Showing posts with label wicca book. Show all posts
Showing posts with label wicca book. Show all posts

Visualization In Medieval Alchemy

Visualization In Medieval Alchemy Cover

Book: Visualization In Medieval Alchemy by Barbara Obrist

This paper explores major trends in visualization of medieval theories of natural and artificial transformation of substances in relation to their philosophical and theological bases. The function of pictorial forms is analyzed in terms of the prevailing conceptions of science and methods of transmitting knowledge. The documents under examination date from the thirteenth to the fifteenth century. In these, pictorial representations include lists and tables, geometrical figures, depictions of furnaces and apparatus, and figurative elements mainly from the vegetable and animal realms. An effort is made to trace the earliest evidence of these differing pictorial types.

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Roger Bacon - The Mirror Of Alchemy
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Barbara Obrist - Visualization In Medieval Alchemy

Black Powder Or Blackpowder Or Gunpowder

Black Powder Or Blackpowder Or Gunpowder Cover What is the composition of black powder ? The French call it either poudre a canon (gunpowder) or poudre noire (blackpowder). The loose powder was called serpentine. The name black powder is of relatively recent origin, as it appeared only after other explosives were devised which lacked the black luster of free carbon. Obviously, the stuff wasn't called gunpowder before the gun was invented, around 1313. The invention of the gun is often credited to brother Berthold Schwarz (Schwartz), a Franciscan friar from Freiburg with a bogus last name ("Black" in German) indicating his interest in alchemy, the black art; the real name of "Black Bert" was most probably Constantine Anelzin. He "invented" gunpowder only in the sense that he found a new use for old serpentine and thus made the new name meaningful. Black powder was the first explosive ever devised, and it remained the only one for centuries. It is composed of the following three solid ingredients: * Saltpeter: KNO3 niter (or, more rarely, NaNO3 Chilean nitrate). * Sulphur: S. ["sulfur" and "sulphur" are equally acceptable spellings] * Carbon: C. Often in the impure form of charcoal from wood (willow). However, simply mixing the ingredients produces only inferior meal powder... To obtain what's now considered proper black powder, the ingedients must be "incorporated" in a damp state. This allows the application of great pressure to form a dense cake, ultimately broken down into dry grains. This process is called corning, and it was first introduced in France in 1429. Early forms of blackpowder may have existed in China around AD 700, using crude recipes calling for equal weights of the three components... Such mixtures would only burn violently without exploding... Also, explosion cannot occur if raw saltpeter is used, and the refining of saltpeter is not mentioned before 1240 in a book on military technology by the Syrian scholar Hassan Al-Rammah, entitled al-furusiyya wa al-manasib al-harbiyya. The first Chinese author to describe an explosive formula was apparently Huo Lung Ching, in 1412. In a six-page tract entitled Liber Ignium ("Book of Fires"), Marcus Graecus [an otherwise unknown author, possibly a fictitious one] describes 35 incendiary recipes, including a formula which was once standard for English blackpowder: [...] 1 lb of native sulfur, 2 lb of linden or willow charcoal, 6 lb of saltpeter, which three things are very finely powdered on a marble slab. The latin version of this pamphlet did not appear before 1280 or 1300 and may have originated around that time, although the claim has been made that it was an expanded translation by Spaniards of a more ancient Arabic text (dated AD 848) and/or a Greek version that did not include the last four formulas... Roger Bacon (c.1214-1292) investigated black powder before 1249, when he devised the recipe he communicated in 1268: 40% more saltpeter than either sulphur or carbon (7:5:5 formula by weight). However, the first unmistakable blackpowder explosive composition is the "German formula" (4:1:1) proposed by Albertus Magnus (c.1200-1280). The English standard formula around 1350 called for less sulphur and more charcoal (6:1:2). The most commonly quoted modern gunpowder composition seems to date from around 1800 and calls for 75% saltpeter (niter) oxidizer, with 10% sulfur (S) and 15% charcoal (C). The potassium sulphide solid residue forms a thick white smoke, capable of obscuring entire battlefields. Newer propellants leave little or no such residue when properly exploded. They are thus collectively known as smokeless powders. The simplest idea for a smokeless dark powder is called ammonpulver (AP) and involves ammonium nitrate (AN) with 10% to 20% charcoal, although the stoichiometry of the following reactions translates into only 7% to 13% carbon, by weight: 2 NH4NO3 + C-CO2 + 4 H2O + 2 N2 + 629.6 kJ (874.4 cal/g) NH4NO3 + C-CO + 2 H2O + N2 + 228.6 kJ (593.5 cal/g) Other smokeless powders of historical interest include the following propellants: * Guncotton, or nitrocellulose (also known as pyropowder, pyrocellulose, trinitrocellulose and cellulose nitrate) invented in 1845 by the Swiss chemist Christian Schonbein (1799-1869). * Poudre B (flakes of nitrocellulose gelatinized with ether and alcohol) invented in 1884 by Paul Vieille (1854-1934) for the 1886 Lebel rifle. * Ballistite (nitrocellulose and nitroglycerin, with diphenylamine stabilizer) invented by the Swedish industrialist Alfred Nobel (1833-1896) in 1887. Sir James Dewar (1842-1923) * Cordite N (nitroguanidine, nitrocellulose, and nitroglycerin) invented by Frederick Augustus Abel and James Dewar in 1889. Sulfurless powder (12.93% carbon) would yield 772.6 cal/g, with 60% smoke: 4 KNO3 + 5 C-2 K2CO3 + 3 CO2 + 2 N2 + 1501.4 kJ It takes 92.9 g of this mix to release a mole of gas, whereas only 67.6 g of black powder would suffice (as sulfur prevents the wasteful production of carbonate).

