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The Alchemical Virgin Mary in the Religious and Political Context of the Renaissance

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The Alchemical Virgin Mary in the Religious and Political Context of the Renaissance The Alchemical Virgin Mary in the Religious and Political Context of the Renaissance The Alchemical Virgin Mary in the Religious and Political Context of the Renaissance By Urszula Szulakowska The Alchemical Virgin Mary in the Religious and Political Context of the Renaissance By Urszula Szulakowska This book first published 2017 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2017 by Urszula Szulakowska All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-4438-5575-8 ISBN (13): 978-1-4438-5575-4 CONTENTS List of Illustrations .................................................................................... vii Acknowledgements .................................................................................... ix Introduction ................................................................................................. 1 Chapter One ............................................................................................... 11 Alchemy, Apocalyptic Discourse and the Spiritual Franciscans Chapter Two .............................................................................................. 27 The Woman on the Crescent Moon and her Shadows: The Virgin Mary in Catholic Doctrine and in Alchemy Chapter Three ............................................................................................ 37 The Turkish Madonna Chapter Four .............................................................................................. 55 The Apocalyptic Mary in Das Buch der Heiligen Dreifaltigkeit (1419; 1433) Chapter Five .............................................................................................. 80 The Paracelsian Tincture and the Oil of Gold Chapter Six ................................................................................................ 88 The Alchemical Bride in the Rosarium Philosophorum (1550) Chapter Seven .......................................................................................... 111 Marian Imagery in Reusner’s Pandora (1582; 1588) Chapter Eight ........................................................................................... 131 Mary as Sophia, the Holy Virgin, in Paracelsian Theosophy Chapter Nine ............................................................................................ 149 Catholic Iconography in Protestant Alchemy and Lutheran Religious Imagery vi Contents Chapter Ten ............................................................................................. 172 Was There a “Roman Catholic” Alchemy? Conclusion ............................................................................................... 192 Bibliography ............................................................................................ 196 Index ........................................................................................................ 215 LIST OF ILLUSTRATIONS Fig. 2.-1 The quintessence between her parents the Sun and Moon from Johann Daniel Mylius, Philosophia Reformata (Frankfurt: Luca Jennis, 1622), n.p. With the permission of the British Library: Shelf-mark 1033. i. 7 Fig. 3-2 Apocalyptic Woman, Michael Maier, Symbola Aureae Mensae Duodecim Nationum (Frankfurt: Luca Jennis, 1617), p. 509. With the permission of the British Library: Shelf-mark 1033. k. 6 Fig. 3-3 Emblem of Raymundus Lullius in Johann Daniel Mylius, Opus Medico-Chymicum (Frankfurt: Luca Jennis, 1618), n.p. With the permission of the British Library: Shelf-mark 1033. l. 4 Fig. 4-4 Coronation of the Virgin Mary in Das Buch der Heiligen Dreifaltigkeit, Munich, Bayerische Staatsbibliothek MS BSB Cgm 598, f. 26r. With the permission of the Bayerische Staatsbibliothek, Munich Fig. 4-5 Cryptic emblem of the Holy Trinity from Das Buch der Heiligen Dreifaltigkeit, Munich, Bayerische Staatsbibliothek MS BSB Cgm 598, f. 24r. With the permission of the Bayerische Staatsbibliothek, Munich Fig. 4-6 The first image of the Virgin Mary beneath the Lily Cross in Das Buch der Heiligen Dreifaltigkeit, Munich, Bayerische Staatsbibliothek MS BSB Cgm 598, f. 79r. With the permission of the Bayerische Staatsbibliothek, Munich Fig. 4-7 The first alchemical hermaphrodite as the Anti-Christ in Das Buch der Heiligen Dreifaltigkeit, Munich, Bayerische Staatsbibliothek MS BSB Cgm 598, f. 105v. With the permission of the Bayerische Staatsbibliothek, Munich Fig. 4-8 The second alchemical hermaphrodite in Das Buch der Heiligen Dreifaltigkeit, Munich, Bayerische Staatsbibliothek BSB Cgm 