Interpretation Of Azoth Of The Philosophers

This meditative emblem first published in 1659 as an illustration for the book Azoth of the Philosophers by the legendary German alchemist Basil Valentine. The word "Azoth" in the title is one of the more arcane names for the One Thing. The "A" and "Z" in the word relate to the Greek alpha and omega, the beginning and end of all things. The word is meant to embrace the full meaning of the One Thing, which is both the chaotic First Matter at the beginning of the Work and the perfected Stone at its conclusion. At the center of this striking drawing is the face of a bearded alchemist at the beginning of the Work. Like looking into a mirror, this is where the adept fixes his or her attention to meditate on the mandala. Within the downward-pointing triangle superimposed over the face of the alchemist is the goal of the Work, the divine man in which the forces from Above and Below have come together. Each of the sequentially numbered points on the star emanating from the alchemist stands for an operation in the Emerald Formula (Calcination, Dissolution, Separation, Conjunction, Fermentation, Distillation, and Coagulation) and contains the cipher for the corresponding metal. To see an explanation of these operations, click on the appropriate point on the star. Table of Operations = Metals The alchemist’s schematized body is the offspring of the marriage between Sol, the archetypal Sun King seated on a lion on a hill to his right, and Luna, the archetypal Moon Queen seated on a great fish to his left. "Its father is the Sun," says the tablet, "its mother the Moon." The laughing, extroverted Sun King holds a scepter and a shield indicating his authority and strength over the rational, visible world, but the fiery dragon of his rejected unconscious waits in a cave beneath him ready to attack should he grow too arrogant. The melancholy, introverted Moon Queen holds the reins to a great fish, symbolizing her control of those same hidden forces that threaten the King, and behind her is a chaff of wheat, which stands for her connection to fertility and growth. The bow and arrow she cradles in her left arm symbolize the wounds of the heart and body she accepts as part of her existence. In simplest terms, the King and Queen represent the raw materials of our experience -- our thoughts and feelings -- with which the alchemist works. The King symbolizes the power of thought, ultimately the One Mind of the highest spirit. The Queen stands for the influence of feelings and emotions, which are ultimately the chaotic One Thing of the greater soul. The much anticipated Marriage of the King and Queen produces a state of Consciousness best described as a feeling intellect, which can be raised and purified to produce a state of perfect intuition, a direct gnosis of reality. "All Obscurity will be clear to you," says the tablet of this state of mind; it is "the Glory of the Whole Universe." The goal of alchemy is to make this golden moment permanent in a state of consciousness called the Philosopher’s Stone, and it all starts with the marriage of opposites within us. In our drawing, the body of the alchemist is composed of the Four Elements. His feet protrude from behind the central emblem; one is on Earth and the other in Water. In his right hand is a torch of Fire and in his left a feather, symbolizing Air. Between his legs dangles the Cubic Stone labeled with the word Corpus, meaning body. The five stars surrounding it indicate that it also contains the hidden Fifth Element, the invisible Quintessence whose "inherent strength is perfected if it is turned into Earth." Where the head of the alchemist should be, there is a strange winged caricature that is variously interpreted as a heart, a helmet, or even the pineal gland at the center of the brain. The symbol evolved from the Winged Disk of Akhenaten and became the top of the Caduceus, the magical wand of Hermes where opposing energies merge to produce miracles. This knob represents the Ascended Essence, the essence of our souls raised to the highest level in the body, to the brain, where it becomes a mobile center of consciousness able to leave the body and travel to other dimensions. Touching the wings of the caduceus are a salamander engulfed in flames on the left side of the drawing and a standing bird on the right. Below the salamander is the inscription Anima (Soul); below the bird is the inscription Spiritus (Spirit). The salamander, as a symbol of soul, is attracted to and exposed in the blazing fire of the Sun. Likewise, the bird of spirit is attracted to the coolness of the Moon and is reflected in it. This is a subtle statement of the fundamental bipolar energies that drive the alchemy of transformation. Spiritus, Anima, and Corpus form a large inverted triangle that stands behind the central emblem. Together they symbolize the three archetypal celestial forces that the alchemists termed Sulfur, Mercury, and Salt. Again, these chemicals are not chemicals at all, but our feelings, thoughts, and body.

