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Povijesni Pigmenti I Uloga Alkemije U Njihovoj Proizvodnji: Interdisciplinarna Studija

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Povijesni Pigmenti I Uloga Alkemije U Njihovoj Proizvodnji: Interdisciplinarna Studija srebrenka bogović zeskoski: historical pigments and the role of alchemy in their production | 21 Historical Pigments and the Role of Alchemy in their Production: an Srebrenka Bogović Zeskoski Interdisciplinary Study In Restauro Conservart Inc. ABSTRACT: The aim of this study is to establish the relationship of alchemical practices Toronto, Canada regarding the fabrication of materials made available to artists during the medieval [email protected] and the early Renaissance periods. Cennino Cennini (Il libro dell’arte, c. 1400) asser- ted that some basic pigments were “made by alchemy”, his claim is relevant to my Pregledni rad/Scientific review Primljen/Received: 30. 6. 2017. recent collaboration with the Croatian Conservation Institute on their publication Tajne o bojama (Segreti per colori) in which the authors consulted, for clarification of UDK ancient recipes, Alkemija (by academician Drago Grdenić), the first work of its kind 7.023.2/.3:75.033.5/.034.4 written in Croatian. In addition, a specific recipe published in an earlier manuscript 547.97 of the 12th century, ascribed to monk Theophilus (1070–1125), will be examined as an DOI http://dx.doi.org/10.17018/portal.2017.2 illustration of alchemical writings deemed in most older literature to be incoherent text. Unintelligible texts encountered in old treatises deserve to be reconsidered wit- hin their historical context and, once deciphered, may reveal themselves to be viable recipes. Finally, alchemy’s low esteem among scholars, especially scientists, merits a lengthier introduction and clarification. KEYWORDS: alchemy, pigments, laboratory equipment, Theophilus, Cennino Cennini, Tri- smegistus “…even when we find not what we seek, we find something as well worth seeking as what we missed.” Robert Boyle, Of Unsucceeding Experiments, 1661 Introduction Medieval alchemy was and is famous for its dominant various areas of scientific development. The alchemists’ ambition: a search for the Philosopher’s Stone, which main preoccupation, the auric pursuit, resulted in a num- would enable those who possess it to change base metals ber of by-products useful to many artisanal occupations of into gold or to indefinitely extend earthly life. In conse- the medieval and early Renaissance periods. For the fine quence, alchemy has given rise to many legends, especially arts, these were mainly pigments, but in medicine vari- its association with astrology and its practitioners’ use of ous herbal tinctures, creams and soaps were applicable, in ciphers and cryptograms to record recipes and experi- metallurgical processes alchemical alloys were used, and ments, which have associated it with the occult and magic. the cloth industry benefited from compounded dyes, to list Recent scholarship has rehabilitated alchemy from these just a few. Inasmuch as artisanal and art-related instruc- false contexts and firmly established its contribution to tions and recipes were often included in alchemical texts 22 | portal ♢ godišnjak hrvatskog restauratorskog zavoda ♢ 8/2017 Harry Potter (1997–) and Coelho’s The Alchemist (1988), translated into more than 80 languages. They follow a long line of writers whose characters or plot-structures follow the alchemists’ ambition: the search for worldly riches, power, or the spirituality to be explored within ourselves.2 By contrast, alchemy has a new role in the history of science as a trailblazer for this early modern discipline, though with some exceptions.3 (Figure 1) The two main areas of alchemy’s contributions are indis- putably the invention of important laboratory equipment and the formulating of various processes which led to the discovery of useful compounds enabling or facilitating fu- ture scientific breakthroughs. It should also be pointed out that, historically, alchemists were recruited from all walks of life: physicians (Arnold of Villanova, Paracelsus), noblemen (king and emperor Rudolph II), scientists (Isaac Newton, Robert Boyle), tradespeople (silversmiths, dyers, brewers, bakers, cloth makers etc.), and religious per- Conrad Gessner, Alchymia (illustration from: The Practice of 4 1. sonages: one pope (John XXII ) and a number of monks the New and Old Phisicke, 1599), courtesy of National Library of Medicine, Bethesda, USA (Albertus Magnus, Bonaventura d’Iseo, Thomas Aquinas), Conrad Gessner, Alchymia (ilustracija iz: The Practice of the New and along with many anonymous experimenters mostly dis- 5 Old Phisicke, 1599.), National Library of Medicine, Bethesda, SAD persed in monasteries throughout Europe. The re-evaluation of alchemy was helped by the final ac- knowledging that the most creative minds of the Scientific