Long shrouded in secrecy, alchemy was once considered the highest of arts. Straddling art, science, and natural philosophy, alchemy has proven key to both the materiality and creative expression embedded in artistic output, from ancient sculpture and the decorative arts to medieval illumination, and masterpieces in paint, print, and a panoply of media from the European Renaissance to the present day.
She collected over four hundred alchemical, medicinal, and cosmetic recipes, and corresponded with other alchemical adepts about materials and laboratory techniques.
The most beautiful and well known illuminated alchemical manuscript in the world.
This short review discusses about itinerant sellers in Friuli, who are Cramaro called (XI-XIX centuries). Attention is focused, in particular, on the question if some of theme were alchemists.
Therefore, rather than attempting to establish an exhaustive inventory of visual forms in medieval alchemy or a premature synthesis, the purpose of this article is to sketch major trends in visualization and to exemplify them by their earliest appearance so far known.
However the alchemical source of the early fourteenth century also explicitly maintained that knowledge of the secret of secrets involved an understanding of the hidden forces within the earth, and this in turn would bring earthly power. The most obvious manifestation of this interest in alchemical secrets lay in the belief that controlled experimentation with mercury and sulphur could effect transmutation of base metals into gold.
The editing of medieval alchemical texts poses a number of challenges to the modern scholar.
his article will present what we know of the life and times of an important alchemist, Ibn Umayl.
The Czech Renaissance man of letters Vaclav Hajek of Libocany explained the representations of kingfishers and half naked bathmaidens that he saw painted on some Prague buildings, as records of saucy affairs from the life of the King Bohemia Wenceslas IV.
The thesis shows that the Medieval Sciences made a significant contribution to Chaucer’s mind and art, and that Chaucer shared the attitude of great scholars before and after him
The medieval world view was marked by a deep division between art and nature. Stemming partly from Aristotle, and partlyfrom other Greek, Latin, and Arabic sources, this view placed strict boundaries on the conceptual limits of technical innovation.
Conference on ‘Alchemy and Medicine from Antiquity to the Enlightenment’ taking place at University of Cambridge
The University of Cambridge is hosting an international conference – Alchemy and Medicine from Antiquity to the Enlightenment – which will include over 25 papes ranging from the ancient Greeks to the alchemical remedies of the fifteenth-century English royal physician John Argentein. The meeting will be the first of its kind to bring together leading […]
Adelard of Bath and Roger Bacon: early English natural philosophers and scientists Hackett, Jeremiah M. Endeavour, Vol. 26(2) 2002 Abstract The image of Roger Bacon as a ‘modern’ experimental scientist was propagated as historical truth in 19th century scientific historiography. Twentieth century criticisms attacked this tradition, arguing that Bacon was primarily a medieval philosopher with ‘medieval’ scientific […]
Ibn Wahshiyya and Magic Anaquel de Estudios Árabes X (1999) HÁMEEM-ANTTILA, JAAKKO Magic has always had a role to play in Islamie society’. Its use has often been condemned by religious scholars, yet the efficacy of magic has never been contested; the early tenth-century religious scholar al-Ash ‘arT (d. 324/936), to take but one example, wrote […]
The main concern of this paper will be with the problems raised by the reception of ancient alchemy in Byzantium.
A Previously Unidentified Fragment of ‘Pearce the Black Monke Upon the Elixir’ in MS. Mellon 43 Timmermann, Anke Marginalia, Vol.1 (2005) Abstract Among the manuscripts of the Mellon collection, which now forms part of Yale University’s Beinecke Library holdings, there is an alchemical miscellany of a diversity not unusual for sixteenth-century notebooks. The four (ex)tracts […]