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Iron Gall Ink Or Indelible Ink Or Encaustum

Iron Gall Ink Or Indelible Ink Or Encaustum Cover In the first century AD, Pliny the Elder described a basic chemical demonstration of the principle behind what would become the primary ink of the Middle Ages: Papyrus soaked in tannin turns black upon contact with a solution of iron salt. This was not used for actual ink at the time of Pliny, but "gallarum gummeosque commixtio" is already mentioned as an established writing ink around AD 420, in the encyclopedia of the 7 liberal arts by Martianus Capella. However, the latest analyses have disproved dubious reports that this type of ink might have already been used on the famous Dead Sea Scrolls of Qumran (before AD 68). Because of the secondary reaction discussed below, which makes it indelible, iron ink was once known as encaustum (Latin for "burned in", from the Greek enkauston, meaning painted in encaustic and fixed with heat). This is the origin of the English word "ink" itself, and of its counterparts in a number of other languages: encre (French), inchiostro (Italian), inkt (Dutch), inkoust (Czech)... Indelible iron-gall ink is considered the most important ink in the development of Western civilization, up until the 20th century. The best iron-gall inks were far superior to most modern inks, but the corrosiveness of some compositions (discussed below) regretfully led to the abandonment of all iron-gall inks in favor of more sophisticated recipes with lesser chemical aggressivity. Iron-gall ink normally includes what is effectively a "Chinese ink" component, which provides both body (from gum arabic) and some initial coloring upon application of the ink. Otherwise, the main pigmentation of iron-gall ink comes paradoxically from water-soluble ferrous chemicals with little color of their own: When the ink dries in air, an oxidation occurs which turns these ferrous salts into insoluble ferric dark pigments. In addition, iron-gall ink may react with parchment collagen or paper cellulose, in a totally indelible way. Some poorly balanced iron-gall inks have even been observed to burn holes through paper. It has been shown that an excess of ferrous salt in iron-gall ink leaves permanent traces of active soluble salts (not properly oxidized into inert pigments) which will catalyze the slow decomposition of cellulose, especially when acidity is present. This corrosion is reduced with a proper balance in the composition of the ink. To prevent deterioration of historical iron-gall ink documents, the Netherlands Institute of Cultural Heritage (ICN) has introduced an interesting treatment, which was first used on a large scale by the conservators of the Nationaal Archief of the Netherlands: First, a saturated solution is applied which contains a calcium salt and its acid, namely: * Calcium phytate: C6H6 (PO4Ca)6 (Phytic Acid Hexa Calcium Salt). * Phytic acid: (CHOPOOHOH)6 The salt is soluble up to twice the molar concentration of the acid. This is an oxidation inhibitor which binds the metal ions. Then, acidity is neutralized with calcium bicarbonate, which creates an alkaline buffer and also leaves a phytate precipitate in the fibers, for continued oxidation protection.

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Alchemical Poetry The Emerald Pattern

Alchemical Poetry The Emerald Pattern Cover As our planet turns and floats, We greet each starlit night, Like time taking its course, Through dawning and twilight. Uncongealed consciousness flows Through gulfs and voids in space, As our needs to seek the truth Grows life's pains, joys, and grace. To the farthest star we move In a pattern supreme and divine. The pulses in One Heart -- Splendid excess of a Mind. by Francisco Borjas Broines Gaitan

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John Dee Biography

John Dee Biography Cover John Dee (July 13, 1527 - 1608 or 1609) was a noted British mathematician, astronomer, astrologer, geographer, occultist, and consultant to Queen Elizabeth I. He also devoted much of his life to alchemy, divination, and Hermetic philosophy. Dee straddled the worlds of science and magic just as they were becoming distinguishable. One of the most learned men of his time, he had lectured to crowded halls at the University of Paris when still in his early twenties. He was an ardent promoter of mathematics, a respected astronomer and a leading expert in navigation, having trained many of those who would conduct England's voyages of discovery. (He coined the term "British Empire.") At the same time, he immersed himself deeply in Judeo-Christian magic and Hermetic philosophy, devoting the last third of his life almost exclusively to these pursuits. For Dee, as with many of his contemporaries, these activities were not contradictory, but particular aspects of a consistent world-view. Biography Dee was born in Tower Ward, London to a Welsh family, whose surname derived from the Welsh du ("black"). His father Roland was a mercer and minor courtier. Dee attended the Chelmsford Chantry School (now King Edward VI Grammar School (Chelmsford), then - from 1543 to 1546 - St. John's College, Cambridge. His great abilities were recognized, and he was made a founding fellow of Trinity College. In the late 1540s and early 1550s, he travelled in Europe, studying at Leuven and Brussels and lecturing in Paris on Euclid. He studied with Gemma Frisius and became a close friend of the cartographer Gerardus Mercator, returning to England with an important collection of mathematical and astronomical instruments. In 1552, he met Gerolamo Cardano in London: during their acquaintance they investigated a perpetual motion machine as well as a gem purported to have magical properties. Dee was offered a readership in mathematics at Oxford in 1554, which he declined, citing English universities' emphasis on rhetoric and grammar (which, together with logic, formed the academic trivium) over philosophy and science (the more advanced quadrivium, comprised of arithmetic, geometry, music, and astronomy) as offensive. In 1555, Dee became a member of the Worshipful Company of Mercers, as his father had, through the company's system of patrimony. That year he was arrested and charged with "calculating" for having cast horoscopes of Queen Mary and Princess Elizabeth; the charges were expanded to treason against Mary. Dee appeared in the Star Chamber and exonerated himself, but was turned over to the reactionary Catholic Bishop Bonner for religious examination. His strong and lifelong penchant for secrecy perhaps worsening matters, this entire episode was only the most dramatic in a series of attacks and slanders that would dog Dee through his life. Clearing his name yet again, he soon became a close associate of Bonner. Dee presented Queen Mary with a visionary plan for the preservation of old books, manuscripts and records and the founding of a national library in 1556, but his proposal was not taken up. Instead, he expanded his personal library at his house in Mortlake, tirelessly acquiring books and manuscripts in England and on the Continent. Dee's library, a center of learning outside the universities, became the greatest in England and attracted many scholars. When Elizabeth took the throne in 1558, Dee became her trusted advisor on matters astrological and scientific, choosing Elizabeth's coronation date himself. From the 1550s through the 1570s, he served as an advisor to England's voyages of discovery, providing technical assistance in navigation and ideological backing in the creation of a "British Empire", and was the first to use that term. In 1577, Dee published General and Rare Memorials pertayning to the Perfect Arte of Navigation, a work that set out his vision of a maritime empire and asserted English territorial claims on the New World. Dee was acquainted with Humphrey Gilbert and was close to Sir Philip Sidney and his circle. In 1564, Dee wrote the Hermetic work Monas Hieroglyphica ("The Hieroglyphic Monad"), an exhaustive Cabalistic interpretation of a glyph of his own design, meant to express the mystical unity of all creation. This work was highly valued by many of Dee's contemporaries, but the loss of the secret oral tradition of Dee's milieu makes the work difficult to interpret today. He published a "Mathematical Preface" to Henry Billingsley's English translation of Euclid's Elements in 1570, arguing the central importance of mathematics and outlining mathematics' influence on the other arts and sciences. Intended for an audience outside the universities, it proved to be Dee's most widely influential and frequently reprinted work.

