Chapter Ix. the Spiritual Conferences (1581-1589)
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Alchemical Culture and Poetry in Early Modern England
Alchemical culture and poetry in early modern England PHILIP BALL Nature, 4–6 Crinan Street, London N1 9XW, UK There is a longstanding tradition of using alchemical imagery in poetry. It first flourished at the end of the sixteenth century, when the status of alchemy itself was revitalised in European society. Here I explain the reasons for this resurgence of the Hermetic arts, and explore how it was manifested in English culture and in particular in the literary and poetic works of the time. In 1652 the English scholar Elias Ashmole published a collection of alchemical texts called Theatrum Chymicum Britannicum, comprising ‘Several Poeticall Pieces of Our Most Famous English Philosophers’. Among the ‘chemical philosophers’ represented in the volume were the fifteenth-century alchemists Sir George Ripley and Thomas Norton – savants who, Ashmole complained, were renowned on the European continent but unduly neglected in their native country. Ashmole trained in law, but through his (second) marriage to a rich widow twenty years his senior he acquired the private means to indulge at his leisure a scholarly passion for alchemy and astrology. A Royalist by inclination, he had been forced to leave his London home during the English Civil War and had taken refuge in Oxford, the stronghold of Charles I’s forces. In 1677 he donated his impressive collection of antiquities to the University of Oxford, and the building constructed to house them became the Ashmolean, the first public museum in England. Ashmole returned to London after the civil war and began to compile the Theatrum, which was intended initially as a two-volume work. -
Agrippa's Cosmic Ladder: Building a World with Words in the De Occulta Philosophia
chapter 4 Agrippa’s Cosmic Ladder: Building a World with Words in the De Occulta Philosophia Noel Putnik In this essay I examine certain aspects of Cornelius Agrippa’s De occulta philosophia libri tres (Three Books of Occult Philosophy, 1533), one of the foun- dational works in the history of western esotericism.1 To venture on a brief examination of such a highly complex work certainly exceeds the limitations of an essay, but the problem I intend to delineate, I believe, can be captured and glimpsed in its main contours. I wish to consider the ways in which the German humanist constructs and represents a common Renaissance image of the universe in his De occulta philosophia. This image is of pivotal importance for understanding Agrippa’s peculiar worldview as it provides a conceptual framework in which he develops his multilayered and heterodox thought. In other words, I deal with Agrippa’s cosmology in the context of his magical the- ory. The main conclusion of my analysis is that Agrippa’s approach to this topic is remarkably non-visual and that his symbolism is largely of verbal nature, revealing an author predominantly concerned with the nature of discursive language and the linguistic implications of magical thinking. The De occulta philosophia is the largest, most important, and most complex among the works of Heinrich Cornelius Agrippa von Nettesheim (1486–1535). It is a summa of practically all the esoteric doctrines and magical practices ac- cessible to the author. As is well known and discussed in scholarship, this vast and diverse amount of material is organized within a tripartite structure that corresponds to the common Neoplatonic notion of a cosmic hierarchy. -
John Dee, Willem Silvius, and the Diagrammatic Alchemy of the Monas Hieroglyphica
The Royal Typographer and the Alchemist: John Dee, Willem Silvius, and the Diagrammatic Alchemy of the Monas Hieroglyphica Stephen Clucas Birkbeck, University of London, UK Abstract: John Dee’s Monas Hieroglyphica (1564) was a work which involved a close collaboration between its author and his ‘singular friend’ the Antwerp printer Willem Silvius, in whose house Dee was living whilst he composed the work and saw it through the press. This article considers the reasons why Dee chose to collaborate with Silvius, and the importance of the intellectual culture – and the print trade – of the Low Countries to the development of Dee’s outlook. Dee’s Monas was probably the first alchemical work which focused exclusively on the diagrammatic representation of the alchemical process, combining diagrams, cosmological schemes and various forms of tabular grid. It is argued that in the Monas the boundaries between typography and alchemy are blurred as the diagrams ‘anatomizing’ his hieroglyphic sign (the ‘Monad’) are seen as revealing truths about alchemical substances and processes. Key words: diagram, print culture, typography, John Dee, Willem Silvius, alchemy. Why did John Dee go to Antwerp in 1564 in order to publish his recondite alchemical work, the Monas Hieroglyphica? What was it that made the Antwerp printer Willem Silvius a suitable candidate for his role as the ‘typographical parent’ of Dee’s work?1 In this paper I look at the role that Silvius played in the evolution of Dee’s most enigmatic work, and at the ways in which Silvius’s expertise in the reproduction of printed diagrams enabled Dee to make the Monas one of the first alchemical works to make systematic use of the diagram was a way of presenting information about the alchemical process. -
