YE MUST MAKE WATER OF YE EARTH & EARTH OF YE AYRE & AYRE OF YE FIER & FIER OF YE EARTH
Chiara Crisciani, Hermeticism and Alchemy: The Case of Ludovico Lazzarelli, Early Science and Medicine, Vol. 5, No. 2, Alchemy and Hermeticism (2000), pp. 145-159. [Hermetic texts]
George O. S. Darby, Ibn Wahshiya in Mediaeval Spanish Literature, Isis, Vol. 33, No. 4 (Dec., 1941), pp. 433-438
Margaret Mendenhall. “The Music of the Spheres”: Musical Theory and Alchemical Image
On the SPLENDOUR SOLIS:
Theodore Ziolkowski, Alchemist in Literature, From Dante to the Present
A clear chronological structure displays the development of the theme across the period. Considers major works alongside a selection of relevant minor works, providing a clear pattern by which other works can be measured and related. Relevant historical and biographical background enables readers to understand where each work fits into the argument. The index provides an easy reference to the writers and works discussed
Thomas Willard, Dreams and Symbols in The Chemical Wedding
Campbell, Mary Baine. “Artificial Men: Alchemy, Transubstantiation, and the Homunculus.” Republics of
Letters: A Journal for the Study of Knowledge, Politics, and the Arts 1, no. 2 (April 30, 2010):
Cesarotti, William A., M.A. Tending the fire: The alchemy of psychotherapy, Pacifica Graduate Institute. 2011: 113 pages
Håkan Håkansson, Alchemy of the Ancient Goths: Johannes Bureus’ Search for the Lost Wisdom of Scandinavia, Early Science and Medicine 17 (2012) 500-522
[Håkan Håkansson, Lund University Library] Khem/texts
Paul T. Keyser, Alchemy in the Ancient World: From Science to Magic, Illinois Classical Studies, Vol. 15, No. 2 (FALL 1990), pp. 353-378
Mayhew, Nancy, The painter's palette: Alchemy and the act of painting, M.F.A. California State University, Long Beach. 2010: 10 pages
Dan Merkur, Spiritual Alchemy in King Lear, Theosophical History, A Quarterly Journal of Research, Vol.8, No.10, Oct. 2002, pp.274-289.
Janne van Berkel, From Alberuni to Demons of the Flesh. The Historiography of Indian Alchemy. MA-Thesis , Utrecht , 2011. [khem texts]
Helmut Nickel, "The Judgment of Paris" by Lucas Cranach the Elder: Nature, Allegory, and Alchemy, Metropolitan Museum Journal, Vol. 16 (1981), pp. 117-129 [art/alchemy] also VENUS
Prophecy, Alchemy, and the End of Time: John of Rupescissa in the Late Middle Ages by Leah DeVun - Review by: Chiara Crisciani, The American Historical Review, Vol. 115, No. 3 (JUNE 2010), pp. 879-880
The Elixir: An Alchemical Study of the Ergot Mushrooms
Arturo Schwarz, Indian and Western Alchemy Derivations and Deformations of Patterns, India International Centre Quarterly, Vol. 8, No. 2 (JUNE 1981), pp. 145-158 [REBIS/Alchemy]
Rosalie Anne Nardelli, Giuseppe Arcimboldo’s Composite Portraits and the Alchemical Universe of the Early Modern Habsburg Court (1546-1612) M.A thesis submitted to the Graduate Program in Art History Queen’s University, Kingston, Ontario, Canada, July, 2014 [alchemy/art]
Persis Berlekamp, Painting as Persuasion: A Visual Defense of Alchemy in an Islamic Manuscript of the Mongol Period, Muqarnas, Vol. 20 (2003), pp. 35-59
[The Silvery Water painting. Alchemical text, c.a. 1399 Topkapi Palce Library, A. 2075, fols. 2b-3a.]
The “sacred craft” was a secret craft. The goddess Isis instructs her son Horus: “Keep it a great secret [megalomusterion].” The initiated were forbidden to divulge their knowledge; they could pass it on only to their “legitimate sons” and to those who were “worthy.” Alchemy, known through revelation, remained a privilege of the few, and the taboo of disclosure, well guarded through the ages, in an impressive example of traditio mystica, a very Hermetic feature.
The lore of the craft.