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The Magus A Complete System Of Occult Philosophy

The Magus A Complete System Of Occult Philosophy Cover

Book: The Magus A Complete System Of Occult Philosophy by Francis Barrett

IN this Work, which we have written chiefly for the information of those who are curious and indefatigable in their enquiries into occult knowledge, we have, at a vast labour and expence, both of time and charges, collected whatsoever can be deemed curious and rare, in regard to the subject of our speculations in Natural Magic--the Cabala--Celestial and Ceremonial Magic--Alchymy--and Magnetism; and have divided it into two Books, subdivided into Parts: to which we have added a third Book, containing a biographical account of the lives of those great men who were famous and renowned for their knowledge; shewing upon whose authority this Science of magic is founded, and upon what principles. To which we have annexed a great variety of notes, wherein we have impartially examined the probability of the existence of Magic, both of the good and bad species, in the earliest, as well as in the latter, ages of the world. We have exhibited a vast number of rare experiments in the course of this Treatise, many of which, delivered in the beginning, are founded upon the simple application of actives to passives; the others are of a higher speculation. The First Book we have, fully explained what Natural Magic is; and have shewn that, by the application of actives to passives, many wonderful effects are produced that are merely natural, and done by manual operations. We have procured every thing that was valuable and scarce respecting this department of our work, which we have introduced under the title of Natural Magic; and a variety of our own experiments likewise. In the possession of this work, the laborious and diligent student will find a complete and delectable companion; so that he who has been searching for years, for this author and the other, will in this book find the marrow of them all. The Second Book forms a complete treatise on the mysteries of the Cabala and Ceremonial Magic; by the study of which, a man (who can separate himself from material objects, by the mortification of the sensual appetite - abstinence from drunkenness, gluttony, and other bestial passions, and who lives pure and temperate, free from those actions which degenerate a man to a brute) may become a recipient of divine light and knowledge; by which they may foresee things to come, whether to private families, or kingdoms, or states, empires, battles, victories, &c.; and likewise be capable of doing much good to their fellow-creatures: such as the healing of all disorders, and assisting with the comforts of life the unfortunate and distressed. The Third Book forms a complete Magical Biography, being collected from most antient authors, and some scarce and valuable manuscripts; and which has been. the result of much labour in acquiring. Therefore, those who wish to benefit in those studies, must shake off the drowsiness of worldly vanity, all idle levity, sloth, intemperance, and lust; so that they may be quiet, clean, pure, and free from every distraction and perturbation of mind, and worthily use the knowledge he obtains from his labours.

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How Should We View Alchemy

How Should We View Alchemy Cover Alchemy is a multifaceted subject. It is an early form of chemical technology exploring the nature of substances. It is also a philosophy of the cosmos and of mankind's place in the scheme of things. Alchemy developed an amazing language of emblematic symbolism which it used to explore the world. It had a strong philosophical basis, and many alchemists incorporated religious metaphor and spiritual matters into their alchemical ideas. About four thousand printed books were issued from the 16th through to the late 18th centuries, exploring alchemy from a multiplicity of different perspectives. Many thousands of manuscripts, hand written works, letters, notes and commentaries exist in the libraries of Europe and North America, some beautifully illustrated with coloured images. Alchemy was thus, through the sheer volume of writings, influential throughout the early modern period. Its influence can often be seen in the work of writers, poets, and artists of the time. In the 20th century, interest in alchemy was revived, following its decline and total eclipse in the 19th century. Today alchemy is often used as a catch word for obscure and enigmatic symbolism, or for the idea of spiritual transformation and inner change.

