Pee, Poison, and Prosthetic Noses: The Story of Astronomer Tycho Brahe's Suspicious Death

Hulton Archive/Getty Images
Hulton Archive/Getty Images

In The Royal Art of Poison: Filthy Palaces, Fatal Cosmetics, Deadly Medicine, and Murder Most Foul, author Eleanor Herman delves into the deadly—and often disgusting—world that lay beneath Western Europe's most glittering palaces. From the gut-roiling poisons used to dispatch enemies and inconvenient heirs to the methods the highest-born unknowingly used to poison themselves (think mercury enemas and lead cosmetics), it's a book that will make you think twice the next time you admire a royal portrait. Along the way, Herman analyzes the suspicious deaths of some of the most famous people in European history—deaths in which poison may have played a part. Read on for an excerpt about Tycho Brahe, possibly one of the most eccentric astronomers in history.

 
 

When the world’s greatest astronomer, the colorful Tycho Brahe, sat down to a hearty banquet at a neighboring nobleman’s house in Prague on October 13, 1601, he must have looked forward to a convivial night of wine, food, charming women, and witty conversation, all of which this fun-loving Dane enjoyed in great measure. Brahe was a jolly soul with an eccentric, extroverted personality. Known to his contemporaries as a “man of easy fellowship,” he “did not hold anger and offense, but was ever ready to forgive.”

Red-haired, blue-eyed, and sporting a trim pointed beard and handlebar mustache, the astronomer wore a metal nose reported to be either gold or silver, as he had lost the bridge of his nose at the age of twenty in a duel over a mathematical formula. When the glue holding his nose in place came loose, he would remove the prosthesis, take a bottle of glue out of his pocket, and glue it back on.

Brahe’s eccentricities were widely known. He had a dwarf jester named Jepp with supposed psychic abilities, who sat under his dining room table during meals. For years, Brahe kept a beer-swigging pet elk in his castle. One night the elk drank too much beer, fell down a staircase and died. It is not known if Jepp predicted this.

Noble banquets offered delicious food, fine wine, beautiful music, a glittering table, and fascinating conversation. But there was one down side. They went on for hours, during which time guests were expected to eat and drink until they nearly popped. It was bad etiquette to excuse yourself to use a chamber pot.

As candlelight flickered on golden cups and silver plates, and laughter wafted around him, Brahe felt increasing abdominal discomfort. He must have thought he would be fine once he got home, which was just across the street. After all, the robust 54-year-old Dane had never known any serious illness in his life. By the time he arrived home, the need to relieve his bladder was agonizing. Grunting with relief, he dropped his britches and … nothing. Not a drop. And so began a 400-year-old mystery of jealousy, theft, and possible poison.

Brahe’s fascination with the heavens began in 1560, when, at 14, he witnessed a solar eclipse. He began staying up all night to record astronomical observations. In 1563, he observed a conjunction of Jupiter and Saturn and realized that the revered astronomical tables used to predict the event were incorrect. By the time he was in his twenties, his observations had shattered two thousand years of astronomical theory.

In 1599, Brahe became the Imperial Court Astronomer to Holy Roman Emperor Rudolf II. Soon after, he hired a new assistant, a 28-year-old German named Johannes Kepler. Though he was an excellent mathematician, Kepler suffered severe hypochondria and violent mood swings. He took the position with Brahe to obtain access to his employer’s 40 years of observations to prove his own astronomical theories—that the universe itself was an image of God, with the Sun corresponding to the Father, the stellar sphere to the Son, and the intervening space to the Holy Ghost. But Brahe, whose work had been plagiarized years earlier by a visitor to his home, refused to give Kepler more than a few observations at a time. Kepler began throwing temper tantrums so epic that Brahe described him as “a rabid dog.” But he didn’t fire him. Perhaps he needed his mathematical abilities.

When Brahe came home from his last banquet, he was in agony, unable to urinate, his belly distended, and feverish. For the next 10 days, pain radiated throughout his body. At times, he was delirious. He died on October 24, 1601.

The strange death of this renowned astronomer caused many to suspect poison. And if Brahe had been poisoned, it must have been the jealous, vicious Kepler, who had carted the 40 years of observations out of Brahe’s house while the grieving family was making funeral arrangements.

