Alchemical writings of Arabic origin introduced into the Latin natural philosophy of the twelfth century a cosmological issue that was at variance with Aristotelian cosmology: the idea of a subtle substance that stood at the origin of the four elements and encompassed heaven and earth. In this article, I consider the links of this notion with Hermetic and Stoic thought; its association with the technical process of distillation; its emergence in some philosophical texts of the early thirteenth century; (...) and finally its full development in two fourteenth century alchemical treatises, the Testamentum attributed to Raimond Lull and the Liber de consideratione quintae essentiae written by John of Rupescissa. (shrink)

The paper focusses on various methods of preparing chemical compounds and on laboratory techniques used in that. It is based on different texts ascribed to „Basil Valentine”, an important author of alchemical writings whose real identity is not yet established beyond any doubt. Basil was a leading alchemical experimentator of his time and devised a number of preparation-processes for new substances, some of which are discussed here. The paper sheds also new light on some hitherto established notions (...) of priority which were attributed to Basil Valentine or other alchemists. (shrink)

Continental authors and editors often sought to ground alchemical writing within a long-established, coherent and pan-European tradition, appealing to the authority of adepts from different times and places. Greek, Latin and Islamic alchemists met both in person and between the covers of books, in actual, fictional or coincidental encounters: a trope utilised in Michael Maier’s Symbola aureae mensae duodecim nationum. This essay examines how works attributed to an English authority, George Ripley, were received in central Europe and incorporated into (...) continental compendia. Placed alongside works by the philosophers of other nations, Ripley’s writings helped affirm the unity and truth of alchemy in defiance of its critics. His continental editors were therefore concerned not only with the provenance of manuscripts and high-quality exemplars, but by a range of other factors, including the desire to suppress controversial material, intervene in contemporary polemics, and defend their art. In the resulting compilations, the vertical axis of alchemy’s long, diachronic tradition may be compared to the horizontal plane of pan-European alchemy. (shrink)

Of all the traditional sciences it is alchemy based as it is in metallurgy that is directly concerned with the coming of the industrial order. In alchemical terms modern man lives in the Ferric Age and his state is best analogized to the properties of the metal iron, hard, cold, unbending but quick to succumb to corrosion and rust. The great ancient wisdom traditions of the world all anticipated this present age for it was already implicit in the technological (...) and other changes that brought on the dawn of history. These ancient traditions - dismissed as childish superstitions by the scientist contain ideas essential to the self-understanding that contemporary man so desperately needs. This is the central contention of the writings brought together in Primordial Alchemy & Modern Religion. Drawing upon many unexpected sources especially Plato and the ancient Greeks these wide-ranging, generous essays provide timely reiterations of ancient alchemical traditions and trace some pivotal themes that have continued in the theology and symbolism of the modern religions. This work restores some important keys for the recovery of a lost heritage of primordial wisdom, offering fresh perspectives on aspects of the Western and Islamic alchemical traditions in particular, and at the same time exploring the most distant roots of the modern impasse. (shrink)