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Ibn Al Wafid

Ali Ibn al-Husain Ibn al-Wafid (997-ca.1074), known in Latin Europe as Abenguefit, was a pharmacologist and physician from Toledo. He was the vizier of Al-Mamun of Toledo. His main work is Kitab al-adwiya al-mufrada (translated into Latin as De medicamentis simplicibus). were printed in Latin more than fifty times, appearing as De Medicinis universalibus et particularibus. Ibn al-Wafid was mainly a Pharmacist in Toledo, he used the techniques and methods available in Alchemy to extract at least 520 different kinds of medicines from various plants and herbs. His student Ali Ibn al-Lukuh was the author of Umdat al-Tabib fi ma'arifat al-nabat li kuli labib, a famous botanical dictionary.

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Medieval Alchemists And Cannabis

The Arabs were responsible for the popular reintroduction of Alchemy into medieval Europe. Jabir Ibn el-Hayyan, known as Geber[24] in the West “has been acknowledged by both the Arab and European alchemists as the patron of the art since the eighth century.”[25] Dr. M. Aldrich has commented that “skilled alchemists with pretty classy lab equipment experimented with all kinds of po­tions; if Geber and others could distill alcohol, they could have made hashish (or even hash oil), and, indeed, Geber included banj among his powerful prescriptions. An amusing tale of a hypocritical priest, from Arabian manuscripts dated about CE 950, shows that use of banj was secret and spread among religious persons who professed against it.”[26] A number of Sufi s can be tied to both hashish use and the alchemical language, most notably the Arabian Alchemist Avicenna (known in Arabic as Ibn Sina), Mansur el-Hallaj, and Farduddin Attar, the Chemist. That the alchemists of the West knew they were pursuing an internal goal is clear from their admonitions and innumerable cryptic illustrations in their works. Alchemical allegory is by no means difficult to read if one bears in mind Sufi symbolism. In the seventeenth century, a thousand years after the time of their original inspirer, Geber (born circa 721), the European alchemists were keeping lists of successive masters, reminiscent of the Sufi “spiritual degrees.” One of the most interesting things about this fact is that these chains of succession refer to people linked in the Sufic and Saracean traditions, but otherwise have no common denominator. In the records, we find the name of Mohammed, Geber, Hermes, Dante and Roger Bacon. — I. Shaw, The Sufis Attar and other Sufis are reported to have used el-Khidr (Khizr), the green man , as a hidden reference to hashish and bhang. In 1894, J.M. Campbell commented that to the Moslem worshipper “the holy spirit in bhang is not the spirit of the Almighty, it is the spirit of the great prophet Khizr, or Elijiah.” In what can be considered more than a mere coincidence, we find this same figure playing a highly regarded role in medieval alchemy. Alchemists like Paracelsus and Eirenaeus Philalethes mention the name Elias, which in the authorized version of the Bible is the same as Elijah, the powerful magician-prophet of Tishpeh, whom the Sufi s equated with Khidr , the green man and patron saint of cannabis. The real significance of the mysterious Elias is given in an almost throw away phrase by A.E. Waite in The Brotherhood of the Rosy Cross. He says: “I infer that enthusiasts [i.e. those who looked forward to the coming of Elias] regarded it as a corporate Elias.” In other words, Elias was the symbolic figurehead of the new school of alchemy whose adepts were now proving its reality among mankind. — Kenneth Rayner Johnson, The Fulcanelli Phenomenon My book is the precursor of Elias, designed to prepare the Royal way of the Master... — Eirenaeus Philalethes, An Open Entrance to the Closed Palace of the King Nothing is concealed that shall not be revealed. There are many more secrets concerning the transmutation, though they are little known, for if they are revealed to someone their fame is not immediately common. With this art, the Lord bestows the wisdom to keep it secret until the advent of Elias Artista[27]. Then shall be revealed what has been concealed.— Paracelsus, “Book Concerning the Tincture of Philosophers” Idries Shah claims that Paracelsus and other medieval European alchemist like Roger Bacon, Raymund Lully and Henry Cornelius Agrippa, were transmitting Sufi knowledge in the West, acting as scouts for the Arab dervishes and their system of attainment. Paracelsus, who traveled in the East and received his Sufic training in Turkey, introduced several Sufi terms into Western thought. His “Azoth”[28] is identical with the Sufi el-dhat (Pronounced in Persian and hence in most Sufi poetry as az-zaut).... The stone, the hidden thing, so powerful, is also called the Azoth in the West. Azoth is traced by Orientalists to one of two words — al-dhat (or ez-zat), meaning essence or inner real­ity; or else to zibaq, mercury. The stone according to the Sufis, is the dhat, the essence, which is so powerful that it can transform whatever comes into contact with it. It is the essence of man, which partakes of what people call the divine. It is “sunshine,” capable of uplifting humanity to the next stage.... Owing to the Reformation,[29] Paracelsus had to be careful how he expressed himself since he was projecting a psychological system different from either the Catholic or the Protestant ways. In one place he says: “Read with the heart until at some time the true religion will come...."