Indeed, freed from Brahe’s shadow and armed with his records, Kepler finally achieved the fame he had always desired. He theorized that the planets’ orbits were elliptical, not circular, as had always been believed. He also developed the notion that the sun pulled the planets around by something like magnetic tendrils, a force growing stronger as the planets got closer and weaker as they moved away—breathtakingly close to the theory of gravitational attraction, which Isaac Newton would formulate in 1687 using Kepler’s work.

Archeologists lift the tombstone of the grave of noted Danish astronomer Tycho Brahe at the Church of Our Lady in Prague on November 15, 2010
Archeologists lift Tycho Brahe's tombstone in Prague in 2010.
MICHAL CIZEK/AFP/Getty Images

In 1901, researchers in Prague opened up Tycho’s tomb as part of their celebrations commemorating the 300th anniversary of his death. They found a 5-foot-6-inch skeleton in a fine silk shirt, wool stockings, silk shoes, and a hat, and a crescent-shaped injury on the bridge of the nose, the exact same place where Brahe had been maimed in his youthful duel. Researchers removed hairs from the mustache. In 1991, tests conducted on the hair by the University of Copenhagen’s Institute of Forensic Medicine indicated he had, indeed, been poisoned by mercury, which can shut down the kidneys.

But even science is fallible. Given the sensational stories of Tycho Brahe’s poisoning, a team of Danish and Czech scientists exhumed him again in 2010 and took hair directly from his remains. In a stunning reversal of the 1990s findings, the new results showed that Tycho had not consumed excessive amounts of mercury.

So what did kill him? Most likely benign prostatic hyperplasia, known as BPH, an enlarged prostate gland. This gland surrounds the urethra, the tube through which urine flows. As the prostate grows, it can squeeze the urethra, making it difficult and even impossible to urinate. Left untreated, it can prove fatal.

Johannes Kepler is off the hook. He was a thief, to be sure, but no murderer. Though he had succeeded in attaining the fame he always wanted, happiness and health eluded him. At the age of 58, he developed a fever and, speechless in his final delirium, kept pointing from his forehead to the heavens. The night he died, meteors streaked across the sky.

From The Royal Art of Poison by Eleanor Herman. Copyright © 2018 by the author and reprinted by permission of St. Martin’s Press.

The Real Case of Spontaneous Combustion That Inspired a Death in Dickens's Bleak House

iStock.com/GeorgiosArt
iStock.com/GeorgiosArt

In The Mystery of the Exploding Teeth: And Other Curiosities from the History of Medicine, medical historian Thomas Morris presents a collection of bizarre but fascinating stories culled from the pages of old medical journals and other accounts. In this tale, he discusses the final moments of an aristocratic older women, Countess Cornelia di Bandi, whose demise would provide fodder for Charles Dickens over 100 years later.

 

Do human beings ever burst into flames? Two hundred years ago, many people believed that they could, especially if the victim was female, elderly, and a heavy drinker. Spontaneous human combustion became a fashionable topic in the early 19th century, after a number of sensational presumed cases were reported in the popular press. At a period when candles were ubiquitous and clothes often highly flammable, most were probably simple domestic fires in which the unfortunate victim’s subcutaneous fat acted as supplementary fuel. Nevertheless, the circumstances in which some were discovered—with the body almost totally incinerated, but nearby objects left untouched—led some to believe that these conflagrations must have another, more mysterious, cause. Numerous theories were put forward to explain the phenomenon: some supernatural, others scientific.

One of the true believers in spontaneous combustion was Charles Dickens, who even killed off Krook, the alcoholic rag dealer in Bleak House, by means of a fire that left nothing of the old man except an object looking like a “small charred and broken log of wood.” Dickens had read everything he could find on the subject and was convinced that its veracity had been proved. His description of the demise of Krook was based closely on that of an Italian aristocrat, Countess Cornelia di Bandi, who was consumed by a fireball in her bedroom. Her case was reported in 1731 by a clergyman called Giuseppe Bianchini, and subsequently translated by a famous Italian poet and Fellow of the Royal Society, Paolo Rolli:

"The Countess Cornelia Bandi, in the 62nd year of her age, was all day as well as she used to be; but at night was observed, when at supper, dull and heavy. She retired, was put to bed, where she passed three hours and more in familiar discourses with her maid, and in some prayers; at last falling asleep, the door was shut."

