More Bard: review of Ross Duffin’s “Shakespeare’s Songbook”. “Shakespeare’s audience would more likely have gained their knowledge of myth and history from popular song than from Ovid…” – parallels to the current popularity of the broadway musical “Hamilton”.
This former residence of Edward Kelley’s in the Donkey in the Cradle house (many of Prague’s older buildings have names based on their “signs”) placed him conveniently near the royal court in Hradčany (Castle Town). The tower and its spiral staircase date from the sixteenth century but I’m not sure about the rest of the house.
I ran into a lot of spiral staircases in Prague, but this was the tightest, steepest, and oldest
My chief interest was the top floor of the tower where Kelley allegedly had his alchemical lab. Though the reproduction of his study seemed plausible I doubt any of the items were original.
Dee’s diaries suggest Kelley enjoyed the finer things – velvet chair and wine goblet fit right in
Explanatory text describes Kelley’s life and sticks to the known facts – mostly. The writer, Vincent Bridges, suggested an association between Kelley, Shakespeare as a spy (?) and the “Dark Lady” of Shakespeare’s sonnets. He’s one of only two scholars I’ve found that espouse this notion so I don’t know what to make of it, but there you are.
Included are wax models of historical figures, most notably a flying Rudolf II (?) and one of Kelley himself, complete with (alleged) wooden leg:
The “lab” got still more theatrical as I went along, including artfully arranged broken glass representing a lab accident, a homunculus, planets on strings, and a 6 foot long bellows.
Not sure these existed but it’s awfully impressive, isn’t it?
I can’t finish without mentioning Kellyxir, the alchemy-themed bar attached to the museum. Winding glassware adorns the ceiling and “Mrs. Kelley’s” menu includes alcoholic and non- “elixirs” with names that translate loosely to “wonder medicine of the mountains”, “the key to awakening” and the like. I had something called “bear milk” with rum which was quite pleasant. It was a fun afternoon.
Alchemical ceiling of Kellyxir, courtesy Charlotte Dries
With its fanciful (?) stories and funhouse trappings the Museum of Magicians and Alchemists of Old Prague has as much to do with real alchemy as Hollywood does with real life. But it works. The historical Edward Kelley was something of a showman so I think he’d approve of black-lit magical circles and flying emperors in his old home!
Those in the states, let the “eating season” commence!
Research:
Your Grandmother Is Lying (and Other Lessons of Historical Research: part 1, part 2 – how to find and evaluate sources.
Weird history:
New scans of the Voynich manuscript now available – “… recent conservation work addressed folds and curls that had previously blocked some pages, and new scanning equipment made the color more accurate…”
“Tremontaine” is another team effort started by Ellen Kushner as a prequel to her “Riverside” series. The first five episodes are available, next one coming out today.
I took this trip hoping to get a stronger sense of place for my characters and settings. How do cobblestones feel underfoot? Are the winding streets cramped or pleasantly busy? How high are ceilings?
Though many of the sites in my book still exist their use has changed dramatically: the Charles Bridge is full of vendors and performers; a former house is now a pizza joint, etc. So I itched to visit Speculum Alchemiae, an extant sixteenth century alchemical lab open to the public.
The museum is a short walk north of Old Town Square in the old Jewish quarter. From the signage and oddly-shaped bottles you’d think it’s a quaint novelty shop.
Given alchemy’s sketchy reputation (rife with charlatans but with high possible payoffs) practitioners had good incentive to hide their activities. In this case an apothecary’s shop served as the “front”:
Books and curiosities. “We’re just humble apothecaries, not doing anything weird, I swear”
When the docent said Tadeáš Hájek owned the original shop my ears perked up. He served as Rudolf II’s personal physician and he vetted all alchemists bidding for royal patronage…including Dee and Kelley.
At this point I was so busy having an “OMG they could have been here!” squee that I almost missed the explanations of the frescoes and the very strange chandelier.
All of these are Moses’ head; horns are due to erroneous translation of “halo”.
Spikes in the earth, air, fire, and water frescoes directed “energy” (go with it) to the central spire on the chandelier that points to the labs below.
The stairs to said labs are hidden behind the bookcase and accessed Batcave-style with a twist and pull of a small statue:
The ceilings are low and the rooms compact. I imagine that when in use it must have been hell: the stink of experiments and bodies, lots of burning/breakable material in close quarters, and the constant threat of explosive accidents or prying eyes.