He even quotes Sufi dicta:

“Salvation is not attained by fasting, neither wearing certain clothes, nor by flagellation. These are superstitions and hypocrisy. God made everything pure and holy, man need not consecrate them.” — Idries Shah, The Sufis[30] Several mystics and Sufi masters, among them al-Hallaj and especially Avicenna and Ibn Arabi, have presented alchemy as a veritable spiritual technique. — M. Eliade, A History of Religious Ideas, Vol. III Dr. C.G. Jung, student of Freud, originator of Jungian depth psychology and the father of modern analytical psychology, gathered the largest collection of ancient alchemical literature in the world. Jung made the following comments on alchemy and his work as a psychologist in his autobiography: As my life entered its second half, I was already embarked on the confrontation with the contents of the unconscious. My work on this was an extremely long-drawn-out affair, and it was only after some twenty years of it that I reached some degree of un­derstanding of my fantasies. First I had to find evidence for the historical prefiguration of my inner experiences. That is to say, I had to ask myself, “Where have my particular premises already occurred in history?” If I had not succeeded in finding such evidence, I would never have been able to substantiate my ideas. Therefore, my encounter with alchemy was decisive for me, as it provided me with the historical basis which I had hitherto lacked. I had very soon seen that analytical psychology coincided in a most curious way with alchemy. The experiences of the alchemists were, in a sense, my experiences, and their world was my world. This was of course, a momentous discovery: I had stumbled upon the historical counterpart of my psychology of the unconscious. — Carl G. Jung, Memories, Dreams and Reflections. Expulsion of the Demons, an anonymous engraving from the 1600s, is another classic example of alchemical initiation hidden behind the facade of chruchly pursuits. In the foreground an alchemist (wearing a small Phygyric initiation cap) cheerfully slides an associate head first into a large athanor (alchemical oven) where the “demons” are baked out of his head into a billowing cloud containing the universal elements in an expanding consciousness. The one who is baked holds his hand up as if to say to the other, “hold steady, right there brother.” Two mushroom s joined at the cap appear in the lower left of his expanding mind-cloud. In the left foreground incense is vaporizing from a bowl set on flaming coals in a squat pan on a tripod. Directly above it a “bishop” is pouring an alchemical substance down the throat of a seated initiate who is steadying the bishop’s arm that is holding a funnel in the initiate's mouth. Supernatural arms extend from his seat and grasp a pan below. Shelves of alchemical medicines are behind them. To the right of the medicines is an alchemical still. A large mortar and pestle is on a stand in the center of the engraving. The alchemists prepared sacraments to investigate the mysterious murkiness (in the pan) below, others that could blow your mind in the brilliance above. Balance was to be achieved between the extremes. It is represented by the mortar and pestle in the center. The two opposites must be meticulously ground together until they become one. There is a wealth of documents indicating medieval alchemists were experimenting with methods to transmute base metals into gold. Most of the alchemical manuscripts detail laboratory operations while discussing philosophical and transcendent mysti­cal states. Written accounts by credible witnesses to transmutations record that some of them were indeed successful. This Philosopher’s Stone or Universal Elixir was an alchemical preparation made from the mineral kingdom. The Medieval philoso­phers claimed that when properly prepared the mineral stone could transmute base metals into gold; in minute dilutions it could end sickness and retard aging indefinitely, transmuting the human organism into an immortal being.[31] In what indicates a continuity of traditions, like the Hindu and Chinese alchemists’ sacred elixir of immortality, the adepts claimed that when taken in a minute dose, this substance would cause the inbiber’s hair and teeth to fall out, later new hair and teeth grow in and the successful alchemist became immortal. Unfortunately many pseudo-alchemists, called “sloppers,” are known to have perished while experimenting with these powerful concoctions. A much safer path was the preparation of the Vegetable Stone. The term alchemy was applied to a wide variety of different schools of thought, dealing with philosophy, physics, chemistry, unlocking the healing virtue in plants, and countless other subjects. In short being an alchemist was many different things to many different people and many medieval alchemists pursued the Philosopher’s Stone as shaman mystics, psychoanalysts, herbalist apothecaries, metallurgists and cabalists all in one, in an attempt to find the very essence of creation. It is neither the transmutation of base metals nor the life-prolonging elixir which are the ultimate and absolute objects of the alchemical search. Obviously the condition of perfection, or of Supreme Illumination, which the discovery of the Stone affords, is quite ineffable and transcends such mundane considerations as the supposed finality of death. — Kenneth R. Johnson, The Fulcanelli Phenomenon. One of the most famous engravings from European alchemy is a woodcut esoteric mandala designed by alchemical adept and doctor of medicine, Hienrich Khunrath, for his masterful treatise Amphitheater of Eternal Wisdom published in 1604. The alchemical mandala engraving titled “The First Stage of the Great Work” is a circle that contains the alchemists’ workshop where all the elements in it are drawn in perspective toward an offset center which is an open door above which is written in Latin “While sleeping, watch!” On the left side the alchemist kneels in supplication near the opening of a Scythian-like tent. In the left foreground before the tent is a large censor with smoke billowing forth from it. In the smoke is written in Latin, “ascending smoke, sacrificial speech acceptable to God.” To the right of the center is laboratory equipment and high above everything else alone near the ceiling beams is a curious seven-leafed chandelier that is out of perspective