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Death Of Compte Saint Germain

Death Of Compte Saint Germain Cover Secluded at Eckenforn in the count's castle, Saint-Germain announced that he was tired of fife. He seemed careworn and melancholy. He said he felt feeble, but he refused to see a doctor and was tended only by women. No details exist of his death, or rather of his supposed death. No tombstone at Eckenforn bore his name. It was known that he had left all his papers and certain documents relating to Freemasonry to the Count of Hesse Cassel. The count for his part asserted that he had lost a very dear friend. But his attitude was highly equivocal. He refused to give any information about his friend or his last moments, and turned the conversation if anyone spoke of him. His whole behavior gives color to the supposition that he was the accomplice of a pretended death. Although, on the evidence of reliable witnesses, he must have been at least a hundred years old in 1784, his death in that year cannot have been genuine. The official documents of Freemasonry say that in 1785 the French masons chose him as their representative at the great convention that took place in that year, with Mesmer, Saint-Martin, and Cagliostro present. In the following year Saint-Germain was received by the Empress of Russia. Finally, the Comtesse d'Adhemar reports at great length a conversation she had with him in 1789 in the Church of the Recollets, after the taking of the Bastille. His face looked no older than it had looked thirty years earlier. He said he had come from China and Japan. "There is nothing so strange out there," he said, "as that which is happening here. But I can do nothing. My hands are tied by someone who is stronger than I. There are times when it is possible to draw back; others at which the decree must be carried out as soon as he has pronounced it." And he told her in broad outlines all the events, not excepting the death of the queen, that were to take place in the years that followed. "The French will play with titles and honors and ribbons like children. They will regard everything as a plaything, even the equipment of the Garde Nationale. There is today a deficit of some forty millions, which is the nominal cause of the Revolution. Well, under the dictatorship of philanthropists and orators the national debt will reach thousands of millions." "I have seen Saint-Germain again," wrote Comtesse d'Adhemar in 1821, "each time to my amazement. I saw him when the queen was murdered, on the 18th of Brumaire, on the day following the death of the Duke d'Enghien, in January, 1815, and on the eve of the murder of the Duke de Berry." Mademoiselle de Genlis asserts that she met the Comte de Saint-Germain in 1821 during the negotiations for the Treaty of Vienna; and the Comte de Chalons, who was ambassador in Venice, said he spoke to him there soon afterwards in the Piazza di San Marco. There is other evidence, though less conclusive, of his survival. The Englishman Grosley said he saw him in 1798 in a revolutionary prison; and someone else wrote that he was one of the crowd surrounding the tribunal at which the Princess de Lamballe appeared before her execution. It seems quite certain that the Comte de Saint-Germain did not die at the place and on the date that history has fixed. He continued an unknown career, of whose end we are ignorant and whose duration seems so long that one's imagination hesitates to admit it. What happened to the Comte de Saint-Germain after 1821, in which year there is evidence that he was still alive? An Englishman, Albert Vandam, in his memoirs, which he calls An Englishman in Paris, speaks of a certain person whom he knew towards the end of Louis Philippe's reign and whose way of life bore a curious resemblance to that of the Comte de Saint-Germain. "He called himself Major Fraser, wrote Vandam, "lived alone and never alluded to his family. Moreover he was lavish with money, though the source of his fortune remained a mystery to everyone. He possessed a marvelous knowledge of all the countries in Europe at all periods. His memory was absolutely incredible and, curiously enough, he often gave his hearers to understand that he had acquired his learning elsewhere than from books. Many is the time he has told me, with a strange smile, that he was certain he had known Nero, had spoken with Dante, and so on." Like Saint-Germain, Major Fraser had the appearance of a man of between forty and fifty, of middle height and strongly built. The rumor was current that he was the illegitimate son of a Spanish prince. After having been, also like Saint-Germain, a cause of astonishment to Parisian society for a considerable time, he disappeared without leaving a trace. Was it the same Major Fraser who, in 1820, published an account of his journey in the Himalayas, in which he said he had reached Gangotri, the source of the most sacred branch of the Ganges River, and bathed in the source of the Jumna River? It was at the end of the nineteenth century that the legend of Saint-Germain grew so inordinately. By reason of his knowledge, of the integrity of his life, of his wealth and of the mystery that surrounded him, he might reasonably have been taken for an heir of the first Rosicrucians, for a possessor of the Philosopher's Stone. But the theosophists and a great many occultists regarded him as a master of the great White Lodge of the Himalayas. The legend of these masters is well known. According to it there live in inaccessible lamaseries in Tibet certain wise men who possess the ancient secrets of the lost civilization of Atlantis. Sometimes they send to their imperfect brothers, who are blinded by passions and ignorance, sublime messengers to teach and guide them. Krishna, the Buddha, and Jesus were the greatest of these. But there were many other more obscure messengers, of whom Saint-Germain has been considered to be one. "This pupil of Hindu and Egyptian hierophants, this holder of the secret knowledge of the East," theosophist Madam Blavatsky says of him, "was not appreciated for who he was. The stupid world has always treated in this way men who, like Saint-Germain, have returned to it after long years of seclusion devoted to study with their hands full of the treasure of esoteric wisdom and with the hope of making the world better, wiser and happier." Between 1880 and 1900 it was admitted among all theosophists, who at that time had become very numerous, particularly in England and America, that the Comte de Saint-Germain was still alive, that he was still engaged in the spiritual development of the West, and that those who sincerely took part in this development had the possibility of meeting him. The brotherhood of Khe-lan was famous throughout Tibet, and one of their most famous brothers was an Englishman who had arrived one day during the early part of the twentieth century from the West. He spoke every language, including the Tibetan, and knew every art and science, says the tradition. His sanctity and the phenomena produced by him caused him to be proclaimed a Shaberon Master after a residence of but a few years. His memory lives to the present day among the Tibetans, but his real name is a secret with the Shaberons alone. Might not this mysterious traveler be the Comte de Saint-Germain? But even if he has never come back, even if he is no longer alive and we must relegate to legend the idea that the great Hermetic nobleman is still wandering about the world with his sparkling jewels, his senna tea, and his taste for princesses and queens even so it can be said that he has gained the immortality he sought. For a great number of imaginative and sincere men the Comte de Saint-Germain is more alive than he has ever been. There are men who, when they hear a step on the staircase, think it may perhaps be he, coming to give them advice, to bring them some unexpected philosophical idea. They do not jump up to open the door to their guest, for material barriers do not exist for him. There are men who, when they go to sleep, are pervaded by genuine happiness because they are certain that their spirit, when freed from the body, will be able to hold converse with the master in the luminous haze of the astral world.

