Skip to main content

Promethean Ambitions

Alchemy and the Quest to Perfect Nature

In an age when the nature of reality is complicated daily by advances in bioengineering, cloning, and artificial intelligence, it is easy to forget that the ever-evolving boundary between nature and technology has long been a source of ethical and scientific concern: modern anxieties about the possibility of artificial life and the dangers of tinkering with nature more generally were shared by opponents of alchemy long before genetic science delivered us a cloned sheep named Dolly.

In Promethean Ambitions, William R. Newman ambitiously uses alchemy to investigate the thinning boundary between the natural and the artificial. Focusing primarily on the period between 1200 and 1700, Newman examines the labors of pioneering alchemists and the impassioned—and often negative—responses to their efforts. By the thirteenth century, Newman argues, alchemy had become a benchmark for determining the abilities of both men and demons, representing the epitome of creative power in the natural world. Newman frames the art-nature debate by contrasting the supposed transmutational power of alchemy with the merely representational abilities of the pictorial and plastic arts—a dispute which found artists such as Leonardo da Vinci and Bernard Palissy attacking alchemy as an irreligious fraud. The later assertion by the Paracelsian school that one could make an artificial human being—the homunculus—led to further disparagement of alchemy, but as Newman shows, the immense power over nature promised by the field contributed directly to the technological apologetics of Francis Bacon and his followers. By the mid-seventeenth century, the famous “father of modern chemistry,” Robert Boyle, was employing the arguments of medieval alchemists to support the identity of naturally occurring substances with those manufactured by “chymical” means.

In using history to highlight the art-nature debate, Newman here shows that alchemy was not an unformed and capricious precursor to chemistry; it was an art founded on coherent philosophical and empirical principles, with vocal supporters and even louder critics, that attracted individuals of first-rate intellect. The historical relationship that Newman charts between human creation and nature has innumerable implications today, and he ably links contemporary issues to alchemical debates on the natural versus the artificial.

Reviews

“Newman is a prominent among the historians of science who have shown how important alchemy was as a part of the serious ’chymistry’ of Robert Boyle, Isaac Newton and their contemporaries. In this book, he looks at the divide between ’art,’ which used to mean anything productive involving artifice and forethought, and ’nature,’ as illuminated in discussions of, and laboratory and clinical practice in, alchemy. . . . Newman, a clear and graceful writer, keeps his goal in view. He is an initiate--tapping, testing and transmuting--until something different, still called alchemy, gradually takes shape.”

David Knight | Nature

“A clear and graceful writer.... Mr. Newman argues that most current debates about boundaries between nature and artifice, or boundaries between proper and improper scientific exploration, echo debates that run through the history of alchemy. Critics of alchemy argued that the natural world could not be replicated or improved and that such goals should not be pursued. Advocates found porous boundaries between nature that could be explored and tested.”

Ed Rothstein | New York Times

“With close attention to historical and textual detail that is never less than engaging, Newman unpicks the historical accidents and political machinations that led to alchemy’s marginalisation, bringing sympathy, wit and imagination to his account.”

Simon Ings | New Scientist

Table of Contents

List of Illustrations
Acknowledgments
A Note on Terminology
Abbreviations
Introduction. From Alchemical Gold to Synthetic Humans: The Problem of the Artificial and the Natural
1. Imitating, Challenging, and Perfecting Nature: The Arts and Alchemy in European Antiquity
2. Alchemy and the Art-Nature Debate
3. The Visual Arts and Alchemy
4. Artificial Life and the Homunculus
5. The Art-Nature Debate and the Issue of Experiment
Afterword. Further Ramifications of the Art-Nature Debate
References
Index

Be the first to know

Get the latest updates on new releases, special offers, and media highlights when you subscribe to our email lists!

Sign up here for updates about the Press