compared to the converging lines in the beams. The chandelier looks more like a seven-fingered marijuana leaf with a flame at the tip of every finger. The only other flame in the engraving is in the tent itself. The plaque below the flame in the tent says “Happy is the one who follows the advice of God.” On the cross beam above the seven-fingered marijuana-leaf chandelier is written “Without the breath of inspiration from God, no one finds the great way.” Khunrath, as did all the alchemical masters, chose his words well so that only the uninitiate d would misinterpret his meaning. But we know the tradition of cannabis incense use, especially by the Scythians in tents. Heinrich’s cant, “ascending smoke, sacrificial speech acceptable to God,” harkens back to the Akkadian Counsels of Wisdom ; from ancient Mesopotamia, “Sacrifice and (pious) utterance are the proper accompaniment of incense.” In all probability Hienrich Khunrath knew nothing about the Akkadian Counsels of Wisdom. On the other hand Khunrath declared the entrance to eternal wisdom could be gained “Christiano-Kabalically, divino-magically and even physio-chemically.”[32] He revealed the secret transforming substance was a red gum, the “resin of the wise.” Concerning the nature of the Stone Khunrath wrote: “[The] Cabalistic habitaculum Materiae Lapidis was originally made known from on high through Divine Inspiration and special Revelation, both with and without instrumental help, ‘awake as well as asleep or in dreams.’” Khunrath said that one could “perfectly prepare our Chaos Naturae in the highest simplicity and perfection” through a “special Secret Divine Vision and revelation, without further probing and pondering of the causes…. So work even in the lab­oratory by thyself alone, without collaboration or assistants, in order that God, the Jealous, may not withdraw the art from thee, on account of thy assistants to whom He may not wish to impart it.”[33] Khunrath is telling the reader that his words are Cabalistic, or in cant: esoteric meaning is hidden in his prose, analogical artwork and the slang of the day. In his day using marijuana for religious purposes was still considered diabolic and severely prohibited. One could still be dragged before the Inquisition accused of committing satanic rites, tortured into confessions leading ultimately to death and forfeiture of all properties. His warning to work alone and beware of impious as­sistants is always good advice — the profane naturally obstruct spiritual exploration. However, such advice is imperative for survival if your religious sacraments and spiritual explorations are prohibited by the dominant orthodox paradigm controlling the state: beware of those with whom you would share the “especial Secret Divine Vision” for they may foolishly reveal incriminating evidence or worse, be informants working for the Inquisition that would turn you in for a percentage of the forfeiture (finder’s fee) profits from the seizure of your personal property. Alchemists are, in fact, decided solitaries; each has his say in his own way. They rarely have pupils, and of direct tradition there seems to have been very little, nor is there much evidence of secret societies or the like.[34] Each worked in the laboratory for himself and suffered from loneliness. On the other hand, quarrels were rare. Their writings are relatively free of polemic, and the way they quote each other shows a remarkable agreement on the first principles, even if one cannot understand what they are really agreeing about. —Carl Jung, Psychology and Alchemy The Medieval alchemists communicated with one another through their writings. It was too dangerous for them to work together in communal laboratories, and by their independence from each other they were less vulnerable to attack from the prohibitionist Christian theocracy. They also communicated with one another across time through their writings. In Khunrath ’s time hemp was a ubiquitous crop; its fiber was essential to global economic trade, for the sails of the world mer­chant fleets could be made from hemp fiber only—no other vegetable fiber sail cloth could endure the stresses of wind and salt air on long ocean voyages. Paradoxically, using hemp flowers as a religious sacrament was prohibited yet fields of hemp flowers could be found nearly everywhere. The European hemp flowers routinely produce about one or two percent THC isomers (Tetra-Hydro-Canabinol , considered the psychoactive carbo­hydrate family of molecules in cannabis), whereas the resinous red hashish of Lebanon is about ten times more potent. Khunrath praised the “red resin of the wise,” calling it the transforming substance. In the Amphitheater of Eternal Wisdom Khunrath illustrates the alchemical process, the marriage of the sun and the moon, with a peacock standing on the two heads of the Rebis (opposite natures — sun and moon). The inscription calls it the “bird of Hermes” and the “blessed greenness.” Gerard Dorn, a contemporary of Khunrath discusses the plant Mercurialis whose properties were summarized from the Latin text by Carl Jung: Like the Homeric magic herb Moly, it was found by Hermes himself and must therefore have magical effects. It is particularly favorable to the coniunctio because it occurs in male and female form and thus can determine the sex of a child about to be conceived. Mercurius himself is said to be generated from an extract of it... Did Dorn really mean that these magic herbs should be mixed together and that the air-colored quintessence should be dis­tilled from the “Tartarus,” or was he using these secret names and procedures to express a moral meaning? My conjecture is that he meant both, for it is clear that the alchemists did in fact operate with such substances and thought-processes, just as, in particular, the Paracelsist physicians used these remedies and reflections in their practical work. But if the adept really concocted such potions is his retort, he must surely have chosen his ingredients on account of their magical significance. — C. Jung, Mysterium Coniunctionis Jung says there is no mention of the Mercurial plant in the “Tabernaemontanus, in which all the magico-medicinal properties of plants are carefully listed.”[35] However he did say the mysterious plant “is closely connected with the ‘tree of the sea’ in Arabian alchemy and hence with the arbor philosophicia which in turn has parallels with the Cabalistic tree of the Sefiroth and with the tree of Christian mysticism and Hindu philosophy.”