What Painting Is: How to Think about Oil Painting ... - Victoria Vesna

216 NOTES TO THE INTRODUCTION
Entstehung und Ausbreitung der Alchemie, 3 vols. (Berlin, J.Springer,
1919–54), vol. 1 (1932), pp. 647–59; and Robert Halleux, Les Textes
alchimiques, Typologie des Sources du Moyen Âge Occidental,
fascicle 32, edited by L. Genicot (Turnhout, Belgium: Brepols,
1979), especially 53–54.
8. César Isidore Henri Cros, L’Encaustique et les autres precedes de
peinture chez les anciens, histoire et technique (Paris: Librairie de
1’Art, 1884), reprinted (Puteaux: EREC, 1988), includes ancient
artists’ tools.
9. Beckett, Molloy, Malone Dies, The Unnamable (London: Calder,
1994), 418.
10. Junius, Praktisches Handbuch, op. cit., 172.
11. Max Doerner, The Materials of the Artist, And their Use in Painting
with Notes on the Techniques of the Old Masters, translated by Eugen
Neuhaus (New York: Harcourt, Brace, and Company, 1934), 346.
Doerner’s book first appeared as Malmaterial und seine Verwendung
im Bilde, Nach den Vortragen an der Akademie der bildenden Kunste im
München (Munich: Verlag für Praktische Kunstwissenschaft, 192,
1), and was revised at least nine times; the ninth edition is
(Stuttgart: F.Enke, 1949).
12. Matthew MacKaile, The Oyly-Well; or, a topographico-spagyricall
Description of the Oyly-Well at St. Cathrinis-chappel, in the paroch of
Libberton (Edinburgh: Robert Brown, 1664).
13. This summary is based in part on Allison Coudert, Alchemy: The
Philosopher’s Stone (London: Wildwood House, 1980), 44 ff.,
following the list of twelve processes given by Antoine-Joseph
Pernety, Dictionnaire mytho-hermétique (Paris: s.n., 1758).
14. Cleidophorus Mystagogus, Trifertes Sagani, Or Immortal Dissolvent
(London: W. Pearson, 1705), 21.
15. Preface to Richard Ingalese, They Made the Philosopher’s Stone…with
an introduction by Frater Albertus (Salt Lake City: Para[celsus]
Publishing Co., 1973), 2.
16. Artephius, Artephius Arabis philosophi Liber Secretus: nec non Saturni
Trismegisti, sive Fratri Helix de Assisio libellus, 2nd ed. (Frankfurt:
Apud. lennisium Francofurti, 1685 [1678]), 16: “Nam in ipsa aqua
corpus ex duobus corporibus solis, & lunæ, fit ut infletur, tumeat,
ingossetur, elevetur, & crescat accipiendo substantiam, & naturam
animatam, & vegetabilem.” Artephius’s Liber secretus appeared in
English as “The Secret Books of Artephius,” in Nicolas Flamel, His
Exposition of the Hieroglyphicall Figures…, translated by Eirenæus
Orandus (London: T.S. for Thomas Walsley, 162.4).
17. This recipe was recommended by William Newman (personal
communication, 1991). It can be done in an afternoon. (The
symbols are mine.)