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The Alchemical Patronage of Sir William Cecil, Lord Burghley

The Alchemical Patronage of Sir William Cecil, Lord Burghley

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to involve cementation rather than precipitation. 63 M. B Donald in Elizabethan Monopolies<br />

(1961) discussed the involvement <strong>of</strong> <strong>Cecil</strong>‘s technical expert, <strong>William</strong> Humfrey, in the<br />

scheme. 64 While Donald correctly understood Medley‘s chemical process, he provided little<br />

detail or context for the project, and continued to describe <strong>William</strong> Medley as a charlatan. 65<br />

Recent examinations <strong>of</strong> <strong>Cecil</strong>‘s patronage have also failed to examine <strong>William</strong><br />

Medley or the Society <strong>of</strong> the New Art in any detail. Felicity Heal and Clive Holmes, who<br />

only mention the project in a footnote, state that <strong>Cecil</strong> was more cautious in investing than<br />

the rest <strong>of</strong> the partners and refer the reader to Mary Dewar‘s work. 66 Stephen Pumfrey and<br />

Frances Dawbarn‘s article ‗Science and <strong>Patronage</strong> in England, 1570–1625‘ describes the<br />

Society <strong>of</strong> the New Art as ―the most extraordinary <strong>of</strong> <strong>Burghley</strong>‘s projects‖, yet dismisses it<br />

in a few sentences. 67 Incorrectly dating the project to 1579, they argue that it was another<br />

example <strong>of</strong> <strong>Cecil</strong>‘s utilitarian patronage that concerned him because <strong>of</strong> its implications on<br />

coinage. 68 As evidence they cite John Strype‘s seventeenth century account. 69 Although<br />

Deborah Harkness‘ <strong>The</strong> Jewel House does put the scheme in the context <strong>of</strong> <strong>Cecil</strong>‘s<br />

involvement with the Frobisher voyages and Cornelius de Lannoy, her coverage <strong>of</strong> the<br />

project is superficial and she provides no real analysis <strong>of</strong> the project‘s importance. 70<br />

Historians have thus constantly reiterated either John Strype or Mary Dewar‘s account <strong>of</strong><br />

the project, revealing that the topic has yet to be properly researched.<br />

As an alchemical project on an industrial scale, the Society <strong>of</strong> the New Art<br />

demonstrates how far <strong>Cecil</strong> would back his assumptions about nature with his own money<br />

and influence. <strong>Cecil</strong>‘s role in the creation, funding and support <strong>of</strong> the Society <strong>of</strong> the New<br />

Art has numerous important parallels to his patronage <strong>of</strong> other schemes designed to reduce<br />

63 Ibid., p. 183.<br />

64 M. B. Donald, Elizabethan Monopolies: <strong>The</strong> History <strong>of</strong> the Company <strong>of</strong> Mineral and Battery Works 1568–1604,<br />

Edinburgh, 1961, pp. 30-33.<br />

65 Ibid., p. 32.<br />

66 Heal and Holmes, ‗<strong>The</strong> Economic <strong>Patronage</strong> <strong>of</strong> <strong>William</strong>‘, p. 229n.<br />

67 Pumfrey and Dawbarn, ‗Science and <strong>Patronage</strong> in England‘, p. 159.<br />

68 Ibid., p. 160.<br />

69 Ibid., p. 185n.<br />

70 Harkness, <strong>The</strong> Jewel House, pp. 170, 173-74.<br />

131

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