Dietterlin’s Architectura prints and the processes he used to form them engaged with sixteenth-century Central Europe’s robust culture of alchemy to transform the architectural image into a context of scientific inquiry. Formal and iconographic analyses of architectural etchings by Dietterlin, Wenzel Jamnitzer, and Hans Vredeman de Vries, in conversation with texts by alchemists Agrippa of Nettesheim and Paracelsus, reveal how architectural image-makers used etching’s mercurial, shapeshifting forms and the protean materiality of ornament not only to picture but also to activate alchemical theories and principles of empirical investigation. Dietterlin’s Architectura prints channelled etching’s alchemical dimensions, comparing the material and chemical transformations involved in architectural etching with the processes of transmutation studied in contemporary alchemical research. As is evident from the alchemical imagery that Dietterlin’s Architectura contributed to the court art of Holy Roman Emperor Rudolf II, the Architectura established architectural images as contexts of alchemical thinking in the years around 1600. In sum, the transformative structures of Dietterlin’s architectural etchings allowed architectural prints to become fora for natural philosophical inquiry.

This chapter focuses on a selection of recipes included in Byzantine alchemical and pharmacological compendia that are preserved in manuscripts dating between the fourteenth and the fifteenth centuries: MSS Parisinus gr. 2314, Bononiensis 1808, and Vaticanus gr. 1174. These manuscripts represent important case studies that are compared with similar collections, from late antique medical encyclopaedias to Byzantine alchemical writings and Nicholas Myrepsos’ pharmaceutical handbook. Through an in-depth analysis of the contents and the terminology of these works, I track the transformation of their technical vocabulary, focusing on cross-cultural exchanges between the Byzantine, Arabic, and Latin traditions. Byzantine authors and copyists reshaped and ‘updated’ a long-lasting technical tradition deeply rooted in late antique and early Byzantine writings, which continued to be read and commented on during the Palaiolοgan period, when scholars compiled large selections of formulas and prescriptions belonging to different, yet overlapping fields, such as metallurgy, pharmacology, and cuisine.

This chapter sheds light on the uses of modern alchemical discourse by three artists and writers who were affiliated with surrealism: British-born artist Leonora Carrington, British artist and occultist Ithell Colquhoun, and Greek poet and critic Nanos Valaoritis. All three writers experimented with the potentialities of alchemical language, writing novels premised upon esotericism and myth in terms of imagery, plot, and sensibility: The Stone Door (1977) and The Hearing Trumpet (1976) by Carrington; Goose of Hermogenes (1961) and I Saw Water (2014) by Colquhoun; From the Bones Rising (1982) and Xerxes’s Treasure (1984) by Valaoritis. Influenced by several strands of the alchemical discourse, Carrington, Colquhoun, and Valaoritis resorted to ideas corroborating the transgression of the dominant Enlightenment concept of the unified rational subject, and utilized them as subversive tropes in their revision of hegemonic body politics. In this revision, identity constitution is conceptualized as a process that is open-ended, non-teleological, and performative. The chapter charts these corporeal cartographies, shedding light on the three writers’ appropriations of alchemy in their writing practices; it shows that the alchemical genre primarily functioned as a platform for the exploration of performative manifestations of identity and contributed to fecund redefinitions of the novel.

Surrealism’s apparent hostility towards the novel was directed more towards the nineteenth-century realist tradition, whereas the movement was strongly attracted to the Gothic novel through its affinity with Romanticism and the celebration of the imagination. It looked back, too, to the pre-rational era of medievalism, celebrating motifs such as the castle, magic, and the supernatural, often framed within the literary device of the narrative journey of discovery, frequented by unnatural events and as exemplified in the writings of Ann Radcliffe and Matthew Lewis. This chapter finds its focus in the writings of three women: Ithell Colquhoun’s Goose of Hermogenes (1961), an alchemical-erotic journey of self-discovery; Valentine Penrose’s Erzsébet Báthory: La comtesse sanglante (1962), a poetic reinterpretation of a woman whose bloody career ended with her immurement in her own castle; and the poet Joyce Mansour’s Les gisants satisfaits (1958), a savagely erotic reworking of the trope of the persecuted woman. All three focus on the expression of the experience of the female body, with a particular emphasis upon the sensory in the work of Penrose and Mansour, while Colquhoun’s concern lies ultimately in spiritual development. All three refigure the model of the Gothic in post-war surrealist writing.