Most of the equipment is reproduction with a few extant pieces. Note stuffed crocodile at upper left – these show up in paintings of alchemical labs with ridiculous frequency
Whoever built this took the need for quick escape into account. Three tunnels lead out of the lab: one to Old Town Square, one to the barracks (the quickest way out of town) and one that goes under the Vltava River (!) and up the hill (!!) to Prague Castle.
Door to Old Town Square tunnel. Appears to be bricked up – I don’t know if that’s before or after excavation
This last put my jaw on the floor. The difficulty and expense of construction plus the need to keep it secret illustrates how important alchemy was to Rudolf II and his court. If I weren’t so focused on my book I’d be tempted to research Renaissance mining and earthworks to figure out just how difficult…but I digress.
Archeologists found a recipe book during excavation, and a monastery in Brno distills the elixirs for sale in the museum store based on the old formulas (minus illegal/dangerous ingredients). The docents didn’t know what became of the original recipe book or, strangely, who did the original excavation of the labs.
This jarred me enough to follow up with the owner and the Museum of the City of Prague, neither of whom had answers. I find it difficult to believe there aren’t any records of a ten-year excavation! I don’t need the information for my book but I’d love to see the original field notes and discover who holds surviving artifacts. Anyone have any suggestions?
Even with these unanswered questions Speculum Alchemiae is a fantastic example of what a real alchemical lab would looked like and how alchemists hid their experiments. If Dee and Kelley diddn’t walk those very corridors they will in my book – it’s just too good not to include in overheated, sulfurous glory!
Next time: Kelley’s old house at the Museum of Alchemists and Magicians of Old Prague.
Two years and one first draft later, I finally made my long-coveted research trip to Prague.
I’d wanted to go since I started researching the book 2 years ago. Turns out many of Dee and Kelley’s old Bohemian haunts still exist and, as they say, there’s nothing like the real thing. Besides, any excuse to travel!
I did so much that the past 2 weeks feel like a month, but in a good way. Despite my efforts to not to do ALL THE THINGS at once I couldn’t resist the Prague Castle after dark walking tour my second night.
For three hours our guide took us through the huge castle complex and regaled us with stories of weird Prague: the golem, the imprisoned violinist, Tycho Brahe and his metal nose. Normally crowded with tourists, at night it’s fairly empty, and the cold and rain made it even more evocative.
The Golden Lane at night, by Charlotte Dries. Imagine an astronomer on the roof, an alchemist toiling away underground…
And the view:
Prague from the Castle, by Charlotte Dries
Historic Prague is geographically small – most of it is visible in the picture above – but so much is packed into those endlessly winding little streets!
More in the coming weeks: two very different alchemical labs, a gorgeous library, Renaissance science bros. But to keep this book related:
The White Tower in Golden Lane, one of the many places Edward Kelley was imprisoned.
Special thanks to my friend Charlotte Dries, who had the good sense to have a quality camera with her at all times!
Lots of authors build collections of inspirational material. Music, pictures, objects, etc. help you “go there” and I am no different.
But I got so caught up in hammering out the first draft that I sort of…forgot. Or kidded myself. “Half this stuff doesn’t exist anymore anyway.” “I’ve got portraits, and that’s enough.” Well, no.
I was really just avoiding the astounding time-suck of Pinterest.
Because it would be so easy to play here all day to the exclusion of all else. Rudolfine Prague, Elizabethan everything, alchemical miscellanea, and all so pretty!
I’m pulling my head out to continue teeth-grinding, hair-tearing rewrites but that doesn’t mean you can’t enjoy my book research board. Let me know what you think and recommendations are always welcome!
Tradition and folklore show Dee and Kelley viewing spirits in a crystal ball. But was this the case? As with everything Dee and Kelley-related legend and rumor obscure reality so what Dee’s “shew stones” looked like and whether they still exist is open to debate.
The most well-known scrying receptacles associated with Dee are the crystal ball and black mirror in the British Museum. Many authors attribute them without question but recent scholarship shows no provenance for either object. We only have Horace Walpole’s claim that the black mirror belonged to Dee and the crystal ball has no obvious origin.
I’m a little more convinced by the Wellcome Collection’s crystal. It claims a reliable chain of custody from Dee through the mid 17th century.