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Newton And Alchemy

Newton And Alchemy Cover In 1936, the world of Isaac Newton scholarship received a rude shock. In that year the venerable auction house of Sotheby's released a catalogue describing three hundred twenty-nine lots of Newton's manuscripts, mostly in his own handwriting, of which over a third were filled with content that was undeniably alchemical. These manuscripts, which had been labeled "not fit to be printed" upon Newton's death in 1727, raised a host of interesting questions in 1936 as they do even today. Was the founder of classical physics an alchemist? And if so, what does this mean? Did he pursue his alchemical interests for scientific reasons, or simply because he was swept up by the old dream of transmuting base metals into gold? Did Newton discover a secret theological meaning in alchemical texts, which often describe the transmutational secret as a special gift revealed by God to his chosen sons? Or was Newton perhaps attracted to the graphic and mysterious imagery of alchemy, with its illustrations of hermaphrodites, couples copulating within flasks, poisonous dragons, green lions, and dying toads? None of these questions are made easier by the fact that Newton's laboratory notebooks, even the one containing the first full description of his brilliant discovery that white light is really a mixture of immutable spectral colors, are filled with recipes patently elaborated from the very alchemical sources that overflow the manuscripts sold by Sotheby's in 1936. Here too, alongside sober explanations of optical and physical phenomena such as freezing and boiling, we find "Neptune's Trident," "Mercury's Caducean Rod," and of course the "Green Lyon," all symbolizing substances derived from Newton's alchemical readings. Whatever the ultimate purpose of Newton's alchemical investigations may have been, it is clear that we cannot erect a watertight dam separating them from his other scientific endeavors. We have adopted the seventeenth-century term "chymistry" to describe the sum of alchemical pursuits as they existed in Newton's day. In the early modern world, chymistry included three basic domains. First, chymists laid claim to a large group of technologies ranging from the making of pigments and dyes and the manufacture of mineral acids to the distillation of "strong waters" for drink. While often supporting themselves by making these items of commerce, however, chymical practitioners were also at the forefront of early modern pharmacology, having placed a radically new emphasis on mineral-based drugs and an equally important stress on the use of laboratory technologies such as distillation and sublimation in their production. Chymical medicine, or iatrochemistry, was one of the important new fields of early modern science, and the second basic division of the discipline. Third and finally, the attempt to make gold from less precious materials, often referred to by the Greek term chrysopoeia, remained a seemingly viable research project for many seventeenth century chymists. Newton was involved in all three of chymistry's major branches in varying degrees, and we make no attempt to impose an anachronistic division of the discipline into modern categories. It is important, rather, to see how chemical technology and medicine were connected to Newton's involvement to the "Great Work," just as it is important to see how his chymistry was related to his other intellectual and technical pursuits.

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The Enochian Language Of Edward Kelley

The Enochian Language Of Edward Kelley Cover Kelley's "angels" sometimes communicated in a special "angelic" or Enochian language. Dee and Kelley claimed the language was given to them by angels. Some modern cryptographers argue that Kelley invented it. See for example the work by Donald Laycock. It is not clear whether Dee was a victim or an accomplice of this farce. Because of this precedent, and of a dubious connection between the Voynich Manuscript and john dee through Roger Bacon, Kelley has been suspected of having fabricated that book too, in order to swindle Rudolf. The angelic language was supposedly dictated by angels that Kelley claimed to see within a crystal ball. The angels were said to tap out letters on a complicated table, something like a crossword puzzle but with all the cells filled in. The first third were tapped out with each angelic word backwards; the following two thirds with each word forwards. Interestingly, there are no significant errors or discrepancies in word usage between the first and following parts. The English translations were not tapped out but, according to Kelley, appeared on little strips of paper coming out of the angels' mouths.The reasoning that Kelley fabricated the language is based upon the claim that the angelic is just a word-for-word substitution for English translation. This is not entirely the case, however, and there is tantalizing evidence of some other linguistic source. For example, the angelic word "telocvovim" is glossed as "he who has fallen" but it is actually a Germanic-like combination of two other angelic words: "teloch" (glossed as "death") and "vovin" (glossed as "dragon"). Thus "he who has fallen" would be literally translated as "death dragon", both rather obvious references to Lucifer. Interestingly, though, neither Kelley nor Dee appears to have noticed or remarked on this. Another argument against Kelley's fabrication of angelic is that the english translations are in a very different style of writing to that of Kelley's own work, exhibiting an eldrich quality that seems beyond Kelley's own modest ability as a writer. This raises the possibility that Kelley might have plagiarized the material from a different source. However, no similar material has ever surfaced. Dee considered the dictation of the angelic material as highly important for three reasons. First, Dee believed the angelic represented a documentable case of true "glossalia" thereby proving that Kelley was actually speaking with angels and not from his imagination. Second, the angels claimed that angelic was actually the original prototype of Hebrew and the language with which God spoke with Adam, and thus the first human language. Third, the angelic material takes the form of a set of conjurations that are supposed to summon an extremely powerful set of angelic beings who, he believed, would be able to reveal many secrets, especially the key to the philosopher's stone.

