framework allowed for the connection of man and Earth with the infinity of God, fostering a universal bond of sympathy and composition among all things.

As a Hermeticist, Robert Fludd had a fascination with the elements. His examination of the first chapter of Genesis led him to identify darkness, light, and water as the sole true elements, relegating the traditional four elements of Aristotle and the three principles of Paracelsus to a secondary status. 

He drew parallels between heat and cold with light and darkness, using a graduated thermoscope to demonstrate their effects and seemingly provide visual confirmation of the doctrine of expansion and contraction. 

Now when it comes to spiritual and mystical views, and beliefs, there are a lot of places Fludd drew inspiration from.

Robert Fludd was heavily influenced by a variety of intellectual and spiritual traditions. The most significant influence on his work is generally considered to be Paracelsus.

Paracelsus’ emphasis on the unity of the spiritual and material worlds, as well as his blend of alchemy, astrology, and mysticism, resonated strongly with Fludd. This is evident in Fludd’s major works, such as “Utriusque Cosmi Historia” (The History of the Two Worlds), where he explores the relationship between the divine, the cosmos, and humanity—ideas that echo Paracelsian thought.

Other people known to influence Fludd are Cornelius Agrippa (1486–1535), a German occultist and author of “De Occulta Philosophia”. Agrippa’s work shares similarities with Fludd’s, particularly in its esoteric views, and some scholars view Fludd as a successor to Agrippa’s tradition. 

Marsilio Ficino (1433–1499), an Italian philosopher who revived Platonism and translated the Hermetic corpus, and helped shape Renaissance mysticism and Neoplatonism. Fludd’s hierarchical view of the universe and interest in Hermeticism suggest Ficino’s influence, but there’s less evidence of a direct connection compared to Paracelsus. 

Pico della Mirandola (1463–1494), a Christian Kabbalist, influenced Fludd’s incorporation of Kabbalistic concepts like the Tree of Life. However, Pico’s work is more narrowly focused than the broad medico-philosophical framework Fludd adopted from Paracelsus.

Fludd also drew heavily from the Hermetic tradition, particularly the Corpus Hermeticum, which blended Neoplatonism, mysticism, and esoteric knowledge. This tradition reinforced his belief in a hidden, divine order underlying the universe.

Fludd is often associated with the early Rosicrucian movement, and while it’s debated whether he was a member, the Rosicrucian manifestos (like the Fama Fraternitatis) shares his interest in esoteric wisdom, alchemy, and spiritual transformation.

Through figures like Plotinus, Fludd adopted ideas about the emanation of the divine into the material world, which influenced his hierarchical view of existence.

As a devout Christian, Fludd integrated biblical themes and Kabbalistic ideas into his work, seeing his philosophy as a way to glorify God’s creation.

Fludd’s engagement with the Rosicrucian movement, which he defended in works like “Tractatus Apologeticus”, points to influences from its manifestos, possibly linked to figures like Johann Valentin Andreae. However, the Rosicrucians themselves drew from earlier traditions, including Paracelsus, reinforcing his prominence. 

Fludd's Roman Catholic influence in alchemy has gone unnoticed by scholars until recently, particularly following Albrecht's examination of John Donne’s Catholic alchemy, which introduces Roman Catholic elements in English alchemy. Albrecht analyzes Marian imagery in Donne's poetry but offers a suggestive rather than definitive argument. There has been at least one visual reference identified to Marian Catholic doctrine in Fludd’s works. In Utriusque ... Cosmi Historia, a notable engraving depicts a naked woman amidst cosmic spheres, titled “Integra Naturae Speculum Artisque Imago.” Fludd describes her as “Natura,” a virgin governing the sub-lunar world, connected by a chain to the Empyreum, where the Tetragrammaton “YHWH” shines.

The Virgin in Fludd’s image represents the Soul of the World, the “anima mundi,” who influences the stars and nourishes all beings. The sun rests on her breast, with a crescent moon on her belly, and her loose hair resembles that of an unmarried girl. The twelve-star halo, particularly one hidden behind her hair, along with the crescent moon, connects her to Mary as the Immaculate Conception. These attributes derive from Revelation 12’s depiction of the Apocalyptic Woman: “a woman clothed with the sun, with the moon under her feet, and a garland of twelve stars.” Fludd draws an alchemical analogy to the unborn child of the Apocalyptic Woman, referring to the mercurial spirit in the Virgin’s womb and noting that her heart gives light to the stars. The mercurial spirit, the Spirit of the Moon, is sent from her womb to the earth to create life, as Catholic dogma teaches that the Second Person of the Trinity, the Son (later Jesus), was the Creator of the universe.