The book concludes by looking at what Jung and Freud published and did not publish on Jonah after their break. This retrospective perspective helps us evaluate the legacy and aftereffects of what was written during the founding years of the psychoanalytic periodicals. The book concludes with a reappraisal of Freud’s decision to end his life on the Jewish Day of Atonement during the Second World War in the context of the extraordinary ways the story on the Book of Jonah played out before the First World War.

Discussion of the only Hermetic practitioners still known to us by name: Zosimos of Panopolis, Theosebeia, and Iamblichus of Chalcis. They shared a strong emphasis on the embodiment of spirit, in the contexts of alchemy and theurgy.

The majority of works written in Early Modern Morocco in the natural sciences remain in manuscript, which has made them difficult to access and evaluate. The chapter takes up astronomical, medical, and alchemical works to discuss the types of approaches scholars in Morocco used and the nature of the questions in which they were interested. Drawing on recent work in the field, it demonstrates that the occult sciences, including lettrism, were part and parcel of this project and that Moroccan scholars produced innovative syntheses and commentaries throughout the period in consideration.

The majority of works written in Early Modern Morocco in the natural sciences remain in manuscript, which has made them difficult to access and evaluate. The chapter takes up astronomical, medical, and alchemical works to discuss the types of approaches scholars in Morocco used and the nature of the questions in which they were interested. Drawing on recent work in the field, it demonstrates that the occult sciences, including lettrism, were part and parcel of this project and that Moroccan scholars produced innovative syntheses and commentaries throughout the period in consideration.

Historians consider the “Scientific Revolution” of the sixteenth and seventeenth centuries the period in which the foundations of modern scientific practice and methodology first took shape. Francis Bacon (1561-1626), sometimes known today as the creator of the scientific method, inspired the formation of the first scientific societies, including the Royal Society of London and the French Académie Royale des Sciences, and their members made experiment and empiricism central to the study of nature. More recently, however, historians have had to wrestle with an interesting conundrum: some of those long hailed as pioneers of scientific experimentalism, such as Robert Boyle (1627-1691) and Isaac Newton (1643-1727), were also committed alchemists. Their dedication to this mysterious and misunderstood art led some modern biographers to deny or even suppress evidence of their alchemical pursuits. Yet, alchemical ideas were central to how Boyle, Newton, and others understood nature. In fact, Newton’s groundbreaking scientific achievements owe a particular debt to alchemical theories, without which his revolutionary vision of the cosmos would not have existed.

Newton codified the laws of motion and gravity, their primitive forms being enunciated in 1665-66. Using Kepler's laws, he discovered the inverse square law of gravity and went on to show that gravity is the same force which holds the planets in their orbits, as well as that which causes apples to fall to the ground. Newton was a brilliant experimentalist who invented the Newtonian, reflecting telescope which eliminated the aberrations of refracting telescopes such as those built by Galileo. Newton's researches culminated in the publication of his revolutionary Principia Mathematica of 1687. He devoted as much effort to chemical (or alchemical) analyses and to the interpretation of ancient texts and the scriptures. He was also the inventor of differential and integral calculus.

Chaucer’s God considers how characters invoke God, both in terms of the everyday language of late medieval England and in the ways that the idea of God is reflected in Chaucer’s fiction. Conventional, non-theological utterances of the names for God by Chaucer’s characters as part of their, by turns, outwardly pious and unthinkingly impious phraseologies are discussed in the opening section, God Woot – ‘God knows’. Under the heading God Forwoot – ‘God foreknows’, some of the more challenging invocations of God are considered, such as the implications of divine foreknowledge and predestination on human free will in the Knight’s Tale, the Nun’s Priest’s Tale and Troilus and Criseyde. The concluding section, God in a Cruel World, asks whether in the Clerk’s Tale and the Franklin’s Tale, if Chaucer allowed his tales to reflect, and characters to reflect upon, the heretical notion of a God lacking in compassion for humanity.

‘Secularity’ is here taken to involve matters which are lay and earthly as opposed to otherworldly and spiritual. Personal experience was being allowed its own authority, a principle which often features in Chaucer’s poetry, as when he portrays a woman with much experience of marriage and a marquis who obsessively tests his wife’s virtue. Certain marvels were acknowledged to have natural rather than miraculous causes; this belief features in the tales told by the Squire and Franklin. Chaucer condemns false alchemists who dupe victims into believing that they are seeing precious metals being created. As far as astrology/astronomy is concerned, he makes use of secular science whilst disassociating himself from the pagan beliefs held by its ancient proponents. His sociopolitical values often reflect those associated with recently recovered works by Aristotle. Secularity and religiosity were not invariably in opposition, but sometimes the strains showed – as in Chaucer’s Retractions.