Theatrum Chemicum is a compendium of early alchemical writings published in six volumes over the course of six decades. The first three volumes were published in 1602, while the final sixth volume was published in its entirety in 1661. Theatrum Chemicum remains the most comprehensive collective work on the subject of alchemy published in the Western world; the full title of the work is Theatrum Chemicum, præcipuos selectorum auctorum tractatus de Chemiæ et Lapidis Philosophici Antiquitate, jure præstantia, et operationibus continens in gratiam veræ Chemiæ et Medicinæ Chemicæ Studiosorum congestum et in quatuor partes seu volumina digestum, though volumes express modified titles. For the sake of brevity, the work is most referred to as Theatrum Chemicum. All volumes of the work, with exception of the last two volumes, were published by Lazarus Zetzner in Oberursel and Strasbourg, France; the final two volumes were published posthumously by Zetzner's heirs, who continued to use his name for publication purposes.

The volumes are in actuality a collection of published and unpublished alchemical treatises, poems and writings from various sources, some of which are attributed to known writers and others remain anonymous. Despite Zetzner acting as publisher and editor, many of the contents are not believed to have been written by him. However, because the Theatrum Chemicum was more disseminated in comparison to most alchemical texts of the era, its text was in the universal Latin used by most scholars of the time, Zetzner is cited as the author of many early alchemical texts which he in fact did not compose. Theatrum Chemicum developed as an evolution of previous alchemical printing projects dating back as early as 1475, when a handful of writings believed to have been written by Geber were printed with attached alchemical poems and circulated in the area of Venice, a decade in Rome. A more directly related ancestor of Theatrum Chemicum was a publication by Johannes Petreius entitled "De Alchemia", a work which contained ten alchemical tracts, published in Nuremberg in 1541.

Petreius had been collecting alchemical documents with the intention of publishing a more complete compilation, though he never completed this task. Upon Petreius's death his collection came into the possession of his relative, Heinrich Petri of Basel who published it in cooperation with Pietro Perna and Guglielmo Gratarolo in 1561. By this time the collection had accrued a total of 53 texts and was published under the name, Verae alchemiae artisque metallicae, citra aenigmata, doctrina. Though Petri would continue to publish alchemical works, it was his partner Perna who in 1572 published an entire series of expanded publications totaling seven volumes with over 80 texts. Perna intended to include the collection of his son-in-law, Konrad Waldkirch, in an larger multi-volume series, but instead sold the collection to Lazarus Zetzner. Zetzner would publish the newly acquired 80 texts and those of Waldkirch as the first volumes of Theatrum Chemicum. Over the course of the six volumes of Theatrum Chemicum, Zetzner expanded the collection to include over 200 alchemical tracts.

Lazurus Zetzner published the Theatrum Chemicum in unsystematic editions, instead he reprinted issues of previous volumes that had appeared up to the date of the particular volume of Theatrum Chemicum as it was published. The material is diverse, being intended as a single body of work containing all significant alchemical texts of its time. Though the Theatrum Chemicum is a book about alchemy, by its contemporary standards it represented a body of work that, in a modern context, is similar to texts such as The Handbook of Chemistry & Physics, The Physicians' Desk Reference, or other specialized texts for the practice and study of the sciences and philosophy, including medicine; the physician and philosopher Sir Thomas Browne possessed a copy, while Isaac Newton filled the margins of his copy with annotations. Within the various volumes are found some of the most studied works in the field of alchemy, such as Turba Philosophorum, Arcanum Philosophorum, Cabala Chemica, De Ovo Philosophorum, many tracts focused upon Secretum Secretorum, The Philosopher's Stone, the Elixir of Life, the Tabula Smaragdina, several works attributed to Albertus Magnus and Thomas Aquinas.

The original publication dates of the specific writings found in the Theatrum Chemicum range from just a few years prior to each volume's publication, to as far back as several centuries in some cases. Establishing a precise table of contents for the various volumes of Theatrum Chemicum is an issue of debate amongst scholars; because of the unstandardized nature of early publication practices and the reprinting of tracts from earlier editions, sometimes under their modified full "elenchus" titles, those studying the contents of Theatrum Chemicum encounter discrepancies in format, tract title, page number, in some cases authorship. For example, it is not clear whether some tracts that appear anonymous are in fact uniquely authored, or intended to be attributed to the author of the preceding text; some of the authorship proposed by Zetzner remains unverifiable due to the nature of publication, the various age of the works, the practice of attributing authorship without modern methods of citation.