The following morning, the maid noticed that her employer had not appeared at the usual time and tried to rouse her by calling through the door. Not receiving any answer, she went outside and opened a window, through which she saw this scene of horror:

"Four feet distant from the bed there was a heap of ashes, two legs untouched from the foot to the knee with their stockings on; between them was the lady’s head; whose brains, half of the back part of the skull, and the whole chin, were burnt to ashes; amongst which were found three fingers blackened. All the rest was ashes, which had this particular quality, that they left in the hand, when taken up, a greasy and stinking moisture."

Mysteriously, the furniture and linen were virtually untouched by the conflagration.

"The bed received no damage; the blankets and sheets were only raised on one side, as when a person rises up from it, or goes in; the whole furniture, as well as the bed, was spread over with moist and ash-coloured soot, which had penetrated the chest of drawers, even to foul the linen."

The soot had even coated the surfaces of a neighboring kitchen. A piece of bread covered in the foul substance was given to several dogs, all of which refused to eat it. Given that it probably consisted of the carbonized body fat of their owner, their reluctance to indulge is understandable.

"In the room above it was, moreover, taken notice that from the lower part of the windows trickled down a greasy, loathsome, yellowish liquor; and thereabout they smelt a stink, without knowing of what; and saw the soot fly around."

The floor was also covered in a “gluish moisture,” which could not be removed. Naturally, strenuous efforts were made to establish what had caused the blaze, and several of Italy’s best minds were put to the problem. Monsignor Bianchini (described as “Prebendary of Verona”) was convinced that the fire had not been started by the obvious culprits:

"Such an effect was not produced by the light of the oil lamp, or of any candles, because common fire, even in a pile, does not consume a body to such a degree; and would have besides spread it-self to the goods of the chamber, more combustible than a human body."

Bianchini also considered the possibility that the blaze might have been caused by a thunderbolt but noted that the characteristic signs of such an event, such as scorch marks on the walls and an acrid smell, were absent. What, then, did cause the inferno? The priest came to the conclusion that ignition had actually occurred inside the woman’s body:

"The fire was caused in the entrails of the body by inflamed effluvia of her blood, by juices and fermentations in the stomach, by the many combustible matters which are abundant in living bodies, for the uses of life; and finally by the fiery evaporations which exhale from the settlings of spirit of wine, brandies, and other hot liquors in the tunica villosa [inner lining] of the stomach, and other adipose or fat membranes."

Bianchini claims that such “fiery evaporations” become more flammable at night, when the body is at rest and the breathing becomes more regular. He also points out that “sparkles” are sometimes visible when certain types of cloth are rubbed against the hair (an effect caused by discharges of static electricity) and suggests that something similar might have ignited the “combustible matters” inside her abdomen.

"What wonder is there in the case of our old lady? Her dullness before going to bed was an effect of too much heat concentrated in her breast, which hindered the perspiration through the pores of her body; which is calculated to about 40 ounces per night. Her ashes, found at four feet distance from her bed, are a plain argument that she, by natural instinct, rose up to cool her heat, and perhaps was going to open a window."

Then, however, he lets slip what is probably the genuine cause of the fire:

"The old lady was used, when she felt herself indisposed, to bathe all her body with camphorated spirit of wine; and she did it perhaps that very night."

Camphorated spirits (a solution of camphor in alcohol) was often used to treat skin complaints, and as a tonic lotion. The fact that it is also highly flammable is, apparently, quite beside the point.

"This is not a circumstance of any moment; for the best opinion is that of the internal heat and fire; which, by having been kindled in the entrails, naturally tended upwards; finding the way easier, and the matter more unctuous and combustible, left the legs untouched. The thighs were too near the origin of the fire, and therefore were also burnt by it; which was certainly increased by the urine and excrements, a very combustible matter, as one may see by its phosphorus."