Relying on the double meaning of Alkaest on the texts of the first paracelsians, in a first sense the universal dissolvent of the alchemic Work, in a second a wonderful epatic medicine, the paper outlines history and spread of this alchemical substance, from the late XVI century to the early XVIII. With the growing dissemination of Franciscus Van Helmont and his followers writings, the Alkaest as universal solvent earns credibility, touching his peak probably in England, where arouses the (...) strong interest of George Starkey, physician and alchemist, and Robert Boyle, chemist and inventor. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Inspiration and Institution in John of Rupescissa's Liber Ostensor XI1Graziana S. CiolaIntroductionThe present study proposes a philosophical analysis of John of Rupescissa's Liber Ostensor [=LO], Treatise XI. John of Rupescissa (OFM, 1310 ca. – 1366)2 is a particularly interesting, eclectic and somewhat extraordinary [End Page 7] author writing around the second third of the 14th century in the wake of the Spiritual Franciscan movement in the South of France.3 (...) In LO XI, Rupescissa theorizes and systematically articulates a complex relationship between inspired knowledge and the normative portrait of what he believes the Franciscan Order should ideally be; he does so against the background of his eschatological concerns. Per Rupescissa's style of exposition and argumentation, these different elements — i.e., inspired epistemology, eschatology, and ecclesiology — are tightly intertwined on a theoretical and foundational level that goes beyond that of mere rhetorics.These themes are both recurrent and pivotal throughout Rupescissa's extremely prolific intellectual output, which counts numerous theological, ecclesiological, eschatological and alchemical treatises.4 LO, composed in [End Page 8] 1356 during Rupescissa's own "Avignon Captivity," is in many ways a sum of Rupescissa's prophetical and eschatological thought within the framing of the author's self-apologetic aims and of his ecclesiological views, in particular concerning the future of the Franciscan Order.5 [End Page 9]Treatise XI is undoubtedly the most theoretical book in LO; with its 489 paragraphs, it is also the longest. While this extremely dense text broaches on a great variety of topics, it is first and foremost about and for Spiritual Franciscans. Overall, LO XI is both a great portrayal of the Franciscan order as it is and as it should be, as well as a handbook addressed to the elect among the Spirituals, in order to help them face the eschaton and the tribulations to come. Per Rupescissa's eschatological views, such trials would affect the Franciscan Order the hardest and for the longest — hence the need for a detailed guide. At its core, then, LO XI is a deeply ecclesiological treatise and as such it is complementary to the larger systematization established in the Sexdequiloquium.6 It is in this framework that LO XI offers a complex theory of prophecy and illuminative knowledge as they should be embodied in the practices of a true Franciscan.7Given its highly abstract nature and cardinal function within one the most complex works of Rupescissa's maturity, LO XI, combining relevant insights on Rupescissa's ecclesiological, epistemological and prophetical positions, constitutes the ideal case study in order to assess Rupescissa's most refined and articulated account on inspired knowledge, particularly insofar as true and actual prophecy is concerned. This inspired knowledge, according to Rupescissa, is an indispensable tool for the elect to be able to victoriously face the imminent end of times. In the account presented in LO XI, such knowledge is possible exclusively through a form of institutional embedding: divine inspiration, culminating in true prophecy, is in service of the Franciscan Order's soteriological role within the Church as a whole, and can only be achieved by those who are faithful to the spirit of Francis's Rule.8 [End Page 10]Here, I analyze Rupescissa's theory of evangelical poverty and its role as a necessary condition for inspired knowledge, following the internal articulation of LO XI.Overall, in Rupescissa's view, Franciscan poverty and inspiration are two inseparable sides of the same coin. On the one hand, inspired knowledge is only achievable through a rigorous practice and thorough understanding of Franciscan poverty. On the other hand, the true institutional role of the Franciscan Order and its soteriological aims can be fulfilled exclusively by the true Spiritual Franciscans, whose moral, spiritual and epistemic perfection is divinely inspired. For Rupescissa, not only is poverty the source of all virtues both for the Franciscan Order and for the rest of the Church, but it also constitutes the ideal moral and social model, tout court. But most importantly, evangelical poverty has a genuinely epistemic role; this role is essential for Rupescissa's illuminative epistemology and for his account of prophetical exegesis — or exegetical prophecy. In turn, the... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Fiery Test of Critique: A Reading of Kant's Dialectic by Ian ProopsStephen HowardIan Proops. The Fiery Test of Critique: A Reading of Kant's Dialectic. Oxford: Oxford University Press, 2021. Pp. 512. Hardback, $105.00.Ian Proops's book is a substantial contribution to the thriving field of Anglophone scholarship on the Transcendental Dialectic of Kant's Critique of Pure Reason. Across five hundred pages, Proops examines the whole of the Dialectic. (...) The book is divided into three parts, following the disciplines of previous special metaphysics with which Kant critically engages in the Dialectic: rational psychology, cosmology, and theology. Discussions of transcendental illusion and the regulative use of ideas of reason are slotted into the rational psychology and theology parts, respectively.Methodologically, Proops aims to take a middle course between historical and reconstructive approaches (31–32). In historical and reconstructive modes alike, though, Proops is primarily concerned with accurately presenting and rigorously evaluating Kant's arguments in the Dialectic. These arguments come in two forms: either those of the imagined rational psychologist, cosmologist, or theologian, whom Kant ventriloquizes in order to reveal their errors; or those arguments that Kant makes in his own voice. The Fiery Test of Critique distinguishes itself from existing studies through the detail and care with which these arguments are scrutinized. Specialists will find numerous illuminating exegeses and links to a wide range of Kant's published and unpublished writings. Proops does not hesitate to identify where, in his view, Kant's arguments fail (or where those of Kant's ventriloquized metaphysicians fail in a way Kant does not intend), but he endeavors to interpret charitably and to make his own evaluative criteria explicit.The wide-ranging introduction to the book offers intriguing reflections on a metaphor Kant uses for his critique of pure reason: a "fiery test" (8; A 406/B 433). This test, Proops suggests, is best understood not as a religious ordeal by fire but as a "metallurgical assay": the testing of a coin or an ore to determine its precious metal content (9–10). This means that the test of critique "is not pass-fail" (12). Kantian critique identifies some precious metal to be retained alongside the dross (the base-metal bearer) to be discarded. The "gold" [End Page 525] and "silver" found by Kant's fiery test are, Proops contends, respectively the indirect proof of transcendental idealism that emerges from the Antinomy chapter, and the doctrinal beliefs in God and an afterlife that remain after the Paralogism and Ideal (13, 453–54).This application of Kant's metaphor indicates how far Proops diverges from the dismissive views of older Anglo-American studies of the Dialectic (the paradigm being Bennett's Kant's Dialectic [Cambridge: Cambridge University Press, 1974]). Proops's opening questions and goals show that he aims to clarify the precise character of the dogmatic metaphysical claims criticized by Kant, and to identify what of this previous tradition Kant considers worth saving and why (2–7). This focus on the positive contribution of the Dialectic to Kant's philosophy—an approach Proops shares with other recent commentators—is very welcome.For all his illuminating discussion of Kant's Feuerprobe imagery, Proops neglects to note that Kant does not simply identify worthwhile aspects of previous special metaphysics. Rather, the philosophical findings that Proops takes to be the precious results of the critical test are significantly developed in Kant's hands. That is, no pre-Kantian rational cosmologist claims that their debates provide an indirect proof of transcendental idealism (of course). Neither do pre-Kantian rational psychologists or theologians make Kant's move of conceiving of God and the immortal soul as matters of doctrinal belief, where the latter is an epistemic attitude distinct from knowledge and cognition. In the cases that Proops highlights, then, the relevant image seems to be not only a metallurgical test but also an alchemical transformation of previous metaphysical doctrines into positive "critical" results.The parts of the book on the Paralogisms and the Ideal, on which Proops has previously published, will no doubt stimulate further detailed debate among specialists. I leave these debates aside to consider the part of the... (shrink)