Alchemical Reference in Antony and Cleopatra
SYDNEY STUDIES Alchemical Reference in Antony and Cleopatra LYNDALL ABRAHAM Lepidus: Your serpent of Egypt is bred now of your mud by the operation of your sun: so is your crocodile. (II.vii.26-7) The phrase "the operation of your sun" is a distinctly alchemical term. It refers to the opus alchymicum as a whole and is first known to occur in one of the oldest and most famous alchemical documents, the Emerald Table: "What I have said concerning the operation of the Sun is finished."1 The Tabula Smaragdina or Emerald Table, ascribed to Hermes Tris megistus or the Egyptian Thoth, was not only one of the most important sources of medieval alchemy, but continued to be considered as the basis of alI alchemical law by alchemists right through to the seventeenth cen tury. The earliest known version was discovered by E. J. Holmyard in an eighth-century Arabic text, and it was translated into Latin around the time of the thirteenth century. The first English translation appears as a part of Roger Bacon's The Mirror of Alchimy (London 1597). The con tents of the influential Table occur repeatedly in both Renaissance and seventeenth-century alchemical treatises, including John Dee's Monas Hieroglyphica (1564: reprinted in 1591 and included in the alchemical anthology Theatrum Chemicum in 1602), the De Alchemia (1541-Table included in full), George Ripley's The Compound of Alchymie (1591), William Bloomfield's Bloomfield's Blossoms, Thomas Norton's Ordinal of Alchemy (1477), and Michael Maier's Atalanta Fugiens (1617).2 In Euphrates or The Waters -
Alchemy, the Ancient Science
Alchemy, the Ancient Science by Neil Powell For centuries a number of men of science and Alchemy, learning spent their lives in the practice of the Ancient alchemy, searching for a way to change ordinary metals into gold. Why did they try? Science Did any of them succeed? We know that alchemists today continue the old tradition and the age-old quest. Will they succeed? Contents 1 The Meaning of Alchemy The basic ideas and processes of the traditional alchemists. 2 The Principles of Alchemy 24 The theoretical background to the work that the alchemists carried out. 3 Two Mysterious Frenchmen 40 Flamel, a medieval alchemist, and Fulcanelli, a modern writer on alchemy. 4 The Medieval Masters 54 Mysterious figures, half-veiled in legend, of alchemy's great period. 5 The Wandering Alchemists 80 The masters who traveled from city to city contacting other adepts. 6 What Happened to Alchemy? 96 The changes that occurred in alchemy as the infant sciences developed. 7 Sex and Symbolism 118 The course of Eastern alchemy, and how it influenced alchemy in the West. 8 Alchemy Lives On 130 The practice of alchemy in the 20th century. The Meaning of Alchemy It is late at night. In a room hidden away Absorbed in the long labor of a dual search—for the secret that from prying eyes, an old man bends over a will enable him to transmute base flask of bubbling colored liquid. All around metal into gold and to achieve spiritual perfection—the alchemist is a clutter of jars, bottles, and apparatus pursued his involved experiments, laying the foundations for the that looks somewhat like the equipment in a science, then still unborn, that modern school chemistry laboratory. -
Historical Influence of the Rosicrucian Fraternity on Freemasonry
Historical Influence of the Rosicrucian Fraternity on Freemasonry Introduction Freemasonry has a public image that sometimes includes notions that we practice some sort of occultism, alchemy, magic rituals, that sort of thing. As Masons we know that we do no such thing. Since 1717 we have been a modern, rational, scientifically minded craft, practicing moral and theological virtues. But there is a background of occult science in Freemasonry, and it is related to the secret fraternity of the Rosicrucians. The Renaissance Heritage1 During the Italian renaissance of the 15th century, scholars rediscovered and translated classical texts of Plato, Pythagoras, and the Hermetic writings attributed to Hermes Trismegistus, thought to be from ancient Egypt. Over the next two centuries there was a widespread growth in Europe of various magical and spiritual practices – magic, alchemy, astrology -- based on those texts. The mysticism and magic of Jewish Cabbala was also studied from texts brought from Spain and the Muslim world. All of these magical practices had a religious aspect, in the quest for knowledge of the divine order of the universe, and Man’s place in it. The Hermetic vision of Man was of a divine soul, akin to the angels, within a material, animal body. By the 16th century every royal court in Europe had its own astrologer and some patronized alchemical studies. In England, Queen Elizabeth had Dr. John Dee (1527- 1608) as one of her advisors and her court astrologer. Dee was also an alchemist, a student of the Hermetic writings, and a skilled mathematician. He was the most prominent practitioner of Cabbala and alchemy in 16th century England. -
Charlotte.Pdf
