The ArgumentThe overall portrayal of early modern experimentation as a new method of securing assent within a philosophical discourse sketched in many of the recent studies on the historical origin of experimentation is questioned by the analysis of the experimental practice of chemistry at the Paris Academy. Chemical experimentation at the Paris Academy in the late seventeenth and early eighteenth century originated in a different tradition than the philosophical. It continued and developed the material culture of the chemical work shops (...) of the sixteenth and seventeenth centuries, and explored epistemic objects which had rather loose connections to philosophy. On the other hand, I argue against the classical dichotomy between the work of the mind that of the hand, and for an epistemology of experimentation that acknowledges that experimental manipulation goes hand in hand with reflexion. In particuler, I argue against the view that chemists at the Paris Academy were “pragmatists” who merely gathered experimental facts and classified substances and operations without perplexing themselves over general conceptions. I claim that the chemists at the Paris Academy constructed a general conception framework which shaped the significance of their experiments. This conception that I call conception of the chemical combination, compound and reaction was rather quickly reified into an experimental fact. Despite its generality it was a genuine chemical conception rather independent of philosophy. (shrink)

The ArgumentMost historians of science share the conviction that the incorporation of the corpuscular theory into seventeenth-century chemistry was the beginning of modern chemistry. My thesis in this paper is that modern chemisty started with the concept of the chemicl compound, which emerged at the end of the seventeenth and the beginning of the eighteenth century, without any signifivant influence of the corpuscular theory. Rather the historical reconstruction of the emergence of this concept shows that it resulted from the reflection (...) on the chemical operations in the sixteenth-century metallurgy and seventeenth-century pharmacy. I argue that the reversibility of these operations and their understanding as crafts (metallurgy) or chemical arts (pharmacy) were decisive factors for the emergence of the first ideas about chemical compounds in the seventeenth-century pharmaceutical works written by pharmaceutically trained authors, influenced by the Paracelsian image of nature. There is a direct line of descent from these authors to E.F.Geoffroy (1675–1742), who integrated the first scattered ideas of chemical compound into a general concept comprising chemical artefacts as well as natural bodies. (shrink)