Theatrum Chemicum - History

History

Theatrum Chemicum developed as an evolution of previous alchemical printing projects dating back as early as 1475, when a handful of writings believed to have been written by Geber (or pseudo-Geber) were printed with attached alchemical poems and circulated in the area of Venice, and then a decade later in Rome.

A more directly related ancestor of Theatrum Chemicum was a publication by Johannes Petreius entitled "De Alchemia", a work which contained ten alchemical tracts, which was published in Nuremberg in 1541. Petreius had been collecting alchemical documents with the intention of publishing a more complete compilation, though he never completed this task. Upon Petreius's death his collection came into the possession of his relative, Heinrich Petri of Basel who published it in cooperation with Pietro Perna in 1561. By this time the collection had accrued a total of 53 texts and was published under the name, Verae alchemiae artisque metallicae, citra aenigmata, doctrina. Though Petri would continue to publish alchemical works, it was his partner Perna who in 1572 published an entire series of expanded publications totaling seven volumes with over 80 texts. Perna intended to include the collection of his son-in-law, Konrad Waldkirch, in an even larger multi-volume series, but instead sold the collection to Lazarus Zetzner. Zetzner would publish the newly acquired 80 texts and those of Waldkirch as the first volumes of Theatrum Chemicum. Over the course of the six volumes of Theatrum Chemicum, Zetzner expanded the collection to include over 200 alchemical tracts.

Read more about this topic:  Theatrum Chemicum

Famous quotes containing the word history:

    The greatest horrors in the history of mankind are not due to the ambition of the Napoleons or the vengeance of the Agamemnons, but to the doctrinaire philosophers. The theories of the sentimentalist Rousseau inspired the integrity of the passionless Robespierre. The cold-blooded calculations of Karl Marx led to the judicial and business-like operations of the Cheka.
    Aleister Crowley (1875–1947)

    Man watches his history on the screen with apathy and an occasional passing flicker of horror or indignation.
    Conor Cruise O’Brien (b. 1917)

    Postmodernism is, almost by definition, a transitional cusp of social, cultural, economic and ideological history when modernism’s high-minded principles and preoccupations have ceased to function, but before they have been replaced with a totally new system of values. It represents a moment of suspension before the batteries are recharged for the new millennium, an acknowledgment that preceding the future is a strange and hybrid interregnum that might be called the last gasp of the past.
    Gilbert Adair, British author, critic. Sunday Times: Books (London, April 21, 1991)