Considering the esoteric nature of the subject matter, this was not uncommon at the time of Theatrum Chemicum's publication, but it does seem clear that Zetzner established the authorship of the various tracts according to his original source material. Below is a list of the tracts found within Theatrum Chemicum, their authors

The John Barker House is a historic house at 898 Clintonville Road in Wallingford, Connecticut. Built in 1756 for a wealthy farmer, it is one of the oldest brick houses in Connecticut, one of the few of the period with a gambrel roof, it was listed on the National Register of Historic Places in 1974. The John Barker House is located in a rural-residential area of far southern Wallingford, on the east side of Clintonville Road south of Molly O'Neill Road, it is a 2-1/2 story brick building, covered by a gambrel roof with chimneys at the ends. The main facade is five bays wide, with a center entrance topped by a six-light transom window and framed by molded trim. Ground-floor windows are set in openings that have a arced top, with a soldier brick lintel; the interior follows a typical period central-hall plan, retains many original finishes and features. Notable is the brickwork in the fireplaces, the distinctive moulding and paneling in the principal upstairs chamber; the house was built in 1756 for a prosperous farmer who owned slaves.

Barker's grandfather had been a merchant in New Haven. The house is stylistically similar to Connecticut Hall, built in 1752 at Yale, suggesting the builders were familiar with it. Clay for the bricks was quarried from deposits on the Connecticut River bottomlands in the North Haven area. National Register of Historic Places listings in New Haven County, Connecticut

Diospyros candolleana, is a tree in the Ebony family, endemic to the Western Ghats of India and Sri Lanka. The trees are 20m tall, found as subcanopy trees in wet evergreen forests up to 90m; the bark of D. candolleana is smooth and blaze-reddish in color. Branchlets show adpressed hairs when young. Leaves are simple, distichous. Leaves are hairy when young, glabrous when mature. Lamina is about 6-18 x 3.5-7.5 cm in length, shape is oblong to elliptic-oblong. Flowers are dioecious. Inflorescence of Male flowers show axillary clusters on short tubercles, silky tomentose. Fruits are as berries and bear 4 seeds. Use extensively in timber production. Timber is hard, used in building constructions. A decoction of root-bark is used in rheumatism and swellings in traditional medicine. Http://pilikula.com/botanical_list/botanical_name_d/diospyros_candolleana.html http://indiabiodiversity.org/species/show/10378

Ground Zero Gallery was an art gallery formed in the East Village / Lower East Side of Manhattan, New York in the summer of 1983 as a vehicle for the partnership of artist James Romberger and his co-founder Marguerite Van Cook. In 1984 the gallery found its first physical home on East Eleventh Street and showed the work of many East Village artists who went on to gain national recognition, it was an early proponent of installation art. Ground Zero served as the production name for many projects in various media undertaken by the team of Van Cook and Romberger, until the September 11 attacks gave a new meaning to the term "ground zero" in New York City. Ground Zero opened its first gallery site in 1984, it remained in this location until the following year, when it moved into a larger space on East Tenth Street facing Tompkins Square Park. Romberger and Van Cook presented and pioneered the concept of installations and multimedia environments and hosted many performance events; these included the première of Cinema of Transgression director Richard Kern’s You Killed Me First, featuring Karen Finley and David Wojnarowicz, part of an installation presented by David Wojnarowicz entitled Installation number 8.

Other installations presented were Hell by Mike Osterhout, Zero Gravity by Dragan Ilic and Cold War by Marguerite Van Cook. The Gallery was home to collaborative installations, such as The Nuclear Family curated by Carlo McCormick featuring the work of David West, Keiko Bonk, Andy Soma, David Wojnarowicz, James Romberger and Marguerite Van Cook. Artists shown by Ground Zero include: Edward Brezinski, Peggy Cyphers, John Drury, Christof Kohlhofer, David West, David Wojnarowicz, Calvin Reid, PHASE 2, Delta Dos, Arnold Wechsler, Martin Wong and Michael Roman. In 1986 the gallery moved again to a site on East Ninth Street where among the curations was the David Wojnarowicz show Mexican Diaries, which informs portions of the video A Fire in My Belly, the subject of the 2011 controversy sparked by the removal of the work from the exhibition Hide/Seek at the National Portrait Gallery. During the 1980s, the New York City nightclub scene provided the home for many alternative art installations; the Ground Zero team of Van Cook and Romberger curated many nightclub art shows, at venues such as Danceteria, Palace de Beaute, The World and Max Fish.