[36] This prime matter which is proper for the form of the Elixir is taken from a single tree which grows in the lands of the West... And this tree grows on the surface of the ocean as plants grow on the surface of the earth. This is the tree of which whosoever eats, man and jinn obey him; it is also the tree of which Adam (peace be upon him!) was forbidden to eat... — Abu’l Qasim, Kitab al-’ilm[37] Jung connects the philosophical tree of the Arab alchemists with the Haoma tree that grows in the cosmic ocean of the Zoroastrian creation myth: We may note the curious fact that a lizard is concealed in the tree: “The evil spirit has formed therein, among those which enter as opposites, a lizard as an opponent in that deep water, so that it may injure the Haoma ,” the plant of immortality. In alchemy , the spiritus mercurii that lives in the tree is represented as a serpent, salamander, or Melusina. — Jung, Psychology and Alchemy. The salamander is a curious symbol in alchemy illustrated in many famous alchemical texts including the Book of Lambspring. The key that unlocked one aspect of its esoteric symbolism was found in a fourteenth century painting from an alchemical text showing a man intoxicated on Amanita muscaria mushrooms. He clutches one mushroom in his hand as he dances about holding his other hand to his forehead as if the reve­lation is too intense. Behind him a tree grows with a spotted mushroom for a top. A salamander or lizard floats upward parallel to the Amanita tree. Next to it another salamander roasts upon the fire in much the same way as the philosopher in the Book of Lambspring roasts a salamander on a fork in a fire. Perhaps five hundred years ago psychonauts called such a psychedelic trip “roasting a salamander.” And just as today where psychonauts in quest of knowledge often utilize marijuana and psychedelic mushrooms for similar purposes, so too perhaps our Medieval ancestors burned incense and roasted salamanders in order to achieve illumination. Interestingly as was mentioned earlier, Rabelais refers to the good Fly Agaric mushroom twice in Gargantua and Pantagruel. In the chapter mentioned earlier in which Rabelais comments that “a certain kind of Pantagreulion is of that Nature that Fire is not able to consume it,” is a paragraph that refers to the alchemical salamander as well as a mysterious tree that is of “a very marvelous nature” and “produceth out of its root the good Agaric.” Rabelais also burned cannabis incense , like Khunrath a century later. Rabelais was familiar with the writings of Zoroaster and he translated the works of the Roman historian Herodotus, who recorded an early account of the Scythian marijuana smoke baths. In light of this, it is not at all surprising to find the name of Zoroaster , who attained ecstasy through hemp , mentioned in many of the old alchemical texts. Nor should it be surprising to find the system of self initiation promoted by earlier Zoroastrian influenced Gnostic alchemists, like Zosimos, continued on in secret throughout the Middle Ages. In fact, the description the Salamander in The Book of Lambspring has similarities to the sacred drink of the Mithraic Mysteries, and the details of its production allude to alchemical laboratory operations that produce a sublimate oil by carefully maintaining heat necessary to vaporize the psychoactive resin produced on cannabis leaves and flowers. Just before the dried vegetable matter carbonized in the retort a viscous red oil would appear in the neck of the glass receiver. This oily sublimate they called the eagle, salamander or red lion. In 1939-40 chemist Roger Adams produced what he called marihuana red oil by distillation, from it he isolated over sixty psychoactive therapeutic compounds. Concerning this Lambspring wrote: In all fables we are told that the Salamander is born in fire.... It dwells in a great mountain which is encompassed by many flames. And as one of these is ever smaller than another — herein the Salamander bathes. The third is greater, the fourth brighter than the rest. In all these the Salamander washes, and is purified. Then he ties him to his cave, but on the way is caught and pierced so that it dies, and yields up its life with its blood. But this, too, happens for its good: For from its blood it wins immortal life, and then death has no more power over it. Its blood is the most precious Medicine upon earth, the same has not its like in the world. For this blood drives away all disease.... From it the Sages derive their science, and through it they attain the Heavenly Gift, which is called the Philosopher’s Stone. —The Book of Lambspring, The Hermetic Museum [38] There is this one green lion, which closes and opens the seven indissoluble seals of the seven metallic spirits which torments the bodies, until it has perfected them, by means of the artist’s long and resolute patience. — “The Cosmopolite,” (16th century)[39] Unlike the cemented dogma and dead traditions of the Church, the Alchemical system continued to grow and expand in all areas of thought. The 18th century occultist Francis Barrett wrote of the influence of Zoroaster on the great and noble art of alchemy, in the clearest of terms: Alchymy, the grand touchstone of natural wisdom, is of divine origin: it was brought down from Heaven by the Angel Uriel. Zoroaster, the first philosopher by fire, made pure gold from all seven metals; he brought the sun ten times brighter from the bed of Saturn, and fixed it with the moon, who thereby copulating, begot numerous offspring of an immortal nature, a pure living spiritual sun, burning in the refulgency of its own divine light, a seed of sublime and fiery nature, a vigorous progenitor. This Zoroaster was the father of alchymy, illumined divinely from above; he knew every thing, yet seemed to know nothing; his precepts of art were left in hieroglyphics, yet in such sort that none but the favorites of Heaven ever reaped ben­e­fit thereby. He was the first who engraved the pure Cabala in most pure gold, and when he died, resigned it to his Father who liveth eternally, and yet begot him not: that Father gives it to his sons, who follow the precepts of Wisdom with vigilance, ingenuity, and industry, and with a pure, chaste, and free mind. — Francis Barrett, The Magus, (1801)