Fludd’s Virgin stands with her right foot on the earth and left foot in water, symbolizing the alchemical union of sulphur and mercury. This connection equates Fludd’s “Natura” with the Catholic doctrine of Mary, a mediator between heaven and earth, embodying both human and divine after death. Fludd’s Virgin, adapted to align with alchemical theories, reflects the medieval imagery of Eve, as Mary is considered the second Eve. In the Tractatus Theologo-Philosophicus, he describes the virgin Psyche, daughter of Nature, as a pure bride and a tabernacle of the Holy Spirit, mirroring attributes of the Virgin Mary. She is depicted adorned with divine light and as the minister of life, embodying the Holy Trinity. In Catholic doctrine, Mary is seen as the Bride of the Trinity at her coronation in heaven.

Now for a quick moment we will discuss Fludds concepts on Nature.

Fludd's Nature concept includes two worlds (macrocosm and microcosm) with three regions each. He designed two opposing pyramids: the material one rises from cold, dark, dense space, while the formal one descends from hot, light, sparse space. The middle region, where light equals darkness and form equals matter, is the "sphere of equality," the sun's orbital sphere and divine seat from which stars derive their essence, akin to how numbers arise from unity. Allen G. Debus noted similarities between Fludd's admiration for the sun and Copernicus's. But according to Fludd’s description, objects farther from the Earth are necessarily lighter and are closer to the divine source of all motion. He thus rejected heliocentrism on the basis that the Earth is the heaviest body and must therefore occupy the motionless centre of the macrocosm.

Fludd aimed to create a basic mathematical physics within his model of Nature using mechanical analogies as proofs. He believed all motion starts beyond the heavens, illustrated by a wheel's easier rotation at its periphery than its center. His “weather-glass” apparatus showcased opposites' interaction, functioning contrary to common thermometers and barometers. Fludd hoped his metaphysical ideas, like the two pyramids, would align with empirical findings. He envisioned a grand divine Nature encompassing all knowledge, though he underestimated the public pushback his views would encounter.

In his Declaratio Brevis to James I, Fludd explained his intentions:

The true philosophy, commonly thought of as new, which destroys the old, is the head, the sum, the foundation, and the embracer of all Disciplines, Sciences, and Arts […] it will diligently investigate heaven and earth, and will sufficiently, by its images, explore, examine and depict Man, who is unique […] It is sufficiently obvious that my opinions are not new but rather are the most evident explications and most clear demonstrations of the secrets of nature which have been concealed or hidden by the ancient Philosophers under the guise of allegorical riddles and enigmas.

Now when it came to music, Robert made significant contributions to the understanding of music as a cosmic and metaphysical force.

He viewed music as a bridge between the earthly and the divine, reflecting the harmony of the universe. His works, such as the "Temple of Music," explored the relationship between musical notes, ratios, and the Pythagorean scale, emphasizing their connection to universal order and human existence.

Fludd's illustrations and writings often depicted music as a tool for understanding the cosmos, blending science, philosophy, and art. His ideas influenced the way music was perceived in the context of spirituality and the natural world during his time.

Robert Fludd's theories about music were deeply intertwined with his mystical and philosophical worldview. He believed that music was a reflection of the cosmic order and a means to understand the harmony of the universe. Here we will mention some of his main ideas:

Macrocosm and Microcosm: Fludd saw music as a bridge between the macrocosm (the universe) and the microcosm (the human soul). He believed that the harmony in music mirrored the divine harmony of the cosmos.

Musical Ratios and Pythagorean Influence: He emphasized the importance of mathematical ratios in music, drawing from Pythagorean principles. These ratios, according to Fludd, were not just mathematical but also spiritual, representing the underlying order of creation.

The Temple of Music: In his work "Temple of Music," Fludd explored the idea that music could be a tool for spiritual enlightenment and healing. He linked musical notes and scales to celestial movements and divine principles.