Alchemy, hopelessly aiming at the transformation of metals into gold, has often been viewed as something like a misguided application of chemistry. Yet its significance lies, indeed lay even for its practitioners, not so much in the experimental method and the outcome of metallic transmutation as in other spheres, notably anthropology, religion, and folklore. The story has been reconstructed by Mircea Eliade: it goes back to archaic times and surfaced in Hellenistic Egypt. Its protagonist was the smith, the adept who dominated matter by transforming it. The insights deriving from his work gave rise to new meanings and symbols: matter was suffering; transmutation perfected matter; redemption was freedom from matter. In short, the primary function of alchemy, physical transmutation, escalated into metaphysical transmutation: the opus alchimicum became a symbol of the opus divinum. “
Henry Kahane and Renée Kahane, Alchemy: Hellenistic and Medieval Alchemy, The Encyclopedia of Religion, Second Edition, (1987, p.244-248
IMAGE: Alchemical Athanor - Paul Laffoley * * HERE
This paper shall examine methods of both knowing the self and knowing the structure of the natural world through images of the garden in several alchemical manuscripts belonging to Early Modern antiquarian and scientist Elias Ashmole. In connecting the images of moths, flowers, and greenery in Bod MS Ash 1423 (a recipe book), to those of fruits in Ashmole’s Tradescantian material, and finally to the images of plants, trees, and their creaturely inhabitants in the Ripley Scrolls, this essay will explore how the Pre-Lapsarian garden-space was allegorised in Early Modern images. Like the Johns Tradescant, John Evelyn, and Hugh Plat, the alchemist in Early Modern England sought the recovery of the Hesperidean paradise on earth through study and experimentation. Images of the garden, this essay suggests, functioned to allow both alchemists and other natural scientists to think through both the macrocosmic order of the world, and the microcosmic structure of matter. Through seeing the garden as a laboratory, and the laboratory as a garden, Ashmole’s alchemical images in turn provoke a broader reading of nature itself as a ‘Book of the World’. The essay shall connect the garden as a physical space to the garden as an alchemical pictorial metaphor in order to explore related modes of knowing in Early Modern science.
"Nosce Te Ipsum/ Know Thyself": A Conference on Early Modern Images, History of Art Department, University College London, May 2, 2015
Alexandra Marraccini, Fleshly wisdoms: image practices, bodies, and the transmission of knowledge in a sixteenth-century alchemical miscellany, Word & Image, Vol. 00, No. 00, XXXX 2017 1 [ONLINE HERE]
W. B. Yeats and The Vegetable Phoenix [HERE]
Rania Elhelw, An Analogy between Pictorial Representations of Numerology in the Ancient Egyptian Civilization and the Islamic Civilization. [HERE]
Catherine Morris Westcott, The "Parsifal" Influence in the Work of Jean Delville, Journal of the Fantastic in the Arts, Vol. 3, No. 1 (9), Special Art Edition, (1990), pp. 5-14 [alchemy-art]
Linda Dalrymple Henderson, Mysticism and Occultism in Modern Art. Art Journal, Vol. 46, No. 1, Mysticism and Occultism in Modern Art (Spring,1987), pp. 5-8
Luba Freedman, Neptune in Classical and Renaissance Visual Art, International Journal of the Classical Tradition, Vol. 2, No. 2 (Fall, 1995), pp. 219-237 [Arcanum 11]
In his lectures on sculpture, Jacob Burckhardt characterized the Renaissance as exhibiting the revival of the images of pagan gods. The question arises, how the images of the pagan gods, as shaped by Renaissance artists, differ from those made by artists of ancient Greece and Rome. Although this question can hardly be answered within the scope of a single paper, I will illustrate it by investigating the image of Neptune. The choice of Neptune is particularly apt, since Neptune's functions are more limited than those of several other Olympian deities - that is, his activities are confined to the maritime domain. Moreover, Neptune serves as an appropriate subject for discussing the general question posed above because Renaissance artists had no recourse to ancient representations of this god in monumental works of art, whereas such models were available to them for other deities, like Apollo or Venus. Lacking first-hand acquaintance with large-scale classical works representing Neptune, Renaissance artists thus had to rely on their own imagination.” 219
Francis T. Marchese, The Origins and Rise of Medieval Information Visualization
Edward P. Butler, Neoplatonism and Polytheism, From: Essays on a Polytheistic Philosophy of Religion, pp. 124-139
Julian Strube, The “Baphomet” of Eliphas Lévi: Its Meaning and Historical Context, Correspondences 4 (2016) 37–79. [Arcanum 15]
David Porreca, Hermes Philosophus: Ramon Martí's Singular Use of a Mythical Authority. [SUMMARY HERE]
Abraham Abulafia: Meditations on the Divine Name [HERE]
David Frankfurter, The Magic of Writing and the Writing of Magic: The Power of the Word in Egyptian and Greek Traditions, Helios, vol.21, no.2, 1994.
The imagery in the Buch der heiligen Dreifaltigkeit [HERE]
Mark Filipas, A Lexicon Theory of Tarot Origin [HERE]
The Psychedelic Experience ~ A manual based on the Tibetan Book of the Dead by Timothy Leary, Ph.D., Ralph Metzner, Ph.D., & Richard Alpert, [HERE]
The saturnine "night of lead" in which the body falls prey to dissolution and putrefaction, is indicated here by the gaping mouth.
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