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Palladium Recovery From Monolithic Ceramic Capacirors

Palladium Recovery From Monolithic Ceramic Capacirors

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The Pictorial Symbols Of Alchemy

Book: The Pictorial Symbols Of Alchemy by Arthur Edward Waite

Waite, first in "The Key to the Tarot" (p.74), and again in "The Pictorial Key to the Tarot" (p. 61), writes "The spiritual side of Alchemy is set forth in the much stranger emblems of the Book of Lambspring, and of this I have already given a preliminary interpretation, to which the reader may be referred." Here is the article to which he refers. From "The Occult Review", vol. 8, no. 5, November 1908.

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Mutus Liber

Mutus Liber was an alchemical text published in France in the later half of the 17th century. It professed to outline, through a series of mystical illustrations, a method of manufacturing the Philosopher's Stone. It was first printed in 1677 at La Rochelle under the editorship of Pierre Savouret. Its authorship, long obscured by abstruse claims and speculation, has been established. He was Isaac Baulot, an apothecary and savant of matters medicinal at La Rochelle, born there in 1612. Scrolls on the last plate of the Mutus Liber bear in awkward Latin the dismissal oculatus abis, "having seen thou departest," which almost anagrams the author's name. A fine hand-colored pressing of 1702, probably unique, is in the Library of Congress, ms. 0215-2110. The beleaguered Huguenots of La Rochelle had good cause during the capricious enforcement and then revocation of the Edict of Nantes to disguise their more occult speculations in code.

