What Painting Is: How to Think about Oil Painting ... - Victoria Vesna
What Painting Is: How to Think about Oil Painting ... - Victoria Vesna
What Painting Is: How to Think about Oil Painting ... - Victoria Vesna
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212 NOTES TO THE INTRODUCTION<br />
sulfure,” lecture before the Swiss Paracelsus Society, 21 December<br />
1947, privately printed, n.p.<br />
10. Jon Eklund, The Incompleat Chymist, Being an Essay on the Eighteenth-<br />
Century Chemist in his Labora<strong>to</strong>ry, With a Dictionary of Obsolete<br />
Chemical Terms of the Period, Smithsonian Studies in His<strong>to</strong>ry and<br />
Technology, no. 33 (Washing<strong>to</strong>n, DC: Smithsonian Institution,<br />
1975), 38. After the mid-eighteenth century salt began <strong>to</strong> be<br />
defined as a chemical process, the product of reactions between<br />
acids and bases. That meaning is not the central one in alchemy.<br />
11. Blaise de Vigenère, Traicté du feu et du set, 2nd ed. (Paris: Chez<br />
Jacques Cailloue, 1642), 241. The first edition was 1608; there is<br />
also an English translation, A Discovery of Fire and Salt (London:<br />
Richard Cotes, 1649). Another important treatise is “Son of<br />
Sendivogius” [pseud, for Michal Sedziwój=Sendivogius], Der<br />
Verlangete Dritte Anfang der mineralischen Dinge, oder vom<br />
philosophischen Saltz (Amsterdam: Chris<strong>to</strong>ffel Luycken, 1656); for<br />
the attribution see Zbigniew Szydlo, Water Which Does Not Wet<br />
Hands: The Alchemy of Michael Sendivogius (Warsaw: Polish<br />
Academy of Sciences, 1994), 145–55, Appendices C and H.<br />
12. Die Alchimie des Andreas Libavius, op. cit., Trakt 1, Kap. L[XLIX], p.<br />
315.<br />
13. Paracelsus, De mineralibus, in Theophrast von Hohenheim, op. cit.,<br />
vol. 3, p. 47, calls salt “balsam”: “sal…, das auch balsamum heißt.”<br />
See Bianchi, “The Visible and the Invisible,” op. cit., 39 n. 43.<br />
14. It is visible in a pho<strong>to</strong>graph in Thomas Perkins, Churches of Rouen<br />
(London: George Bell and Sons, 1900).<br />
15. Steven Z.Levine, Monet, Narcissus, and Self-Reflection: The Modernist<br />
Myth of the Self (Chicago: University of Chicago Press, 1994), 168.<br />
16. Abtala [Abdullah] Jurain [Aklila Warckadamison], Hyle und<br />
Coahyl; Aus dem Aethiopischen ins Lateinische, und aus dem<br />
Lateinischen in das teutsche translatiret und übergesetzet durch D.<br />
Johann Elias Muller (Hamburg, 1732), chapter IX, translation<br />
modified from Jung, Psychology and Alchemy (Prince<strong>to</strong>n: Prince<strong>to</strong>n<br />
University Press, 1980 [1968]), 246–47.<br />
17. Archidoxorum Aureoli Ph. Theophrasti Paracelsus de secretis naturæ<br />
mysteriis libri decem (Basel: P.Pernam, 1570), lib. vi. There is also a<br />
seventeenth-century translation: Paracelsus, Archidoxis, Comprised<br />
in Ten Books, translated by John Harding (London: Thomas<br />
Brewster, 1660).<br />
18. Constantine of Pisa, Liber sere<strong>to</strong>rum alchimie, c. 1257, translated as<br />
The Book of the Secrets of Alchemy, edited by Barbara Obrist (Leiden:<br />
E.J.Brill, 1990), 73. Translation mine except the last line, which is<br />
from ibid., 235. See also Khalid, Liver trium verborum, in Artis