TABLE OF CONTENTS CHAPTER I BIRTH AND EDUCATION Tercentenary of Dee’s death — No life of him — Persistent misunderstanding — Birth — Parentage — At Chelmsford Grammar School — St. John’s College, Cambridge — Fellow of Trinity — Theatrical enterprise — In the Low Countries — M.A. of Cambridge — Louvain University — Paris — Readings in Euclid — Correspondents abroad — Return to England. CHAPTER II IMPRISONMENT AND AUTHORSHIP Books dedicated to Edward VI. — Upton Rectory — Long Leadenham — Books dedicated to Duchess of Northumberland — Ferrys informs against his “magic” — In prison — Handed over to Bonner — At Philpot’s trial — Efforts to found a State Library — Astrology — Horoscopes — Choice of a day for Queen Elizabeth’s coronation — Introduced to her by Dudley — Sympathetic magic — Bachelor of Divinity — In Antwerp — Monas Hieroglyphica — Preface to Billingsley’s Euclid — Called a conjurer. CHAPTER III MORTLAKE Proposed benefices — Propædeumata Aphoristica — Alchemical secrets — Settled at Mortlake — Journey to Lorraine — Illness — The Queen’s attentions — Mines and hidden treasure — Wigmore Castle — Marriage — Death of first wife — Literary correspondence — John Stow — Diary commenced — The Hexameron Brytannicum — The British Complement — Slander and falsehood — A petty navy — The sea-power of Albion — Fisheries and foreign policy. CHAPTER IV JANE DEE A comet or blazing star — Second marriage — Jane Fromond — Hurried journey abroad — Berlin and Frankfort — Birth of a son — Christening — Edward Dyer — Duc d’Alencon — Michael Lock — His sons — The Queen’s visit — Sir Humphrey Gilbert at Mortlake — Adrian Gilbert — John Davis — The Queen’s Title Royall — Lord Treasurer Burleigh — Death of Dee’s mother — The Queen’s visit of condolence — Map of America — Visits to the Muscovy House — Frobisher and Hawkins — Birth of a daughter — Accident to Arthur. -
Roger Bacon: the Christian, the Alchemist, the Enigma
University at Albany, State University of New York Scholars Archive History Honors Program History 2019 Roger Bacon: The Christian, the Alchemist, the Enigma Victoria Tobes University at Albany, State University of New York Follow this and additional works at: https://scholarsarchive.library.albany.edu/history_honors Part of the History Commons Recommended Citation Tobes, Victoria, "Roger Bacon: The Christian, the Alchemist, the Enigma" (2019). History Honors Program. 12. https://scholarsarchive.library.albany.edu/history_honors/12 This Undergraduate Honors Thesis is brought to you for free and open access by the History at Scholars Archive. It has been accepted for inclusion in History Honors Program by an authorized administrator of Scholars Archive. For more information, please contact [email protected]. 1 Roger Bacon: The Christian, the Alchemist, the Enigma By: Victoria Tobes [email protected] An honors thesis presented to the Department of History, University at Albany, State University of New York in partial fulfillment of the requirements for graduation with Honors in History. Advisors: Dr. Patrick Nold and Dr. Mitch Aso 5/12/2019 2 ABSTRACT: This paper explores the life and work of 13th century English Franciscan friar, Roger Bacon in light of the spiritual-religious practice of alchemy. Bacon’s works in pertinence to alchemy reflect his belonging to a school of intellectual thought known as Hermeticism; which encompasses the practice of alchemy. Bacon can be placed among other philosophic practitioners of alchemy throughout history; allowing for expanded insight into the life of this medieval scholar. Throughout history, Bacon’s most well-known work, the Opus Majus, has been interpreted in a variety of ways. -
The Ground of Artes — the Monas — Alchemy; 1558-1564) I
CHAPTER VI. NUMBERS — LOGISTICAL, FORMAL AND APPLIED. (THE GROUND OF ARTES — THE MONAS — ALCHEMY; 1558-1564) I. Accession of Elizabeth — Dee taken into favour — commences period of fame and success. II. Work on binomials and other lost mathematical writings — the revision of the Ground of Artes — Recorde and Dee — their similar views and interests — the popularity of this work — a text book for self instruction from the first elements onwards — its defence of mathematics and plea for wider instruction in it — this knowledge the distinguishing criterion between men and animals (n.21) — its utility — Dee's additions to the G.A. III. Dee journeys to Continent to print his books — letter to Cecil — copies out the Steganographia — Trithemius' mysticism and magic and their influence on Dee (n.35). IV. Publication of the Monas — Dee's perpetual high regard for this work — its contemporary and subsequent fame (n.39) — contrasted with Aphorisms — its intentional obscurity — the tradition of unfolding secret wisdom as obscurely as possible — the prefatory letter to Maximilian — geometrical figures the key to natural and spiritual truth — the signs of the planets — the forms of letters of the alphabet — the striking results Dee anticipates from this study. V. Its theme and underlying assumptions — the "Monad" as God — connections with neo- Platonic doctrines — reasons for choice of this particular hieroglyph — Mercury — Aries — relations of Monas to cabalistic theory — and the later search for a real character. VI. Analysis of the text — the point and the circle — generation of planetary signs and astronomy — the cross — the semi-circle — numerology of the figure and alchemical sections — Dee's work well within an accepted tradition. -
