I don’t know if early mo­dern potters called themselves philosophers or scientists, but they definitively called themselves artists. Claudius Popelin, a French ni­ne­teenth cen­tu­ry enamel-painter and the translator into French of Piccolpasso’s tract, subsumed glass-making, enamel-painting, and ceramics as les vieux arts du feu. And for Popelin, this art of the fire was inconceivable without philosophy and science. That is why Fulcanelli defines a philosopher as “that which can make glass”, without being too much concerned about glass-making, but more attentive to what it shar­es with ceramics and enamel. For Fulcanelli, and for alchemists in general, ceramics is – in its essence – identical with alchemy.