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

32. Ibid., 144.
33. For the mixture of doctrines, see Culling, Sex Magick, op. cit.
34. Helmut Gebelein, Alchimie (Munich: Diederichs, 1991), 32, 368, 371.
NOTES TO CHAPTER 7
NOTES TO CHAPTER I 221
1. Johann Conrad Barchusen [Barckausen], Elementa chemiæ (Leiden:
Theodorum Haak, 1718), which may derive from The Crowne of
Nature or the doctrine of the souereigne medecene declared in 67
Hieroglyphycall figurs by a namlesse Author, MS, second half of the
16th c. New York, Sidney M.Edelstein Foundation Library. On
Barchusen see O.Hannaway, “Johann Conrad Barchusen (1666–
1723)—Contemporary and Rival of Boerhaave,” Ambix 19 no. 2
(1967):96–111; and on the MS, Johannes Fabricius, Alchemy: the
Medieval Alchemists and their Royal Art (Copenhagen:
Rosenkilde and Bagger, 1976), 216, n. 1 to page 17.
2. Falloppio, Neu eröffnete vortreffliche und rare Geheimnüsse der Natur…
Geheimnüssen aus der Chymia (Frankfurt: Henning Grossens, 1690),
277.
3. See Conrad Hermann Josten, “A Translation of John Dee’s ‘Monas
Hieroglyphica’ (Antwerp, 1564), With an Introduction and
Annotations,” Ambix 12 nos. 2–3 (1964):84–221. Gershom Scholem
apparently found the passage illegible, as have other editors; see
for instance Dee, La Monade hiéroglyphique, translated by Grillot de
Givry (Milan: Archè, 1975), 47 n. 2: “Dee a violé ici le secret du
grand œuvre dans une assez mauvaise phrase hébraï que qui…est
devenue a peu près illisible.”
4. Cennini, The Book of the Art of Cennino Cennini, translated by
Christiana J. Herringham (London: Allen and Unwin, 1930 [1899]);
and Daniel Thompson, The Practice of Tempera Painting (New
Haven: Yale University Press, 1936).
5. This subject is pursued in my book Our Beautiful, Dry, and Distant
Texts: Art History as Writing (University Park, PA: Pennsylvania
State University Press, 1997).
6. 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), 344–
48.
7. Max Liebermann, Die Phantasie in der Malerei, Schriften und Reden,
edited by Günter Busch (Frankfurt: S. Fischer, 1978 [1916]), 60. The
passage is also quoted in Lorenz Dittmann, “Prinzipien der
Farbgestaltung in der Malerei des 19. Jahrhunderts im Hinblick
auf die künstlerichen Techniken,” in Das 19. Jahrhundert und die