These shows included many other notable artists including: John Drury, Stephen Lack, Manuel De Landa, Joseph Nechvatal, Kiki Smith, Walter Robinson, Julius Klein, Nick Zedd, Thom Corn and Matt Enger, Conrad Vogel, Phoebe Legere, Cheryl Dyer, Selwyn Garaway. The comic strip by the name of Ground Zero and drawn Romberger and Van Cook, is a semi-autobiographical, meta-narrative look at the authors’ lives on the Lower East Side and beyond. In its inception, the comic was influenced by the philosophy of Roland Barthes, deconstructionism and film-maker Jean Marie Straub; the strip/pages were conceptually designed to challenge the reader. It was printed in the same publication more than three times and experimented with diverse drawing styles and processes of printing. Ground Zero comic

The Legend of Rockabye Point is a 1955 Chilly Willy cartoon directed by Tex Avery and produced by Walter Lantz. It lost to Speedy Gonzales; this is the second Chilly Willy cartoon directed by Avery. An old sailor tells the legend of a starving polar bear and a penguin who attempted to steal bluefin tuna from his ship 20 years before. But, both kept running into a vicious guard dog. To placate the beast, the bear sings "Rock-A-Bye Baby" to him to make him nod off, which served as a running gag. While gathering fish, Chilly drops an anvil on the polar bear's head. He, holds in his scream, runs over to a nearby desk and writes down on a piece of paper, "Ouch!" and he makes a mad face and writes down swear symbols resembling cuss symbols. As the bear puts down the anvil, he sings to him again. Chilly puts a clarinet in the dog's mouth as he sleeps; the dog becomes cranky from the clarinet noise he is making, but the bear lulls him to sleep by playing the notes to "Rock-A-Bye Baby". Chilly puts new sheet notes in front of the bear and makes him play "Circus March", thus causing the dog to reawaken.

The dog chases the polar bear up a tall iceberg. At the end of the picture, the sailor says if you listen you can to this day still hear the lullaby at night. Indeed, at the peak, the pair stand—both old and grey now—with the bear holding the dog tenderly and singing "Rock-A-Bye Baby"; the Legend of Rockabye Point on IMDb BCDB

Louise-Angélique Bertin was a French composer and poet. Louise Bertin was born in Les Roches, France, her father, Louis-François Bertin, her brother on, were the editors of Journal des débats, an influential newspaper. As encouraged by her family, Bertin pursued music, she received lessons from François-Joseph Fétis, who directed a private family performance of Guy Mannering, Bertin's first opera, in 1825. This opera, never formally produced, took its story line from the book of the same name, written by Sir Walter Scott. Two years Bertin's second opera, Le Loup-garou, was produced at the Opéra-Comique. At the age of 21, Bertin began working on the opera semiseria Fausto to her own libretto in Italian, based on Goethe's Faust, a subject "almost suggested" by her father. A performance of the completed opera was scheduled for 1830. However, due to many unforeseen complications, Fausto did not reach the stage until a full year later, it only saw three performances. Shortly before this, Bertin became friends with Victor Hugo.

Hugo himself had sketched out an operatic version of his book Notre-Dame de Paris and between the two of them, the opera La Esmeralda was born, Hugo providing the libretto. Bertin was the only composer to have collaborated directly with Hugo on an opera. However, as the opera's run began in 1836, there were accusations against Bertin and her family, claiming she had special privileges due to her brother Armand's connection to the government's opera administration. During the seventh performance, a riot ensued, the run of La Esmeralda was forced to end, though a version of the opera continued to be performed over the next three years; the composer Hector Berlioz, who helped Bertin with the staging and production of La Esmeralda, was accused of providing the better music of this work, a charge he vehemently denied. In frustration, Bertin refused to write any more operas. In 1837, Franz Liszt transcribed the orchestral score for solo piano and made a piano transcription of the "Air chanté par Massol".

Bertin did, continue to compose in many different genres. Her compositions include twelve cantatas, six piano ballades, five chamber symphonies, a few string quartets, a piano trio, many vocal selections. Of these, only the ballades and the trio were published. Bertin wrote and published two volumes of poetry, Les Glanes in 1842 and Nouvelles Glanes in 1876; the former of these received a prize from the Académie française. Bertin died in Paris the year after the publication of Nouvelles Glanes. La Esmeralda, with Maya Boog.