continent. 1.2 (2011): 141-144. This January, while preparing a new course, Robert Seydel was struck and killed by an unexpected heart attack. He was a critically under-appreciated artist and one of the most beloved and admired professors at Hampshire College. At the time of his passing, Seydel was on the brink of a major artistic and career milestone. His Book of Ruth was being prepared for publication by Siglio Press. His publisher describes the book as: “an alchemical assemblage that (...) composes the life of his alter ego, Ruth Greisman— spinster, Sunday painter, and friend to Joseph Cornell and Marcel Duchamp. Through collages, drawings, and journal entries from Ruth’s imagined life, Seydel invokes her interior world in novelistic rhythms.” This convergence of his professional triumph with the tragedy of his death makes now a particularly appropriate time to think about Robert Seydel and his work. This feature contains a selection of excerpts from Book of Ruth (courtesy of Siglio Press) alongside a pair of texts remembering him and giving critical and biographical insights into his art and his person. These texts, from a former student and a colleague respectively, were originally prepared for Seydel's memorial at Hampshire College and have since been revised for publication in continent. For more information on Book of Ruth, please visit the book's page at the Siglio Press website. —Ben Segal draughty R. * Lauren van Haaften-Schick 2011 “The most apt way to order Smithson's library is with the conjunction 'and'; science and religion; modernism and mass culture; what is present and what is missing.” —Alexander Alberro, 248 Robert Seydel's classes on collage and collecting immersed his students in a curious world of cabinets, oddities, exhaustive archives and obscure histories, explored always with critical rigor and a sincere eye for wonder. His office was a compendium of the ancient, mythic, potential and unworldy, where seemingly unrelated references were endlessly pulled, piled and fused in an ecstatic dance of hyper-annotation. The small room and all its contents overflowed with notes tucked in every margin and corner. Books coated the walls like a switchboard, anxious and humming, waiting for infinite links to be activated. William Blake's books of Job and Urizen summoned Greek mythology and the animal as metaphor, leading to 19th century cryptozoology and the cave paintings at Lascaux, Gaston Bachelard's description of the bird in his garden and Robert Rauschenberg's Canyon . Tracking archetypes and following tangential threads, new revelations and ancient narratives were compiled and ordered to form a new text, a bibliography as assemblage, portrait and poem. Robert's library—one of his many collections—is a portrait, an “artifact, collage of time, a token and remnant” (Seydel, 2007) He is humming with it still. The imagination of this room—of Robert—breathes through the pages of Book of Ruth, as every decision and detail unfolds to a cosmos. Allegory, invention, personal and art histories are entangled and leveled, rendering lived, perceived and absorbed experiences indistinguishable. Anonymous scraps discovered on the street or studio floor, careful clippings and drawn figures are chosen and animated through serendipitous destruction and whimsical, delicate positioning. A precise vocabulary of characters and terms erupts and collapses as personas and passers-by wave and whisper, “Every figure reveals aspects of the total form, which is open and green” (Seydel, 2007). The initials R.S. repeat, a nod to Robert's true family tree and further complicating identification. Robt, Robert's sometimes alter-ego, appears in myriad forms as a trickster “half-wit,” mercurial and skittish, or soft and worn thin. Saul is a solemn tinkerer, parsing the world and sometimes blind. Ruth, the speaker of the book, records and translates all, her voice wavering between poetic verse and a cryptic half-speech as complex as it is sparse. The rhythm of frayed edges sets time - the weight of the world and the lightness of paper. Robert wrote of his process, “Material is essential; scuffings carry history, which wanders throughout” (Seydel, 2007). Collectors, assemblers, sway between careful movements of selection and placement as they pull from the found world, mediating calculated and unconscious association to form a lexicon of gestures, symbols and allusion, the “artifacts of a life... the refuse and rejecta of days” (Seydel, 2007). These assembled fragments shift and chatter, at home in their homelessness, actors performing in their own lives, populating an invented world of similar orphans. Such accumulated, severed parts carry the injury of their cutting and retain the evidence of their source, binding loss to creation in a symbiosis of trauma and repair. Mourning and remembrance are deeply embedded in the histories and acts of such practices. Grievance, acceptance, and the fragility of life are conveyed in the 18th century allegorical arrangements of fetal specimens by Frederik Ruysch. A certain melancholy reverence colors Joseph Cornell's intimately tactile assemblages rendering the universe tangible in miniature, or made in devotion to unrequited loves. Preserved in stasis, these ghosts and idols are kept in a purgatory where fact and fiction, past and present are irrelevant distinctions. Catalogued and contained, the subject of loss is transferred to an artifact. Every thread, scrap and letter may be glued, gathered and placed in a museum, a tomb, a box, a page, ripe and open for possession. Holding on to grief and reveling in disrepair, we opt to be haunted. Forever unbalanced and in flux, the sublime of collage is its resolve to irresolution. For Robert, “Art, as creation and as sign of primary Imagination, is not objects but a state, a kind of fluid” (Seydel, 2007) Reflecting on his work, life, and death, I am drawn to my library and the myriad titles