So much for tradition. What evidence did Dee leave us?
The spiritual diaries mention two roundish objects. The first is a “stone in a frame” he received from an unnamed friend. He sketched it in the margin:
The “stone in the frame”, taken from the diaries via Ackermann and Devoy
The other shew stone materialized in Dee’s study on November 21, 1582, several months into his partnership with Kelley. He described it as “big as an egg: most bright, clere, and glorious.” Author Aaron Leitch suggests it might have been a lens rather than a ball.
Of course I’d be tickled to death if the real deal still existed but this looks unlikely, or at least unprovable.
For inspirational purposes I keep this little thing on my desk while I’m writing:
Found at the local renn faire
Not especially clear or glorious, but it’s egg-shaped and pretty to look at. It helps me get into my character’s heads, staring into something similar and waiting for the curtain to rise.
Selected Sources:
Ackermann, Silke, and Louise Devoy. 2012. “‘The Lord of the Smoking Mirror’: Objects Associated with John Dee in the British Museum.” Studies in History and Philosophy of Science 43 (3): 539–49.
Leitch, Aaron. 2014. The Essential Enochian Grimoire: An Introduction to Angel Magick from Dr. John Dee to the Golden Dawn. Llewellyn Publications.
Whitby, Christopher Lionel. 1982. “John Dee’s Actions with Spirits: 22 December 1581 to 23 May 1583.” Ph.D. Thesis, Birmingham: University of Birmingham. http://etheses.bham.ac.uk/3149/.
I’m getting the hang of this whole rewriting/editing thing. Between Heather Rose Jones‘ comment and some direction from Helping Writers Become Authors I’m now flailing with a plan: check POV and punctuation; kill “that”s and “there is/was”s, etc. Measurable goals feel like progress, but at what cost?
I’ve become a bit of a hermit writing-wise. Nothing feels ready to put before my critique group, and I declined a public reading because I didn’t want to derail the editing process to prepare one 15 minute section. I’m probably cheating myself of learning opportunities but I’ve not yet figured out the balance for this phase.
So, back into the trenches. Imagine me banging my head against the keyboard between adverb search and destroy missions.
Long answer: I didn’t write this book with an audience in mind. I just wanted to read something about Dee and Kelley that explored the effect of their delusions on their strange household. Two years on I’m editing and realizing I’ll have to market this thing eventually.
I’ve focused on the historical fiction market for the obvious reason that the story takes place in the past. But not all times/places/people appeal to all readers, and I wonder if the paranormal aspects might further limit its appeal.
Horror: Sorta? Readers who like creeping “Haunting of Hill House”- style ambiguity might enjoy it, but anyone expecting blood spatters or serial killers will likely be disappointed.
It’s gothic…ish. The settings include dark castles and gloomy alchemy labs, but lacks languishing maidens and and Victorian restraint.
Mystery? Yes – but it’s never solved.
The magic and alchemy might appeal to fantasy readers though I imply that nothing magical may be going on at all.
It’s not romance because there’s no happily ever after, just unhealthy obsession and distraction.
Modern day occultists: um…maybe? In theory the subject matter is a perfect fit but in my pessimistic imaginings they’d only read to see what I got wrong. Ditto Dee/Kelley scholars (all ~6 of them), though I’m willing to be pleasantly surprised.
So, if you like a bit of weird with your history or fantasy with your reality, I may have the book for you. I just hope you’re not too put out if it all turns out to be a hallucination!
I’ve started my first round of edits/rewrites and it’s a hell of a lot harder than the first draft. No longer can I dump words willy-nilly. They must be hammered into a shape that balances action, thought, and dialogue scene by scene while still being part of a seamless whole.
Much of the first 3 chapters involves Edward setting up his con: lots of lying and making stuff up. By necessity there’s a lot of internal dialogue because it’s the best (only?) way to show the contradictions. The trick is keeping the story moving forward, but not so quickly that the reader wonders why he’s doing these contradictory things.
And man, just using this formula is helping the pacing a thousandfold! No more infinite rereads trying to figure out if I’m wasting time in my characters’ heads. It’s almost musical!
This is just the first edit, which my writing friends assure me will take around 2(!) years. I’m sure it would take longer if I tried to figure out everything myself. Lesson learned: Don’t go it alone – benefit from others’ experience.