and formulae, scholars have extended their study of al- Revolution, Isaac Newton (1643–1727) and Robert Boyle chemy to these seemingly unrelated documentary sources. (1627–1691), if not full practitioners of alchemy, were defi- The result has been the liberation of alchemy from its nitely acquainted with it. This was revealed posthumously status as an esoteric pseudo-science to an acknowledged when their working papers became public.6 Boyle knew pre-scientific discipline. This has also prompted many re- of the dictum of Democritus (c. 460–370 BCE): We think searchers to adopt a more appropriate name: chymia and there is color, we think there is sweet, we think there is bitter, chymistry in lieu of the less reputable alchemy, burdened but in reality there are atoms and a void.7 Democritus had with its occult and magical associations.1 In this field, two postulated that all matter is made of atoms (άτομο) mov- leading scholars, Lawrence M. Principe and William R. ing in empty space (κενός) following universal laws, their Newman, have been the inspiration for this study, and its interaction resulting in material bodies. In Greek atomist fact-finding endeavor is greatly indebted to their innova- theory, knowledge derived from the senses is misleading; tive and creative investigation. only through intelligence can truth and understanding be achieved. Influenced by Democritus, Boyle developed Although some critics tried to portray chrysopoeia (i.e. gold- his own theory that matter is made of tiny particles called making) as operating in a non-natural manner that involved corpuscles (The Skeptical Chemist, 1661).8 Alchemists em- demonic agency and trickery, and was therefore something braced to some extent the corpuscle theory in their belief to be avoided, virtually all its advocates insisted on purely that all matter has the same origin (prima materia) and natural explanations. Lawrence Principe, The secrets of a similar structure and thus has within itself the poten- Alchemy, 2012. tial aptitude to transmute, i.e. to change from one form into another.9 Alchemy has appealed throughout the centuries to those So the question can be posed: why did alchemy’s posi- lured by promises of power and wealth while pursuing tive accomplishments not outweigh the negative percep- various experiments, but also to those merely interested tions of alchemists’ endeavors? in deciphering its many secrets. Alchemy’s presence was In part, the answer is in the alchemists’ defense of se- felt practically in all areas of humanistic pursuits, and crecy by assigning symbolic images and names borrowed the term became a part of mythology, literature, poetry, from various spiritual areas to their materials, methods, fine art, psychology and psychiatry. The recent renewed and discoveries. This practice made it difficult to under- interest is attested to by the popularity of such fiction as stand – and even to decipher – such entries in the numer- Marguerite Yourcenar’s L’oeuvre noir (1968), Rowling’s ous manuscripts that have survived since antiquity and srebrenka bogović zeskoski: historical pigments and the role of alchemy in their production | 23 2. Peter Brueghel the Elder, De Alchemist, courtesy: British Museum, London Pieter Brueghel stariji, Alkemičar, British Museum, London the early Middle Ages (either in their original form or as the world of alchemy, the world of fine art is often more transcripts/copies). Often the simplest formula presents seemingly real and more perfect than the materials it itself as a magic spell or ritual.10 In addition, alchemy was uses and the very nature it depicts or transforms.13 Both an eclectic practice with commonly-used techniques but no seem to unlock the secrets of creation and creativity, and standardized methods or common language which would the mystiques of alchemy and fine art are still with us on have facilitated the exchange of ideas, with the result that many cultural levels. The comprehensive and somewhat its texts often seem esoteric and thus incomprehensible.11 radical exhibition at the Museum Kunstpalast in Düsseldorf (2014) synthesized the fascination that artists and alche- Painting and Alchemy mists share with the mystery of transformation, in which While pigments are essential to painting, no less essential both see themselves as active participants.14 is the relationship between fine art and alchemy. How are For alchemists/chymists before the Enlightenment, at a artists and alchemists comparable and their practices al- time when scientific methodology was slow, arduous and lied in any way? In part, the answer is in the texts of the devoid of provable mathematical models and formulae medieval and early Renaissance treatises which explicitly and even a mutual language, explaining experimental pro- linked the two: the copyists or compilers of the texts saw cesses and results relied perforce on
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