acquired through his inspiration. There is Daniel Spoerri's An Anecdoted Topography of Chance , Susan Stewart's On Longing , various Borges, Barthes, Perec, and especially Life: A User's Manual , which concludes that the perfect puzzle will have no solution. I think of the drawers of miscellaneous swallowed objects at the Mutter Museum, Ray Johnson coding the every day in riddles, Wallace Berman twisting tongues, and Susan Hiller laying every detail to bear. Collectors and makers working in endless cycles of observation, ingestion and display. Every gesture informs and is defined by others, every space is shaped by that which surrounds and fills it, the knot has an inner logic, the gigantic is not so different from the miniature, there is a world in every detail, and “All art is collage” (Seydel, 2011) These thoughts have molded my life, my art, and all the minutia that keep the two so profoundly intertwined; There is no difference between life and what we do with our time. “I write my life. I make me up.” What a gift to share this secret way of knowing the world, and to leave this knowledge for us to do with what we please. “Art begins in admiration” (Seydel, 2011) Lauren van Haaften-Schick is a curator, writer and artist based in New York. Upcoming curatorial projects include "Cancelled" at the Center for Book Arts, and "The Spirit of the Signal" at Nicole Klagsbrun Gallery, New York. Recent activities include the workshops "Market, Alternative" and "Alternative Art Economies" at Trade School and Momenta Art, and the e-flux Time/Store, New York. She is the founding director of two arts spaces in Northampton, MA and Philadelphia, PA. She received a BA in Art History and Studio Art from Hampshire college in 2006. Sura Levine on Robert Seydel If early on in his time at Hampshire College I was officially his “mentor,” Robert Seydel quickly became one of my great teachers. Over the years we talked about everything, from art, music, collage, and poetry, to campus politics, this latter far too often. It was always a sublime pleasure, if all too rarely done, to enter his apartment to look at his work in progress, to peruse his bookshelves where, inevitably, there were always new treats to examine. And, while he was working on his Book of Ruth , I was given the opportunity over the course of many meals at the Korean and other restaurants, to talk with him about image and poem ordering. To see how he thought through each comma, each juxtaposition across the gutters of the Book, was to watch a brilliant curator at work. Each day, I walk past his wonderful collaged portrait of Ruth, purchased, after much haggling, as a birthday present, a couple of years ago. And each day, I think how lucky I am to have known Robert as he produced this magnum opus. One of my greatest pleasures in 24 years at the College was to teach “The Collector” with Robert. One of my greatest regrets is that the magic we created together in the classroom will not, and cannot, be duplicated. Its various incarnations, its utter intelligence and magic, were all so deeply Robert’s. His was a mind that put poetry, philosophy, history of science, and history together with art, and art together with music. His intellect and eye were unparalleled. He introduced us to so many artists. He shared his fascination with the cabinets of curiosity of Aldrovandi, of Seba, and Peter the Great’s collection of fetal anomalies, as well as the Museum of Jurassic Technology in Los Angeles. Robert knew them all and so many more. He was a walking encyclopedia, his home a great archive. Arcane knowledge, perhaps, but oh so important for another of Robert’s heroes, the mid-20th century Belgian artist Marcel Broodthaers, whose name he invariably mispronounced as “Broadthayers.” In speaking his name, Robert would always look in my direction in a panic, and then he go on and maul it. I absolutely loved his various mispronunciations of French names and terms! “The Collector” was always filled with talented young artists, art historians, philosophers and writers who all came to understand the wondrous obsessions of the figure of the collector. Students in this course created dazzling projects each term. He always moved while looking and speaking. He read deeply, and commented on everyone’s work with wonderful generosity. Robert always found something to praise even in the least developed of projects. Robert inspired and mentored all of his students into making work that far exceeded their expectations—and ours. For those of you who were lucky enough to have been touched by or to have had an evaluation written by Robert, savor it, keep it, reread it, and share it. He loved working with you all; it is somehow fitting that he died while prepping yet another new course. Robert, it’s almost impossible to speak of you in the past tense, even though you left us a month ago. No doubt, if you knew about our gatherings and celebrations of you, you would be embarrassed that we are making a fuss over you; you always placed the focus on others rather than on yourself. This trait is exactly why so many people miss you now. We’re here to love you publicly as we all did privately for the eleven years you were among us. Robert, my very dear friend, you were an extraordinary artist—you were my brother of choice. My heart broke when yours did. I miss you profoundly. —Sura Levine, February 26, 2011 Sura Levine is a professor of art history at Hampshire College. Her field of specialty is 19th century Belgian and French art, particularly realism and impressionism. Having worked in museums for a number of years both prior to coming to the College, and, as guest curator and co-author of exhibition catalogues, she became particularly interested in the history of museum and trends in collecting. It was because of their shared interests that she and Robert Seydel developed their course, The Collector, which they co-taught for many years. (shrink)

