Donato Verardi's paper on Aristotelianism, Hermeticism, and Alchemy in Renaissance Naples is available in Open Access. Download the full PDF for free here:

https://www.tandfonline.com/doi/full/10....25.2598098

John Kanaboutzes’ Commentary on Dionysios of Halikarnassos: A Perception of Alchemy in a Fifteenth-Century Greek Text

By Gerasimos Merianos and Sandy Sakorrafou

https://www.academia.edu/6975983/John_Ka...Greek_Text

"In 1572, there was printed at Basel, by Pietro Perna 1 , in the alchemical collection entitled Auriferae artis, quam chemiam vocant, antiquissimi authores, sive turba philosophorum, a Liber de arte chimica incerti authoris 2 . The collection was reissued, with new treatises and under the title Artis auriferae, quam chemiam vocant, volumen primum [-secundum], in 1593 and 1610, also at Basel. In these new editions the Liber de arte chimica continued to be presented as the work of an « uncertain author ».

Sylvain Matton

https://www.academia.edu/43017092/_Is_Ag...Milan_2014

Phoenix Rising: A Comparative Study of the Phoenix Symbol as a Goal of the Alchemical Work and the Individuation Process

By Kiley Laughlin

"Michael Maier’s peregrination is reminiscent of Jung’s individuation process, which in his seminal work Symbols of the Golden Table of the Twelve Nations leads the former through the four continents of the world in search of the phoenix. The continents psychologically correspond to one of the four function of consciousness: Europe (sensation), America (feeling), Asia (thinking), and Africa (intuition). Each leg of his journey takes him through a function of consciousness until he arrives at his inferior function (i.e., Africa) where he encounters the Erythraean Sybil. Sybil is an anima figure who tells Maier where he should search for Mercury who knows the whereabouts of the phoenix. Jung viewed transitioning from three to four as the central problem of the story. Beyond Jung’s initial investigation and Edinger’s supplementary commentary, scholarly study of the literary work is limited. The paper aims at further exploring the phoenix as a symbol of transformation through the lens of Maier’s allegory and Jung’s alchemical studies. By comparing Jung’s individuation process and Maier’s figurative peregrination, the paper also aspires to show the value that alchemical symbolism still has for contemporary culture and provide new perspectives on the phoenix as a symbol of renewal for Jung’s time and our own."

https://www.academia.edu/37022302/Phoeni...on_Process

"[The Janitor Pansophus] consists of four folding plates, which the skill of the engraver has been able to reproduce in the present place by a careful process of
reduction, and (b) of annotations thereon, being citations of scriptural passages and extracts from alchemical books, Janitor Pansophus signifies The All-Wise
Doorkeeper, and the title further affirms that the four pictures exhibit analytically “the Mosaico-Hermetic science of things above and things below.” It appears to
have been prepared especially for its place in The Hermetic Museum, for there is no trace of separate publication." 


https://www.academia.edu/129738764/A_Gat..._A_E_Waite

"This paper embarks on a rich exploration obetween ancient revelatory traditions and esoteric thought, focusing on how the Platonic, Gnostic, and Hermetic systems have influenced Western esotericism across time. It argues that modern scholarship on esotericism must engage deeply with the reception history of these ancient texts, tracing their transformation and recontextualization through eras of mystical, philosophical, and occult thought."

https://www.academia.edu/123568660/Recep...ort_Essay_

Barbara Obrist

"Documents dating from the introduction of alchemy into the Latin West around 1140 up to the mid-thirteenth century are almost devoid of pictorial elements. During the next century and a half, the primary mode of representation remained linguistic and propositional; pictorial forms developed neither rapidly nor in any continuous way. This state of affairs changed in the early fifteenth century when illustrations no longer merely punctuated alchemical texts but were organized into whole series and into synthetic pictorial representations of the principles governing the discipline."

https://www.academia.edu/35173960/Visual...al_Alchemy

'Alcumists of eloquence': The alchemist and the inkhorner in early modern England

By Emily Rowe

"This article examines the intersection of alchemical satire and linguistic critique in the late sixteenth and early seventeenth centuries, situating it within the context of the inkhorn controversy-a debate over linguistic excess and neologisms in Elizabethan England. Alchemical language, long characterized by its mystique and opacity, was a frequent target of satire, with writers like Thomas Nashe and Ben Jonson critiquing its inflated rhetoric as much as its failed transmutations."

https://www.academia.edu/111500602/Anato..._chemistry

ANNA STELLA THEODORA LEENDERTZ-FORD

"As a counteraction to the extremely negative perceptions of alchemy, often associated with
the occult, I demonstrate a dynamic, international community, whose operational practices,
far from being unscientific, included many of the criteria which are regarded in modern times
as essential prerequisites of science. Determining exactly what constitutes good science is
problematic, especially since it is disputed by some that science can even be distinguished
from non-science. Therefore, a Wittgensteinian 'family resembles' approach to analysis of
science has been selected, establishing the essential characteristics by which good science can
be recognised. These criteria are divided into two groups, one designated ‘core requirements’
plus further ‘desirable’ elements."


https://www.academia.edu/111500602/Anato..._chemistry

"My painting Alchemical Body (Solve et Coagula) + custom made frame

The break in the frame performs the alchemical principle of solve et coagula.. structure dissolving and reforming.

The painting itself contains layers of symbolism drawn from alchemy and classical imagery.

A highly finished oil painting, built through slow Renaissance techniques and extended into space through the frame."


https://www.instagram.com/p/DV1F0nVAjZ8/