598, f. 106v. With the permission of the Bayerische Staatsbibliothek, Munich Fig. 6-9 The first alchemical hermaphrodite in the Rosarium Philosophorum (Frankfurt-am-Main: Cyriacus Jacobus, 1550). With the permission of the British Library: Shelf-mark 1032. c. 1 Fig. 6-10 The second alchemical hermaphrodite in the Rosarium Philosophorum (Frankfurt-am-Main: Cyriacus Jacobus, 1550). With the permission of the British Library: Shelf-mark 1032. c. 1 viii List of Illustrations Fig. 7-11 The “Old” and “New” Eves in Michael Faustius, Pandora (Frankfurt, 1706), fig. “M.” With the permission of the British Library: Shelf-mark 1152. a. 23 Fig. 7-12 The “elixir album” in Michael Faustius, Pandora (Frankfurt, 1706), fig. “S.” With the permission of the British Library: Shelf-mark 1152. a. 23 Fig. 8-13 Emblem of the Immaculate Conception from Jacob Boehme, De incarnatione verbi, oder Von der Menschwerdung Jesu Christi (1620) in Johann Georg Gichtel and Johann Wilhelm Ueberfeld (eds.), Theosophia Revelata. Alle Gottliche Schriften des Gottseligen und Hocherleuchteten Deutschen Theosophi Jacob Bohmens (First edition Amsterdam: Johann Georg Gichtel, 1730; Second edition Hamburg, 1715.) With the permission of the British Library: Shelf-mark 765. i. 12 Fig. 8-14 Emblem of the Immaculate Conception from Jacob Boehme, Psychologia vera, oder Viertzig Fragen Von der Seelen (1620) in Johann Georg Gichtel and Johann Wilhelm Ueberfeld (eds.), Theosophia Revelata. Alle Gottliche Schriften des Gottseligen und Hocherleuchteten Deutschen Theosophi Jacob Bohmens). (First incomplete edition, 1682. First complete edition, Amsterdam: Gichtel, 1730. Second complete edition Hamburg, 1715). With the permission of the British Library: Shelf-mark 765. i. 12 Fig. 9-15 Figure of “Natura” and the Empyreum in Robert Fludd’s “Macrocosmos,” Utriusque Cosmi … Historia, I (Oppenheim: Johann Theodore de Bry, 1617), p. 4. With the permission of the British Library: Shelf-mark C.79. d. 7 Fig. 9-16 The alchemist with Adam and Eve in Johann Daniel Mylius, Opus Medico-Chymicum (Frankfurt: Luca Jennis, 1618), n.p. With the permission of the British Library: Shelf-mark 1033. l. 4 ACKNOWLEDGEMENTS I am grateful for the assistance of the following libraries and institutions: British Library, London; Bodleian Library, Oxford; Rare Books Collection, Brotherton Library, Leeds University; Ferguson Collection, University of Glasgow; Wellcome Institute Library, London; Warburg Institute Library, University of London; Alnwick Castle archives, Alnwick, Northumberland; Bayerische Staatsbibliothek, Munich; Beinecke Library, Yale University; Getty Research Institute Library, Los Angeles; Institute of the History of Art Library, Jagiellonian University, Kraków; Fisher Library, University of Sydney; University of Queensland Library, Brisbane; Biblioteca Medicea-Laurenziana, Florence; Biblioteca Nazionale-Centrale, Florence; Alsóvárosi Templom (Lower City Franciscan Church), Szeged; Krestoproishozhdenskyy Monastery, Pidkamin, Ukraine; Cathedral of SS. Peter and Paul, Kamieniec Podolski, Ukraine; Chapel of Our Lady of Ostrabrama, Vilnius; Stary Ratusz, Gdańsk; Muzeum Narodowe, Gdańsk; Basilica of the Assumption of the Blessed Virgin Mary, Gdańsk; Muzeum Narodowe, Warszawa; Cathedral of St. Clemens, Aarhus. Many colleagues over the years have offered advice and engaged in valuable discussions concerning the history of art and alchemy in the Renaissance and early modern period. I would particularly like to acknowledge the encouragement and interest of Professor Bernard Smith and Dr. Mark Pritchard of the Power Institute, University of Sydney. I also had the good fortune to be able to consult with the late Dame Frances Yates and Mr. Daniel Walker Pickering at the Warburg Institute. I would also like to thank the School of Fine Art, History of Art and Cultural Studies at the University of Leeds for facilitating research funding and study leave. Urszula Szulakowska 2016 INTRODUCTION A little remarked issue in the history of western esotericism is the manner in which Protestant alchemists of the 16th and 17th centuries continued to draw on Roman Catholic doctrine and visual imagery in generating their alchemical symbolic language, despite the fact that the Reformed Churches had condemned many of these teachings. No scholarly research so far has investigated the reasons for this deployment of Catholic ideas by Protestant Hermetic philosophers. For an earlier period the use of Catholic imagery in alchemical illustration prior to the Reformation has been the subject of Barbara Obrist’s indispensable study.1 More recently, Roberta Albrecht has discussed the use of Catholic Mariology in a literary context, examining
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