The ancient practice of alchemy, which thrived in Europe until the seventeenth century, dealt with the phenomenon of transformation--not only of materials but also of the human spirit. Through their work in the material realm, alchemists discovered personal rebirth as well as a linking between outer and inner dimensions.C. G. Jung first turned to alchemy for personal illumination in coping with trauma brought on by his break with Freud. Alchemical symbolism eventually suggested to Jung that there was a process (...) in the unconscious, one that had a goal beyond discharging tension and hiding pain. In this book, Nathan Schwartz-Salant, a leading Jungian analyst with an interest in alchemy, brings together a key selection of Jung's writings on the subject. These writings expose us to Jung's fascinating reflections on the symbols of alchemy--such as the three-headed Mercurial dragon, hermaphrodites, and lions devouring the sun--and brings us closer to the spirit of his approach to the unconscious, closer than his purely scientific concepts often allow. (shrink)

The theories of reproduction that emerged at the end of the eighteenth century exhibited a range in experimental thinking about concepts of gender and sexuality. This essay focuses on the work of a writer who proposed an unusual alternative to polarity-based ideas of reproduction. Johann Wilhelm Ritter was a physicist and friend to the German Romantics and someone whose writing also shares many interests with German Naturphilosophie. The essay discusses how, inspired by ideas from the alchemical tradition, Ritter challenged (...) conventional thinking about reproduction in two significant ways: by linking it to the idea of rotation, and by using the figure of the androgyne to understand reproductive models in terms of triads, rather than oppositional pairings. A further objective of this essay is to consider which aspects of the alchemical tradition proved the most useful for Ritter’s experimental thinking and to show how he integrated them with reflections on contemporary scientific developments around 1800. (shrink)

This volume is the general index to the eighteen published textual volumes in the_ Collected Works of C.G. Jung_. The comprehensive indexing goes beyond the volume indexes, and includes sub-indexes to important general topics, such as Alchemical Collections, Codices and Manuscripts, Feud and Numbers, the sub-indexing for the Bible arranged by book, chapter and verse. The _General Index_, with the _General Bibliography of C.G. Jung's Writings_, together complete the publication of the _Collected Works of C.G. Jung_ in English.