So it was the “internal heat and fire” that caused the countess’s demise. Only an incorrigible skeptic would point out that an old lady who was in the habit of bathing in inflammable liquids, before going to bed in a room lit by naked flames, was a walking fire hazard.

Book jacket for The Mystery of the Exploding Teeth
Dutton/Penguin Books

Excerpted from The Mystery of the Exploding Teeth: And Other Curiosities from the History of Medicine by Thomas Morris. Copyright © 2018 by Thomas Morris. Published by arrangement with DUTTON, a division of Penguin Random House LLC.

How to Talk to Kids, According to Mr. Rogers

PBS Television/Getty Images
PBS Television/Getty Images

Mr. Rogers knew children well. He knew how they thought, what they liked, what they feared, and what they struggled to understand—and he went to great lengths to ensure he never upset or confused his devoted viewers.

Maxwell King, author of the forthcoming book The Good Neighbor: The Life and Work of Fred Rogers, writes in The Atlantic that Mr. Rogers carefully chose his words while filming Mr. Rogers’ Neighborhood. He understood that children think in a literal way, and a phrase that might sound perfectly fine to adult ears could be misinterpreted by younger audiences.

During filming, a nurse shown inflating a blood-pressure cuff originally said, “I’m going to blow this up.” Mr. Rogers decided to edit the line in post-production, according to Arthur Greenwald, a former producer of the show. “Fred made us re-dub the line, saying, ‘I’m going to puff this up with some air,’ because ‘blow it up’ might sound like there’s an explosion, and he didn’t want the kids to cover their ears and miss what would happen next,” Greenwald told King.

Rogers was “extraordinarily good at imagining where children’s minds might go,” King said, adding that Mr. Rogers wrote a song called “You Can Never Go Down the Drain” because he knew this might be a fear shared by many children.

In 1977, Greenwald and writer Barry Head dubbed this careful manner of speaking “Freddish,” and even created an illustrated manual outlining Rogers’s code under the title “Let’s Talk About Freddish.” The show's dialogue went through nine rigorous steps of editing before Rogers approved it for broadcast. Those steps, excerpted from King’s book, are as follows:

1. “State the idea you wish to express as clearly as possible, and in terms preschoolers can understand.” Example: It is dangerous to play in the street.

2. “Rephrase in a positive manner,” as in: It is good to play where it is safe.

3. “Rephrase the idea, bearing in mind that preschoolers cannot yet make subtle distinctions and need to be redirected to authorities they trust.” As in: Ask your parents where it is safe to play.

4. “Rephrase your idea to eliminate all elements that could be considered prescriptive, directive, or instructive.” In the example, that’d mean getting rid of ask: Your parents will tell you where it is safe to play.

5. “Rephrase any element that suggests certainty.” That’d be will: Your parents can tell you where it is safe to play.

6. “Rephrase your idea to eliminate any element that may not apply to all children.” Not all children know their parents, so: Your favorite grown-ups can tell you where it is safe to play.

7. “Add a simple motivational idea that gives preschoolers a reason to follow your advice.” Perhaps: Your favorite grown-ups can tell you where it is safe to play. It is good to listen to them.

8. “Rephrase your new statement, repeating the first step.” Good represents a value judgment, so: Your favorite grown-ups can tell you where it is safe to play. It is important to try to listen to them.

9. “Rephrase your idea a final time, relating it to some phase of development a preschooler can understand.” Maybe: Your favorite grown-ups can tell you where it is safe to play. It is important to try to listen to them, and listening is an important part of growing.

This attention to detail didn't just extend to language, either. Jim Judkis, who occasionally worked on the set of Mister Rogers' Neighborhood as a photographer, recalled a time when Rogers had videographers reshoot a scene in which the trolley ran from right to left instead of the other way around. Judkis was puzzled, so he asked the show's staff why this was necessary.

“They said, he’s very particular about consistency for a child,” Judkis told The Washington Post. “When you read, your eye tracks from left to right. He was trying to reinforce that.”

More details about the life of Fred Rogers will be revealed in King’s book, which will be released September 4. It is available for pre-order on Amazon.

[h/t The Atlantic]

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