The Chemistry of Alchemy by Cathy Cobb

Author:Cathy Cobb
Language: eng
Format: mobi, epub
Publisher: Prometheus Books
Published: 2014-06-04T16:00:00+00:00

DEMONSTRATION 12. PRACTICAL ALCHEMY

Practical alchemy is not an oxymoron. As we've learned, not all alchemists were independently wealthy. Even if they started out wealthy, they probably didn't stay that way. The phrase died penniless shows up with distressing frequency in the biographies of alchemists. So it often became necessary to exploit the skills they'd accumulated in the search for transmutation to produce a different product. Dyes and pigments were popular because the alchemist knew how to purify materials so the color was clean and consistent. The alchemist also knew how to control the temperature of a calcination or a distillation for the best result, which required adjusting vents, arranging coals, and positioning the pot. They knew their materials. They knew their equipment. They got the job done.

In this demonstration, we will be dealing with some of the alchemists’ more popular products: herbal cordials, perfumes, and dyes. In fact, in the 1600s, Otto Tachenius was reported to have said, “there is not an Old Woman in Italy, but will inveigh against the opposers of this [alchemical] Art…. For without it, it is impossible for them to find out any thing to Colour and Dye their Hair.”12

Despite the insensitivity of the statement, the truth is apparent: The alchemists’ skills were able to make money, just not gold.

DISPOSAL

All solids from these demonstrations can go in the trash and the liquids can go down the sink, but keep your plumbing bills down and flush with plenty of cool water.

RENÉ THE PARFUMIER

As we said, poor, maligned Maître René was probably just a perfumer, but this demonstration will show how easily his skills could be extrapolated to create poisons. Some of the deadliest poisons are herbal in origin: monkshood, belladonna, nicotine. In fact, the only limitation to their general employment in the Renaissance was their distinctive aroma and taste. The mineral poison of preference in the Renaissance, arsenic,13 also had a distinct taste, but the taste is said to be garlic-like, a spice liberally used in Renaissance cooking.

The perfume we will be creating in this demonstration is called rose water. Rose water has been a staple of the perfumer since at least the time of the Islamic empire,14 and hopefully from the result of this demonstration you will smell the reason.

Gather ye rosebuds while ye may. You will need a half dozen yellow roses (yellow for reasons presently apparent), and the results will be better if they are all the same variety. Try to find the most aromatic. Cut off the flowers.

Separate two flowers into petals and place half of the petals in the basket of the glass stovetop percolator we suggested for purchase in “Stores and Ores.” Add water to the 2- to 3-cup level marked on the percolator. Alternatively, you can put petals from two of your roses in a beaker with 200 milliliters of water, using the markings on your beaker to measure the water. The results with a percolator are a bit more pleasing and demonstrate how René might have proceeded, but the beaker works as well.

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