The ancient practice of alchemy, which thrived in Europe until the seventeenth century, dealt with the phenomenon of transformation--not only of materials but also of the human spirit. Through their work in the material realm, alchemists discovered personal rebirth as well as a linking between outer and inner dimensions. C. G. Jung first turned to alchemy for personal illumination in coping with trauma brought on by his break with Freud. Alchemical symbolism eventually suggested to Jung that there was a (...) process in the unconscious, one that had a goal beyond discharging tension and hiding pain. In this book, Nathan Schwartz-Salant, a leading Jungian analyst with an interest in alchemy, brings together a key selection of Jung's writings on the subject. These writings expose us to Jung's fascinating reflections on the symbols of alchemy--such as the three-headed Mercurial dragon, hermaphrodites, and lions devouring the sun--and brings us closer to the spirit of his approach to the unconscious, closer than his purely scientific concepts often allow. (shrink)

This paper investigates John Dee’s relationship with two kinds of alchemist: the authorities whose works he read, and the contemporary practitioners with whom he exchanged texts and ideas. Both strands coincide in the reception of works attributed to the famous English alchemist, George Ripley. Dee’s keen interest in Ripley appears from the number of transcriptions he made of ‘Ripleian’ writings, including the Bosome book, a manuscript discovered in 1574 and believed to have been written in Ripley’s own hand. In (...) 1583, Dee and his associate Edward Kelley left England for East Central Europe, taking with them a proportion of Dee’s vast library, including alchemical books—the contents of which would soon pique the interest of continental practitioners. Kelley used Ripley’s works, including the Bosome book, not only as sources of practical information, but as a means of furthering his own relationships with colleagues and patrons: transactions that in turn influenced Ripley’s posthumous continental reception. The resulting circulation of texts allows us to trace, with unusual precision, the spread of English alchemical ideas in the Holy Roman Empire from the late sixteenth century. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:A Philosophical Path for Paracelsian Medicine: The Ideas, Intellectual Context, and Influence of Petrus Severinus (1540–1602)Dane T. DanielJole Shackelford. A Philosophical Path for Paracelsian Medicine: The Ideas, Intellectual Context, and Influence of Petrus Severinus (1540–1602). Copenhagen: Museum Tusculanum Press, 2004. Pp. 519. Cloth, $83.00.The Paracelsian and Danish royal physician Petrus Severinus complained, "If we can make more potent [drugs], extracted from metals and minerals,... I ask, what age (...) except this one will oppose our efforts?" (115). Indeed, early modern attempts to prepare and prescribe drugs forged in the alchemical laboratory often faced vehement opposition by the university-trained physicians who were weaned on the humoral theory and herbal materia medica of Galen. The orthodox Galenists disdained not only the "chemical poisons" of the Paracelsians, but also their theoretical speculations. After all, the Paracelsians dismissed the belief that disease was the result of humoral imbalances, and promoted both the analogy of microcosm (the human) and macrocosm (the natural world, including the stars), and the idea that diseases were essences or actual beings.Severinus was prescient in his prediction that chemical medicine would become popular, but—as Jole Shackelford notes in the introduction to his A Philosophical Path for Paracelsian Medicine—the concepts of Paracelsus and his followers continue to remain peripheral to the grand narratives of early modern intellectual history. This remains the case despite the illuminating studies of such scholars as the late-Enlightenment medical historian Kurt Polycarp Sprengel, Walter Pagel, and Allen Debus. Thus, Shackelford sheds much needed light on this significant strand of sixteenth- and seventeenth-century science and medicine. Via text-oriented study, particularly of Severinus's Idea medicinæ philosophicæ (Ideal of Philosophical Medicine), Shackelford provides a long-awaited and meticulous biographical account of Severinus and explains with refreshing clarity the sources and speculative theory behind his brand of chemical medicine. Like such recent scholars as Michael Walton and Charles Gunnoe, Shackelford presents Paracelsianism as an ideology, duly noting that the ideas of Severinus, reflecting the reception of Paracelsus in general, were frequently accepted or rejected on religious grounds.To begin, Shackelford establishes Severinus's importance, noting that the medical author and Wittenberg professor Daniel Sennert wrote in 1619 that most iatrochemists followed in the steps of Severinus, who had molded Paracelsus's ideas into a coherent philosophy. Shackelford then traces the story of how Severinus—after studying at such universities as Padua and Paris—joined his friend Pratensis (a recognized Paracelsian) and Tycho [End Page 488] Brahe in bringing an increasingly eclectic Denmark up to continental cultural and intellectual standards. Unfortunately, Severinus's appointment as physician to the king distracted him from completing most of his research projects, but he had already left for posterity his Idea medicinæ, published in 1571.As Shackelford writes, the Idea medicinæ promoted Severinus's belief that Paracelsian medicine was not only an alternative to humoral medicine, but also promised to cope better with "new" fevers. Also, Severinus invested Paracelsianism with authority by emphasizing its ancient forebears and by arguing that Paracelsus was the latest in the line of prisca theologia—one of the few to "ascend to the inner chambers of the Mosaic mysteries" (57). In his amalgamation of Neoplatonism, the Hippocratic tradition, and Paracelsus, Severinus's featured doctrine was efficient causation, or "semina theory." Unlike Robert Boyle's inertial, material corpuscles and their active principles, Severinus's semina were "intrinsically formal and immaterial, and were logically and ontologically prior to matter" (17). The characteristics of these "loci," which accounted for all change in the subvisible world, could be observed through chemical analysis, and they were uniquely attractive to Christians, who were drawn to Severinus's Paracelsian interpretation of Genesis and his idea that when the predestinations contained in the semina are completed, the world will reach its end.Shackelford engages the reader with such fascinating topics as why Tycho—who was not just an astronomer, but also a student of alchemy—departed Denmark, and how Paracelsians were involved in the effort to improve the Danish Bible by "cleansing" it of non-Lutheran elements. Very welcome too is Shackelford's discussion of the neglected topic of Paracelsian therapeutics, especially his evaluation of... (shrink)