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Jabir Ibn Hayyan

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Abu Musa Jabir ibn Hayyan, (born c. 721 in Tous - died c. 815 in Kufa) was a prominent polymath: a chemist and alchemist, astronomer and astrologer, engineer, geologist, philosopher, physicist, and pharmacist and physician. He is considered by some to be the "father of chemistry. " His ethnic background is not clear; although some sources state that he was an Arab other sources introduce him as Persian Jabir is held to be the first practical alchemist. As early as the tenth century, the identity and exact corpus of works of Jabir was in dispute in Islamic circles. His name was Latinised as "Geber" in the Christian West and in 13th century Europe an anonymous writer produced a non-trivial body of alchemical and metallurgical writings under the pen-name Geber. This person is usually referred to as Pseudo-Geber.

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The Beauty Of Mercury In Slow Motion

The Beauty Of Mercury In Slow Motion

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Bladder Alchemy Carmelized Urine

Bladder Alchemy Carmelized Urine

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Ali Puli

Ali Puli, also known as Alipili, is the attributed author of a number of 17th-century alchemical and hermetic texts. However, his historical existence is doubtful, and A.E. Waite went as far as to describe the work attributed to him as "forgery pure and simple in respect of age and authorship [which which] may be left to stand at its value in the matter of content. " He is described as a Mauritanian Christian of Asiatic extraction - also variously as an Arab (because he was said to have written in Arabic), and a Moor.

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The Preparation Of The Fiery Wine Spirit

"A copper vessel has to be constructed that can be taken apart in the middle, as well as above and below the holes, that are located about halfway up the retort. Onto this an alembic is mounted with a tube, everything made of copper except for the recipient which must be made of glass and be of a large size. The latter is put into a wooden vessel filled with cold water. The top of the recipient must also be cooled by means of wet cloths, and these must be Frequently replaced by fresh ones in order to enhance the cooling effect. Also the wooden vessel must have a Cock, so that the water may be removed and fresh water poured in again. When everything is ready, the prepared spiritus vini is introduced into the vessel through the lowest series of holes. When the level is just below these small holes, it is lit and the alcohol starts to burn. The air holes then force the mercury upward and the cold water causes it to liquify, so that it ascends from the alembic into the recipient. This then is the preparation of the true spiritus vini, but you must not neglect any detail in the work of cooling, and take care to replenish the aquam vitam so that its level does not burn too low, etc." The partial oxidation of the alcohol takes place in the horizontal tube where the copper mesh acts as a catalyst for the reaction; 2C2 H5OH + 02 ---- > 2CH3CHO + 2H20 ethanol oxygen --------> ethanal water From this it will be seen that Basilius' fiery wine-spirit consisted of a mixture of alcohol, water and acetaldehyde or ethanal. Acetaldehyde is a very volatile liquid with a boiling point of 21 deg.C. For further Information see eg. Linus & Peter Pauling, Chemistry, Freeman 1975, page 424. It may be suggested that the modern spagyricist may produce their fiery wine-spirit by; 1/. buying acetaldehyde and 96% alcohol 2/. mixing them in a certain proportion 3/. bringing them over the helm together. We wish the experimenting spagyricist great success with this potent mixture, and are very interested in hearing of his or her Experiences in using this spirit to extract the metallic tinctures.

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Alchemical Poetry Grace Under Water

Hands, pale and folded, remind me I was there before wings, upon a ladder, holding a cup, waving goodbye; Though I’ve no idea how or why. It is not easy to forget myself, worn as I am in this art of clothes, mostly I am cloud white and corduroy, a gliding vessel wedded to flight. I am the determination to transcend, to dip into the darkness from a safety of days; though once I fix things they tend to die. I seek a Tarot of assurances, to know that the difference between a swan and a man merely lies in twin aspects gone awry. by Peter Valentyne

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El Rbol Libro Completo De La Brujera Sajona En Espaol

