Ambix最新文献

Ancient Greek colour terminology captures brightness, light, and brilliance rather than clear-cut portions of the chromatic spectrum, as scholars agree today. This also applies to the rich semantic of yellow, which we investigate starting from a philosophical and theoretical perspective. We then shift our focus to Graeco-Roman technical writings dealing with alchemical dyes, cosmetics, and other crafts that made use of the same set of ingredients and colouring substances. We compile a complete list of yellow-dyeing plants used in antiquity, which will update and enlarge the lists currently available in secondary literature on the topic, such as the seminal catalogue by Robert J. Forbes. Drawing on these data and on laboratory reconstructions, we address two main questions. First, which shades of yellow were usually associated with the colour of gold, and how were these tints produced by ancient craftsmen and alchemists? And second, how did these procedures contribute to the ancient discourse on the colour of gold and its artificial reproduction?

Mediaeval Arabic technical literature shows a keen interest in yellow dyes, paints, varnishes, inks, and even perfumes. Recipes reveal that yellow was viewed as just one step away from gold, with preparations for these two colours often sharing ingredients and techniques. In the unfolding of procedures and applications to different materials, from skin to textiles, Arabic sources also offer a glimpse into daily life and shared tastes, presenting luxury objects along with their imitations. This paper traces the role played by yellow and gold in inks, cosmetic dyes, and coloured, scented fabrics, exploring the textual dimension of these recipes, their technical features, and their social role between the court and the street. It also presents translations of several important recipes for yellow and gold dyes, which illustrate their diversity of applications, while also addressing such material problems as durability and substitution.

The New Chemistry, as practised by its early proponents in late eighteenth-century France, is often associated with quantification and a move away from sensorial perceptions. In this paper, I argue that the sensory, far from being discarded by the practitioners of the New Chemistry, thrived in one of their major productions: the Annales de Chimie. Viewing the New Chemistry through its relation to the sensory highlights the diversity of chemical applications and offers a new way of examining the connection of chemistry to state and industrial actors. Chemists utilised a precise vocabulary which allowed them to productively interact on the subject of the senses. Sensorial impressions were used for distinct purposes, including the identification of substances, and to track the progress of ongoing chemical transformations. Most important, the senses were frequently tied to the purpose of chemical work. As chemists put their expertise in support of the state, industry, medicine, and commerce, they aimed to improve the sensory qualities of their objects of study, be they dairy products or fabric dyes. Remaining attuned to the senses, therefore, was an essential prerequisite of the New Chemistry's claim to utility.

The materials and practices of chymical procedures have become key sources of information among science historians, opening up channels for cross-disciplinary dialogue. This is especially true with regard to material culture-based disciplines such as archaeology whose bottom-up approach offers significant contributions to the new historiography of science. Parallel to this trend, some archaeological scientists who specialise in reconstructing past technologies have begun to address questions concerning the production and circulation of scientific knowledge, and have focused as well on the contributions of artists/artisans to the development of natural philosophical theories. This essay charts the history of this archaeology of alchemy and chemistry and its development as a sub-discipline of archaeological science. By mapping this history, from an initial period with a focus on metallurgy to current trends, it demonstrates how the archaeology of alchemy and chemistry both mirrors and, at the same time, feeds the broadening scope of the historiography of science. After surveying the most relevant works and highlighting the key contributions that archaeologists have brought to a discourse related to the creation of scientific knowledge, the essay also offers a series of ideas related to materials awaiting comprehensive study that will further strengthen methodological synergies across disciplines.