YE MUST MAKE WATER OF YE EARTH & EARTH OF YE AYRE & AYRE OF YE FIER & FIER OF YE EARTH
and a reasonable overview ALCHEMICAL STUDIES @ WIKIPEDIA.
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]
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]
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