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Anonymous - The Enochian Calls

Alchemical Poetry Hands

Alchemical Poetry Hands Cover Alchemy involves body, soul and spirit. Specifically the alchemist's hands are used to manipulate substances in the laboratory and also in the many ways he interacts with people. Hands I have shaken hands with 10,000 people. fat hands sweaty hands black hands callused hands angry hands happy hands crippled hands dirty hands hands that have been places wet hands bloody hands hands with red nails guilty hands phony hands hands missing fingers hands that talk hands that kill hands that love I have been shaken by all this.

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Johannes Reuchlin Kabbalah Pythagorean Philosophy And Modern Scholarship

Johannes Reuchlin Kabbalah Pythagorean Philosophy And Modern Scholarship Cover

Book: Johannes Reuchlin Kabbalah Pythagorean Philosophy And Modern Scholarship by Moshe Idel

Various philosophies left their imprint on the different forms of Kabbalah. The impact of Neoplatonism and Neoaristotelianism is best known, though some traces of the impact of Stoicism and Atomism can also be discern in the vast Kabbalistic literature. Pythagorean philosophy is perhaps the third in its importance, from the point of view of the themes it impacted on Kabbalah. Though there are some examples of mentioning Pythagoras in medieval Jewish literature, this is a rare phenomenon. Iamblichus wrote his book as an introduction to a large multivoluminous treatise on Pythagoreanism, which he apparently never finished in its entirety. As we know such a Pythagorean reform never took place in a pure manner because Neoplatonism, though inspired from time to time by Pythagorean themes, succeeded and Iamblichus was in fact one of those who had a share in this success. However, his attempt to bring back Pythagoras's philosophy is of a certain importance for our subsequent discussions. This may be also the case with the other figure that drew from Neo-Pythagorean sources, and even save some pieces of Iamblichus's book on Pythagoreanism from oblivion, the Byzantine 11th century scholar Michael Psellus. We may summarize the different surges of Pythagoreanism in antiquity and Middle Ages, as strongly connected to an earlier floruit of some forms of Platonism. This is also the case in the Renaissance. After Ficino's introduction of the various forms of Platonism and Neoplatonism, the Pythagorean elements that were components of these literatures, gelled as a theory that contends to stand for itself, as Reuchlin would assume.

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Moshe Idel - Johannes Reuchlin Kabbalah Pythagorean Philosophy And Modern Scholarship

Alchemical Poetry Calcination

Alchemical Poetry Calcination Cover Sewn unto Lucifer's flames, Usually reduced in crucibles And calcined into dust, A trophy To hereditary exile: Sulfuric and corrosive, Red and lachrymal, Calcinated under pressure And tribulations; To hereditary excess: Burning and surrendering everything Over flames. Through hellish emanations, Secreting power inside Negative energy. Intending to sacrifice For angels that have Eaten Righteousness, I have sacrificed These heavenly entities, Scorched underneath Nothingness. by Stuart Franklin

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The Book Concerning The Tincture Of The Philosophers

The Book Concerning The Tincture Of The Philosophers Cover

Book: The Book Concerning The Tincture Of The Philosophers by Paracelsus

The Book Concerning The Tincture Of The Philosophers by Paracelsus WRITTEN AGAINST THOSE SOPHISTS BORN SINCE THE DELUGE, IN THE AGE OF OUR Lord JESUS CHRIST, THE SON OF GOD; By PH. THEOPHRASTUS BOMBAST, of HOHENHEIM, Philosopher of the Monarchia, Prince of Spagyrists, Chief Astronomer, Surpassing Physician, and Trismegistus of Mechanical Arcana. SINCE you, O Sophist, everywhere abuse me with such fatuous and mendacious words, on the ground that being sprung from rude Helvetia I can understand and know nothing: and also because being a duly qualified physician I still wander from one district to another; therefore I have proposed by means of this treatise to disclose to the ignorant and inexperienced: what good arts existed in the first age; what my art avails against you and yours against me; what should be thought of each, and how my posterity in this age of grace will imitate me. Look at Hermes, Archelaus, and others in the first age: see what Spagyrists and what Philosophers then existed. By this they testify that their enemies, who are your patrons, O Sophist, at the present time are but mere empty forms and idols. Although this would not be attested by those who are falsely considered your authentic fathers and saints, yet the ancient Emerald Table shews more art and experience in Philosophy, Alchemy, Magic, and the like, than could ever be taught by you and your crowd of followers. If you do not yet understand, from the aforesaid facts, what and how great treasures these are, tell me why no prince or king was ever able to subdue the Egyptians. Then tell me why the Emperor Diocletian ordered all the Spagyric books to be burnt (so far as he could lay his hands upon them). Unless the contents of those books had been known, they would have been obliged to bear still his intolerable yoke, - a yoke, O Sophist, which shall one day be put upon the neck of yourself and your colleagues.

