Dear Friends,
Here is a small collection of material added to the archives in no particular order, but related in the Hermetic sense in general.
Samten de Wet
Cape Town, 4th May 2017

David Hopkins, Hermetic and Philosophical Themes in Max Ernst's 'Vox Angelica' and Related Works, The Burlington Magazine, Vol. 134, No. 1076 (Nov., 1992), pp. 716-723

 David Hopkins, ‘Max Ernst’s La toilette de la mariée’, Burlington Magazine, 133, no. 1057 (April 1991), 237-44.

 James Hyman, Anselm Kiefer as Printmaker — II: Alchemy and the Woodcut, 1993-1999, Print Quarterly, Vol. 17, No. 1 (MARCH 2000), pp. 26-42

 Ann Temkin, "Nigredo," 1984, by Anselm Kiefer, Philadelphia Museum of Art Bulletin, Vol. 86, No. 365/366, Gifts from the Friends of the Museum, 1985-90 (Spring, 1990), pp. 25-26

 It seems as if the entire Alchemical Studies of C.G. Jung has been uploaded [HERE] 

and a reasonable overview ALCHEMICAL STUDIES @ WIKIPEDIA.

 Alexandra  Marraccini, The Mind, The Garden, And The Flask: Ways of Knowing In Elias Ashmole’s Alchemical Manuscripts   [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

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]

Juliette Wood, The Celtic Tarot and the Secret Tradition: A Study in Modern Legend Making,  Folklore, Vol. 109 (1998), pp. 15-24

 Yoko Chiba, W. B. Yeats's Occultism as a Symbolic Link To Other Cultures, Hungarian Journal of English and American Studies (HJEAS), Vol. 10, No. 1/2, Irish Literature and Culture: Getting into Contact (Spring/Fall, 2004), pp. 237-246

 Paul B. Fenton, Qabbalah and Academia: The Critical Study of Jewish Mysticism in France , Shofar, Vol. 18, No. 2 (WINTER 2000), pp. 45-69

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]

 Tzvi Langermann, Who Owns Sefir Yesira?  [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

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