(1997). Alchemical transformation: Consciousness and matter, form and information. World Futures: Vol. 48, The Concept of Collective Consiousness: Research Perspectives, pp. 3-22.

Summary Robert Boyle is remembered largely for his integration of experiment and the ?mechanical philosophy?. Although Boyle is occasionally elusive as to what he means precisely by the ?mechanical philosophy?, it is clear that a major portion of it concerned his corpuscular theory of matter. Historians of science have traditionally viewed Boyle's corpuscular philosophy as the grafting of a physical theory onto a previously incoherent body of alchemy and iatrochemistry. As this essay shows, however, Boyle owed a heavy debt to (...) a longstanding alchemical theory that postulated the corpuscular make-up of metals and various reagents. I have elsewhere argued in a general way for Boyle's debt to alchemical corpuscular theory, but in the present essay I show one of his precise sources?namely the Wittenberg medical professor Daniel Sennert (1572?1637). In his youth Boyle wrote a treatise on corpuscularianism, Of the Atomicall Philosophy, that borrowed heavily from Sennert without acknowledgement. Later works, such as The Sceptical Chymist, elaborate on these borrowings. This discovery shows that we cannot view Boyle's corpuscular philosophy as an imposition of physics on chemistry: instead, it appears that it originally grew out of chemistry itself. The discovery also throws an interesting light on Boyle's attitude toward sources. (shrink)

Previous discussions of the origins of writing in the Ancient Near East have not incorporated the neuroscience of literacy, which suggests that when southern Mesopotamians wrote marks on clay in the late-fourth millennium, they inadvertently reorganized their neural activity, a factor in manipulating the writing system to reflect language, yielding literacy through a combination of neurofunctional change and increased script fidelity to language. Such a development appears to take place only with a sufficient demand for writing and reading, such as (...) that posed by a state-level bureaucracy; the use of a material with suitable characteristics; and the production of marks that are conventionalized, handwritten, simple, and non-numerical. From the perspective of Material Engagement Theory, writing and reading represent the interactivity of bodies, materiality, and brains: movements of hands, arms, and eyes; clay and the implements used to mark it and form characters; and vision, motor planning, object recognition, and language. Literacy is a cognitive change that emerges from and depends upon the nexus of interactivity of the components. (shrink)

In a recent essay review of William R. Newman, Atoms and Alchemy (2006), Ursula Klein defends her position that philosophically informed corpuscularian theories of matter contributed little to the growing knowledge of "reversible reactions" and robust chemical species in the early modern period. Newman responds here by providing further evidence that an experimental, scholastic tradition of alchemy extending well into the Middle Ages had already argued extensively for the persistence of ingredients during processes of "mixture" (e.g. chemical reactions), and that (...) this corpuscular alchemical tradition bore important fruit in the work of early modern chymists such as Daniel Sennert and Robert Boyle. (shrink)

The psychological and religious implications of alchemy were Jung's major preoccupation during the last thirty years of his life. The essays composing the present volume complete the publication of his alchemial researches, to which three entire volumes have been devoted ^DDL the monumental _Mysterium Coniunctionis_,_ Psychology and Alchemy_, and _Aion_ ^DDL besides shorter papers in other volumes. This collection of shorter _Alchemial Studies_ has special value as an introduction to Jung's work on alchemy. The first study, on Chinese alchemy, marked (...) the beginning of his interest in the subject, and was originally published in a volume written jointly with Richard Wilhelm. The other four are now published for the first time completely in English. (shrink)