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The Emerald Tablet Of Hermes

The Emerald Tablet Of Hermes Cover The Tablet probably first appeared in the West in editions of the psuedo-Aristotlean Secretum Secretorum which was actually a translation of the Kitab Sirr al-Asar, a book of advice to kings which was translated into latin by Johannes Hispalensis c. 1140 and by Philip of Tripoli c.1243. Other translations of the Tablet may have been made during the same period by Plato of Tivoli and Hugh of Santalla, perhaps from different sources. Holmyard was the first to find another early arabic version (Ruska found a 12th centruy recension claiming to have been dictated by Sergius of Nablus) in the Kitab Ustuqus al-Uss al-Thani (Second Book of the Elements of Foundation) attributed to Jabir. Shortly after Ruska found another version appended to the Kitab Sirr al-Khaliqa wa San`at al-Tabi`a (Book of the Secret of Creation and the Art of Nature), which is also known as the Kitab Balaniyus al-Hakim fi'l-`Ilal (book of Balinas the wise on the Causes). It has been proposed that this book was written may have been written as early as 650, and was definitely finished by the Caliphate of al-Ma'mun (813-33). Scholars have seen similarities between this book and the Syriac Book of Treasures written by Job of Odessa (9th century) and more interestingly the Greek writings of the bishop Nemesius of Emesa in Syria from the mid fourth century. However though this suggests a possible Syriac source, non of these writings contain the tablet. Balinas is usually identified with Apollonius of Tyna, but there is little evidence to connect him with the Kitab Balabiyus, and even if there was,the story implies that Balinas found the tablet rather than wrote it, and the recent discoveries of the dead sea scrolls and the nag hamamdi Texts suggest that hiding texts in caves is not impossible, even if we did not have the pyramids before us. Ruska has suggested an origin further east, and Needham has proposed an origin in China. Holmyard, Davis and Anon all consider that this Tablet may be one of the earliest of all alchemical works we have that survives.It should be remarked that apparantly the Greeks and Egyptians used the termtranslated as `emerald' for emeralds, green granites, "and perhaps green jasper". In medieval times the emerald table of the Gothic kings of Spain, and the Sacro catino- a dish said to have belonged to the Queen of Sheba, to have been used at the last supper, and to be made of emerald, were made of green glass [Steele and Singer: 488].

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Saint Thomas Aquinas Writings

Saint Thomas Aquinas Writings Cover The writings of Thomas may be classified as, (1) exegetical, homiletical, and liturgical; (2) dogmatic, apologetic, and ethical; and (3) philosophical. Among the genuine works of the first class were: Commentaries on Job (1261-65); on Psalms, according to some a reportatum, or report of oral deliverances furnished by his companion Raynaldus; on Isaiah; the Catena aurea, which is a running commentary on the four Gospels, constructed on numerous citations from the Fathers; probably a Commentary on Canticles, and on Jeremiah; and wholly or partly reportata, on John, on Matthew, and on the epistles of Paul, including, according to one authority, Hebrews i.-x. Thomas prepared for Urban IV., Officium de corpore Christi (1264); and the following works may be either genuine or reportata: Expositio angelicce salutationis; Tractatus de decem praeceptis; Orationis dominico expositio; Sermones pro dominicis diebus et pro sanctorum solemnitatibus; Sermones de angelis, and Sermones de quadragesima. Of his sermons only manipulated copies are extant. In the second division were: In quatitor sententiarum libros, of his first Paris sojourn; Questiones disputatce, written at Paris and Rome; Questiones quodlibetales duodecini; Summa catholicce fidei contra gentiles (1261-C,4); and the Summa theologioe. To the dogmatic works belong also certain commentaries, as follows: Expositio in librum beati Dionysii de divinis nominibits; Expositiones primoe et secundce; In Boethii libros de hebdomadibus; and Proeclare quoestiones super librum Boethii de trinitate. A large number of opuscitla also belonged to this group. Of philosophical writings there are cataloged thirteen commentaries on Aristotle, besides numerous philosophical opuscula of which fourteen are classed as genuine. SUMMA PART I: GOD. The greatest work of Thomas was the Summa and it is the fullest presentation of his views. He worked on it from the time of Clement IV. (after 1265) until the end of his life. When he died he had reached question ninety of part iii., on the subject of penance. What was lacking, was afterward added from the fourth book of his commentary on the "Sentences" of Peter Lombard as a supplementum, which is not found in manuscripts of the thirteenth and fourteenth centuries. The Summa consists of three parts. Part i. treats of God, who is the " first cause, himself uncaused " (primum movens immobile) and as such existent only in act (actu), that is pure actuality without potentiality and, therefore, without corporeality. His essence is actus purus et perfectus. This follows from the fivefold proof for the existence of God; namely, there must be a first mover, unmoved, a first cause in the chain of causes, an absolutely necessary being, an absolutely perfect being, and a rational designer. In this connection the thoughts of the unity, infinity, unchangeableness, and goodness of the highest being are deduced. The spiritual being of God is further defined as thinking and willing. His knowledge is absolutely perfect since he knows himself and all things as appointed by him. Since every knowing being strives after the thing known as end, will is implied in knowing. Inasmuch as God knows himself as the perfect good, he wills himself as end. But in that everything is willed by God, everything is brought by the divine will to himself in the relation of means to end. Therein God wills good to every being which exists, that is he loves it; and, therefore, love is the fundamental relation of God to the world. If the divine love be thought of simply as act of will, it exists for every creature in like measure: but if the good assured by love to the individual be thought of, it exists for different beings in various degrees. In so far as the loving God gives to every being what it needs in relation practical reason," affording the idea of the moral law of nature, so important in medieval ethics. SUMMA PART II.: ETHICS. The first part of the Summa is summed up in the thought that God governs the world as the universal first cause. God sways the intellect in that he gives the power to know aid impresses the species intelligibiles on the mind, and he ways the will in that he holds the good before it as aim, and creates the virtus volendi. To will is nothing else than a certain inclination toward the object of the volition which is the universal good. God works all in all, but so that things also themselves exert their proper efficiency. Here the Areopagitic ideas of the graduated effects of created things play their part in Thomas's thought. The second part of the Summa (two parts, prima secundae and secundae, secunda) follows this complex of ideas. Its theme is man's striving after the highest end, which is the blessedness of the visio beata. Here Thomas develops his system of ethics, which has its root in Aristotle. In a chain of acts of will man strives for the highest end. They are free acts in so far as man has in himself the knowledge of their end and therein the principle of action. In that the will wills the end, it wills also the appropriate means, chooses freely and completes the consensus. THE SUMMA PART III: CHRIST. The way which leads to God is Christ: and Christ is the theme of part iii. It can not be asserted that the incarnation was absolutely necessary, "since God in his omnipotent power could have repaired human nature in many other ways": but it was the most suitable way both for the purpose of instruction and of satisfaction. The Unio between the Logos and the human nature is a " relation " between the divine and the human nature which comes about by both natures being brought together in the one person of the Logos. An incarnation can be spoken of only in the sense that the human nature began to be in the eternal hypostasis of the divine nature. So Christ is unum since his human nature lacks the hypostasis. The person of the Logos, accordingly, has assumed the impersonal human nature, and in such way that the assumption of the soul became the means for the assumption of the body. This union with the human soul is the gratia unionis which leads to the impartation of the gratia habitualis from the Logos to the human nature. Thereby all human potentialities are made perfect in Jesus. Besides the perfections given by the vision of God, which Jesus enjoyed from the beginning, he receives all others by the gratia habitualis. In so far, however, as it is the limited human nature which receives these perfections, they are finite.