Music of the Spheres: Fludd embraced the ancient idea of the "music of the spheres," where celestial bodies like planets and stars were believed to produce harmonious sounds as they moved through the heavens. He saw music as a reflection of this divine, cosmic harmony.

Alchemy and Hermetic Philosophy: Fludd incorporated alchemical and Hermetic principles into his view of music. He believed that music held the power to transform and elevate the soul, much like alchemy sought to transform base metals into gold.

Symbolism and Mysticism: Fludd often used symbolic representations to explain his theories. For instance, he depicted musical instruments as metaphors for the human body and soul, suggesting that playing music was akin to tuning one's inner being.

Fludd's ideas were a blend of science, mysticism, and art, making him a unique figure in the history of music theory.

The core components of Robert Fludd's theories about music reflect his unique fusion of mysticism, philosophy, and science. Music, for Fludd, was not only artistic but also a tool for elevating the soul and connecting with the divine. He considered it a means of spiritual healing and self-discovery.

Robert Fludd's theories on music did stand out for their mystical and metaphysical approach, which contrasts with the more scientific or practical perspectives of other music theorists of his time. Here are a few for comparison:

Fludd vs. Johannes Kepler: While Fludd emphasized the symbolic and spiritual aspects of music, Kepler focused on the mathematical and astronomical connections, particularly in his "Harmonices Mundi" (Harmony of the Worlds). Kepler's work was more grounded in empirical observation, whereas Fludd leaned heavily on mysticism and symbolism.

Fludd vs. Marin Mersenne: Mersenne, often called the "father of acoustics," approached music from a scientific and experimental perspective. He studied sound waves, resonance, and the physics of musical instruments. Fludd, on the other hand, viewed music as a reflection of divine harmony and cosmic order, prioritizing its metaphysical significance over its physical properties.

Fludd vs. Pythagoras: Both Fludd and Pythagoras saw music as a bridge between the earthly and the divine. However, Pythagoras focused on the mathematical ratios in music and their universal implications, while Fludd expanded this idea into a broader mystical framework, incorporating alchemy and Hermetic philosophy.

Fludd's unique blend of mysticism, symbolism, and music theory set him apart from his contemporaries, making his work a fascinating study in the intersection of art, science, and spirituality.

In this part we will get into some of the books he authored and specific views and research he is known for and maybe isn't known for by most people.

Fludd authored multi-volume encyclopaedias covering topics like alchemy, astrology, kabbalism, and divination, alongside theology, linking God with nature and humanity. He showcased practical knowledge in areas such as mechanics, architecture, military strategies, hydrology, music theory, mathematics, and medicine.

His notoriety grew with "Apologia" (1616), an early defense of the anonymous "Rosicrucian Manifestos" (Fama Fraternitatis, 1614; Confessio, 1615), which remains debated regarding their origins and authorship. The Rosicrucians, whose existence has not been proven, were supported by notable Protestant reformers like Johann Valentin Andreae. Other followers included practitioners of Hermes Trismegistus, along with ideas from Cornelius Agrippa and Paracelsus, all loosely labeled as “Rosicrucians.”

Fludd’s cosmology reworks Paracelsian alchemy. In his History of the Two Worlds, he illustrated the universe's origins, showing how God, like an alchemist, separated materials from Chaos. His cosmos is structured by Paracelsus’s three principles: Light, Darkness, and Water, which generated three elements: “Prima Materia” (Salt) from Darkness, Soul (Sulphur) from Light, and Spirit (Mercury) from Water. These elements produced four qualities: Heat, Cold, Dryness, and Moistness.

Fludd’s medical writings include Anatomiae Amphiteatrum (1623), Medicina Catholica (1629-31), Philosophia Sacra (1626), Clavis Philosophiae (1633), and Philosophia Moysaica.

Now we will get into specific books he wrote and what he was talking about in them. Again just a reminder, in the video version of this presentation there will be pages of these books to see as we talk about them.

“Utriusque Cosmi Maioris Scilicet et Minoris Metaphysica, Physica Atque Technica Historia” The title translates to “The Metaphysical, Physical, and Technical History of the Two Worlds, namely the Greater and the Lesser.”