ABSTRACTWhile the emergence of a new scientific culture in 16th-century Europe is well known, the role of the actors of the Hispanic New World in this time of renewal of knowledge has long been judged marginal for two reasons: first, because the strong presence of the Inquisition in the Hispanic World has been considered by historians to have been an obstacle for research or scientific innovation; and second, because the discontinuity of the territories of the Hispanic Monarchy and the problem (...) of distances between Spain and the New World have long been interpreted in ways that suggest the marginality and peripheral status of the American colonies. However, some works counterbalance this dismissal and shed new light on the scientific activity of the Hispanic New World. This is the case with the treatise Arte de los Metales, by the secular priest Alvaro Alonso Barba, which would achieve remarkable fame and circulation, and would become a seminal work in the fields of metallurgy and mining until the mid-1700s. The article demonstrates that this treatise also presents ideas that can be traced back to a set of Paracelsian ideas combining alchemy, pharmacopoeia, and medicine, and studies specific examples of these ideas – the description of three fundamental substances as components of all matter, references to Epatica sulfuris, an oil capable of turning silver into gold and curing certain diseases; and the use of antimony – that together testify to the spread of the ideas of Basil Valentine and of Paracelsian influences. From this point of view, Arte de los Metales can be viewed as part of a tradition unexpectedly renewed by the author through many observations based on his own work in Peru and the discoveries he made thanks to alternative techniques. This demonstrates the richness and diversity of knowledge rooted in the New World, and links Alonso Barba’s scholarly activity to some of the great schools of thought that spanned the Early Modern European world. (shrink)

This study analyzed the argumentative writing behavior of Iranian graduate learners of English as Foreign Language in their English essays. Further, the correlations between the use of argument elements and overall writing quality as well as soundness of produced arguments were investigated. To this end, 150 essays were analyzed. The sample essays were found to be predominantly deductive in terms of rhetorical pattern. Moreover, they mainly utilized ‘data’ and ‘claim’ most frequently with secondary elements of argument as the least produced (...) elements. Overall writing quality co-varied significantly positively with the uses of claims, data, counterargument claims, counterargument data, rebuttal claims, and rebuttal data. Essays rated high in terms of overall writing quality were further rated for soundness and relevance of the arguments. The results demonstrate that even for advanced language learners good surface structure cannot necessarily guarantee well thought-out logical structure. The pedagogical implications for writing instruction and research are discussed. (shrink)

Alchemical images take many forms, from descriptive illustrations of apparatus to complex allegorical schemes that link practical operations to larger cosmological structures. I argue that George Ripley’s famous Compound of Alchemy (1471) was intended to be read in light of a circular figure appended to the work: the Wheel. In the concentric circles of his “lower Astronomy,” Ripley provided a terrestrial analogue for the planetary spheres: encoding his alchemical ingredients as planets that orbited the earthly elements at the (...) core of the work. The figure alludes to a variety of late medieval alchemical doctrines. Yet the complexity of Ripley’s scheme sometimes frustrated later readers, whose struggles to decode and transcribe the figure left their mark in print and manuscript. (shrink)

This article examines the dedicatory epigram of the earliest and most important witness to the Greek alchemical corpus, the tenth-century manuscript donated by Cardinal Bessarion to the Republic of Venice, Biblioteca Nazionale Marciana MS gr. 299, as a window onto the cultural coordinates of the manuscript’s middle Byzantine readers. Scrutiny of the epigram’s meter, language, literary conventions, and the handwriting of the scribe who copied it into the manuscript point to a tenth-century date not only for the manuscript but (...) also for the epigram itself and make it possible to situate the epigram, and with it the alchemical manuscript that contains it, within the mainstream of middle Byzantine elite culture. (shrink)

_After Writing_ provides a significant contribution to the growing genre of works which offers a challenge to modern and postmodern accounts of Christianity.

This text gives examples of how a different kind of human experience may be explored, and how the methods used for investigating phenomena may contribute to the process of human understanding.

In order to perfectly describe the world, it is not enough to speak truly. One must also use the right concepts - including the right logical concepts. One must use concepts that "carve at the joints", that give the world's "structure". There is an objectively correct way to "write the book of the world". Much of metaphysics, as traditionally conceived, is about the fundamental nature of reality; in the present terms, this is about the world's structure. Metametaphysics - inquiry into (...) the status of metaphysical questions - turns on structure. The question of whether ontological, causal, or modal questions are "substantive" is in large part a question of whether the world has ontological, causal, and modal structure - whether quantifiers, causal relations, and modal operators carve at the joints. (shrink)

Father Lord, author of Armchair Philosophy, herein offers to a wider audience some notes from a recent talk to the Philosophers in St. Louis. He believes that writing is necessary not only to express, but also really to assimilate philosophy.

Father Lord, author of Armchair Philosophy, herein offers to a wider audience some notes from a recent talk to the Philosophers in St. Louis. He believes that writing is necessary not only to express, but also really to assimilate philosophy.