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Alchemical Poetry Between

Alchemical Poetry Between Cover In describing the interaction Between mind and matter, Jung discussed the nature of the psychoid realm. Spiritually, this is the place where we can contact spirit. Between Between the memories and the plans Is there room for this moment to simply be? Between the thoughts and impulses Is there any pause for me? Between the rules and declarations Is there space for spontaneity? Between the echo and the heartbeats Is there Silence enough for serenity?

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Emblema Xxi Of Michael Maier 1618 Atalanta Fugiens

Emblema Xxi Of Michael Maier 1618 Atalanta Fugiens Cover Emblema XXI of Michael Maier’s 1618 Atalanta fugiens. ‘Here followeth the Figure conteyning all the secrets of the Treatise both great & small’. “Above, the alchemist performs the squaring the circle [see earlier post], thereby turning the two sexes into one. The motto repeats a saying of the ‘Rosarium’: ‘Make a circle out of a man and woman, derive from it a square, and from the square a triangle: make a circle and you will have the philosopher’s stone.’ As informed by the text, the triangle denotes the unity of body, soul and spirit. Of this operation Petrus Bonus says: ‘In this conjunction of resurrection, the body becomes wholly spiritual, like the soul herself, and they are made one as water is mixed with water, and henceforth they are not separated for ever, since there is no diversity in them, but unity and identity of all three, that is, spirit, soul and body, without separation for ever’” (p198).

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Transmutation In Alchemy

Transmutation In Alchemy Cover The third facet of alchemical religiosity was also linked to the alchemist’s practice. A basic alchemical tenet stated that all substances could be derived through transmutation from primal matter. The technique of change consisted essentially in “coloring”: the Egyptian alchemists did not intend to “make” gold but to color (baptein) metals and textiles through tinctures and elixirs so that they would “appear” like gold (or silver or some other metal). A “changed” metal, then, was a “new” metal. The technique of coloring evolved, in the end, into a powerful symbol of alchemical doctrine; for just as the alchemist transformed lead into silver, and silver into gold, so too he posited for matter, in his anthropomorphic view of it, a similar change, from body to spirit to soul. And in the frame of his doctrine, he identified this escalation with the renewal of man, to which he assigned the same chain of transmutations to reach the goal of redemption.

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A Dictionary Of Alchemical Imagery

A Dictionary Of Alchemical Imagery Cover

Book: A Dictionary Of Alchemical Imagery by Lyndy Abraham

This dictionary documents alchemical symbolism from the early centuries AD to the late-twentieth century, for use by historians of literary culture, philosophy, science and the visual arts, and readers interested in alchemy and hermeticism. Each entry includes a definition of the symbol, giving the literal (physical) and figurative (spiritual) meanings, an example of the symbol used in alchemical writing, and a quotation from a literary source. There are fifty visual images of graphic woodcuts, copperplate engravings and hand-painted emblems, some reproduced here for the first time. This is a superb book for anyone interested in alchemy. For those interested in alchemy and its connections to literature-- it's even better. The Articles are bursting with relevant information and insight into this often perplexing subject matter in an accessible, readable style. A "must have" for anyone interested in alchemy. The only thing I don't like is the price, which may prove prohibitive for some. Each entry has been made sufficiently complete and independent of the others, with detailed cross referencing. Entires on key concepts - the prima materia, the chemical wedding, the philosophers stone, Mercurius, and the stages known as the nigredo, albedo and rebedo - provide basic information about the main ideas of the alchemical opus for those unfamiliar with alchemical theory. Recommended as a general introduction to the subject.

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