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El 'Arbol: Libro Completo de la Brujer'ia Sajona, es uno de los primeros libros para explorar la wicca desde una perspectiva de brujo solitario. Escrito originalmente hace 30 a~nos para corregir los abusos que vio que ocurren en algunos coven, Buckland ofrece un texto introductorio sobre la brujer'ia sajona o Seax Wicca, para practicantes solitarios, o aquellos que deseen formar su propio grupo siguiendo esta tradici'on. Buckland escribe de manera convincente e informativa acerca de la historia, la mitolog'ia, espiritual, las pr'acticas de la brujer'ia.El 'Arbol: Libro Completo de la Brujer'ia Sajona incluye todo lo que un brujo necesita para practicar, la religi'on incluyendo:

Descripciones de las deidades Sajonas y las explicaciones de sus creencias primaria. Una introducci'on al alfabeto r'unico. Instrucciones para las ceremonias de iniciaci'on, los ocho Sabbats, el matrimonio, nacimiento y ritos de la muerte. Una explicaci'on de la t'ecnica y la pr'actica de Saxon Galdra o la magia y la adivinaci'on y la tradici'on a base de hierbas utilizados para la protecci'on, filtros de amor y sanaci'on. La Seax-Wicca Rito de la Auto-Dedicaci'on, que permite a los individuos a formar sus covens e iniciar a s'i mismos en el Arte.

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El s'imbolo de la tradici'on representa la luna, el sol, y los ocho sabbats.

Un manual indispensable para los estudiantes de wicca que quieren explorar la brujer'ia sajona.

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Philosopher Stone Seed And Flower Of Life

Philosopher Stone Seed And Flower Of Life

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Make Nitric Acid The Complete Guide

Make Nitric Acid The Complete Guide

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The Death Of Nicolas Flamel

Pernelle died first; Nicolas Flamel reached the age of eighty. He spent the last years of his life writing books on alchemy. He carefully settled his affairs and planned how he was to be buried: at the end of the nave of Saint Jacques la Boucherie. The tombstone to be laid over his body had already been made. On this stone, in the middle of various figures, there was carved a sun above a key and a closed book. It contains the symbols of his life and can still be seen at his gravesite in the Musee de Cluny in Paris. His death, to which he joyfully looked forward, was as circumspect and as perfect as his life. As it is equally useful to study men's weaknesses as their finest qualities, we may mark Flamel's weakness. This sage, who attached importance only to the immortality of his soul and despised the ephemeral form of the body, was inspired as he grew old with a strange taste for the sculptural representation of his body and face. Whenever he had a church built, or even restored, he requested the sculptor to represent him, piously kneeling, in a comer of the pediment of the facade. He had himself twice sculptured on an arch in the Cemetery of the Innocents: once as he was in his youth and once old and infirm. When he had a new house built in the rue de Montmorency, on the outskirts of Paris, eleven saints were carved on the front, but a side door was surmounted with a bust of Flamel. The bones of sages seldom rest in peace in their grave. Perhaps Nicolas Flamel knew this and tried to protect his remains by ordering a tombstone of great weight and by having a religious service held for him twelve times a year. But these precautions were useless. Hardly was Flamel dead when the report of his alchemical powers and of his concealment somewhere of an enormous quantity of gold spread through Paris and the world. Everyone who was seeking the famous projection powder, which turns all substances into gold, came prowling round all the places where he had lived in the hope of finding a minute portion of the precious powder. It was said also that the symbolical figures which he had had sculptured on various monuments gave, for those who could decipher it, the formula of the Philosopher's Stone. There was not a single alchemist but came in pilgrimage to study the sacred science on the, stones of Saint-Jacques- la Boucherie, or the Cemetery of the Innocents. The sculptures and inscriptions were broken off under cover of darkness and removed. The cellars of his house were searched and the walls examined. According to author Albert Poisson, towards the middle of the sixteenth century a man who had a well-known name and good credentials, which were no doubt fictitious, presented himself before the parish board of Saint-Jacques la Boucherie. He said he wished to carry out the vow of a dead friend, a pious alchemist, who, on his deathbed, had given him a sum of money with which to repair Flamel's house. The board accepted the offer. The unknown man had the cellars ransacked under the pretext of strengthening the foundations; wherever he saw a hieroglyph he found some reason for knocking down the wall at that point. Having found nothing, he disappeared, forgetting to pay the workmen. Not long afterwards, a Capuchin friar and a German baron are said to have discovered in the house some stone vials full of a reddish powder allegedly the projection powder. By the seventeenth century, the various houses which had belonged to Flamel were despoiled of their ornaments and decorations, and there was nothing of them left but the four bare walls.

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