Also from the Wellcome.

   

https://en.wikipedia.org/wiki/Howard_Helmick

   

https://en.wikipedia.org/wiki/Christian_...t_Dietrich

Wellcome collection

   

Jenny Rampling.

John Dee and the alchemists: Practising and promoting English alchemy in the Holy Roman Empire.

This paper investigates John Dee’s relationship with two kinds of alchemist: the authorities whose works he read, and the contemporary practitioners with whom he exchanged texts and ideas.


https://www.academia.edu/3709510/John_De...man_Empire

John Dee and Prospero: Alchemy, Angels, and Empire in The Tempest

Iovan Stefanov
University of Windsor


"For John Dee (1527-1609), like many others in the sixteenth century, the divide between politics, science, and the occult was permeable. At the height of Dee’s career, he had
assembled the largest private library in England and built bibliographic networks of like-minded intellectuals from lending and sales. His consultations varied from explanations
of Euclidean geometry for sailors to providing magical advice for Elizabeth I and other European monarchs. Dee is simultaneously important to both early modern science and
esoterica. The aim of this thesis is to illuminate the ways in which his politics, his colonial projects, and his occult thought underwrites Shakespeare's character Prospero in
The Tempest."


https://scholar.uwindsor.ca/cgi/viewcont...ontext=etd

An alchemical interpretation of the House of Alma episode in Edmund Spenser's The Faerie Queene

by Ivan-Constantin Hekimian, The American University in Cairo AUC


https://fount.aucegypt.edu/retro_etds/421/

Thomas A. Doerksen


"This dissertation explores how the European system of knowledge in the sixteenth century transformed into the system of knowledge in the nineteenth and twentieth centuries that we now call science. Via a series of case studies focusing on the theme of fire, it shows that the former system of knowledge was based on immediate experience and participation in natural realities, while the latter, that of science, explicitly turns away from human experience and natural realities and towards its own technologies and instruments. Our line of approach to this problem is to analyze the scientists’ attitudes toward their own tools and toward natural beings. The first case study looks at the attitudes and practices of the sixteenth century alchemist Paracelsus..."

https://ir.lib.uwo.ca/etd/9664/

"The Poetics of Alchemical Engagement: The Allegorical Journey to God in Ripley and Norton after Chaucer"

 Marcelle Muasher Khoury

"Both fifteenth-century alchemical poets, George Ripley and Thomas Norton, perceived themselves to be “Chaucerian” in far deeper ways than has been recognized. They perceived their own work, like Chaucer’s, to join author, reader and pilgrim on an essentially hermeneutical journey to Wisdom, and shared with him a deep concern with the human condition of fragmentation and infinite deferral, which they understood Chaucer to relegate to the interpreter’s confinement within the natural (sensible and semantic) mode of perception."

At Scribd:

https://www.scribd.com/document/40697896...tation-pdf
 

 

"Alongside the flasks and fires in the alchemist’s laboratory lay another tool no less vital to alchemical practice: the written word. For centuries books and manuscripts were the central instrument alchemists used to disseminate their ideas, trials, techniques, and secrets, and these texts reveal both the scientific rigor and the strange beauty of alchemical practice. Books of Secrets: Writing and Reading Alchemy [exhibition from 2014-15] illuminated the important role of the written word in alchemical pursuits by placing the actual books used by alchemists alongside historical artworks portraying their use."

https://vimeo.com/103750875

"The Search for the Alchemical Formula"


"Charles Meer Webb was a 19th Century painter of genre subjects. He was born in London on 16 July 1830 and died in Düsseldorf in early December 1895.

Meer Webb studied in Amsterdam and in Anvers and became a pupil of Camphausen at the Düsseldorf Academy. He worked in Anvers, Clèves and Düsseldorf.

Meer Webb exhibited a number of paintings at the Royal Academy as well as at the British Institution and the Royal Society of Birmingham Artists."