Seeing the Word : John Dee and Renaissance Occultism
Seeing the Word : John Dee and Renaissance Occultism Håkansson, Håkan 2001 Link to publication Citation for published version (APA): Håkansson, H. (2001). Seeing the Word : John Dee and Renaissance Occultism. Department of Cultural Sciences, Lund University. Total number of authors: 1 General rights Unless other specific re-use rights are stated the following general rights apply: Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. • Users may download and print one copy of any publication from the public portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain • You may freely distribute the URL identifying the publication in the public portal Read more about Creative commons licenses: https://creativecommons.org/licenses/ Take down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. LUND UNIVERSITY PO Box 117 221 00 Lund +46 46-222 00 00 Seeing the Word To Susan and Åse of course Seeing the Word John Dee and Renaissance Occultism Håkan Håkansson Lunds Universitet Ugglan Minervaserien 2 Cover illustration: detail from John Dee’s genealogical roll (British Library, MS Cotton Charter XIV, article 1), showing his self-portrait, the “Hieroglyphic Monad”, and the motto supercaelestes roretis aquae, et terra fructum dabit suum — “let the waters above the heavens fall, and the earth will yield its fruit”. -
Translation of Arthur Dee's Fasciculus Chemicus of 1650, to Him 'Perspective Opticks
Book Reviews Elias Ashmole (1617-1692). His Autobiographical and Historical Notes, his Corre- spondence, and Other Contemporary Sources Relating to his Life and Work, ed. with a biographical introduction, by C. H. JOSTEN, Oxford, Clarendon Press, 1966, 5 vols., pp. xx, 2065, illus., £18. 18s. Od. per set. This beautifully produced, well-illustrated edition of Elias Ashmole's diary notes and letters including a whole volume of introduction by the editor and an index volume fills a much-needed gap in our knowledge of the seventeenth century and its personalities in England. It has been attacked on the grounds that too much uninterest- ing detail had been included when nearly all available material was published and, secondly, that the introductory volume repeats the contents of the diary notes and letters in a more concise form. But nothing less than the whole text will satisfy the scholar who may, on the contrary, regret that only that astrological material which has a bearing on Ashmole's life has been included. What he wants is to have as many relevant facts as possible set before him so that he can make his own evaluation. A detail that seems insignificant to one reader may be vital to the special study ofanother. To the present reviewer, in any case, the vain, litigious, ambitious, much-married historiographer, antiquarian and collector with his philosophy of life based on the tenets of astrology and with his leanings towards the study of alchemy is so intriguing that no detail about him seems totally uninteresting. For instance, the medical historian may be grateful for his detailed account of his illnesses and cures though recorded for purposes of medical astrology. -
Elias Ashmole's Collections and Views About John
Studies in History and Philosophy of Science 43 (2012) 530–538 Contents lists available at SciVerse ScienceDirect Studies in History and Philosophy of Science journal homepage: www.elsevier.com/locate/shpsa Elias Ashmole’s collections and views about John Dee Vittoria Feola Department and Collections, Medical University of Vienna, Waehringerstrasse 25, 1090 Vienna, Austria article info abstract Article history: In this paper I discuss Elias Ashmole’s collections and views about John Dee. I consider Dee as an object of Available online 20 January 2012 collection against the broader background of Ashmole’s collecting practices. I also look at the uses to which Ashmole put some of his collections relating to Dee, as well as those which he envisaged for pos- Keywords: terity. I argue that Ashmole’s interest in Dee stemmed from his ideas about the uses of antiquity in the Elias Ashmole reconstruction and transmission of knowledge. They partly reflected Ashmole’s interpretation of Francis Collections Bacon’s Advancement of learning as well as the influence of William Backhouse and William Oughtred’s Antiquarianism ideas about publishing natural philosophy in English. Natural history Ó 2011 Elsevier Ltd. All rights reserved. Ashmolean Museum Baconianism When citing this paper, please use the full journal title Studies in History and Philosophy of Science 1. Introduction to which Ashmole put his Dee-related collections reflected his be- lief that English should replace Latin as a scholarly language. Ash- In 1692, the Ashmolean Museum in the University of Oxford ac- mole viewed his collections of Dee material as useful sources for quired an oil portrait and forty-two volumes of material by and the pursuit of three projects to be carried out, either by himself about John Dee, which Elias Ashmole (1617–1692) had spent his or by posterity, in the vernacular.