Unurthed

An emblem from Honoratus Marinier’s ca. 1790 Alchemical Manuscript of the Seven Keys (McLean’s edition).

From key two, the wedding of Apollo and Diana (p16). Click for larger version.

“This [emblem] shows Diana [the moon goddess] seated on the tomb of her dear husband Apollo [the sun god], where his ashes have been enclosed, which she swallows as a sign of the overwhelming love she bears him. Her garments shine with all the colours found in nature. Hercules is to be found on one side of the sepulchre, and Vulcan on the other. I shall explain what takes place in the glass sphere during the multiplication, which lasts about nine or ten months. Here Vulcan represents the external fire and Hercules the patience of the practitioner which overcomes all obstacles. The fixed remains in the bottom of the egg and all the liquid gradually becomes viscous, but before its total coagulation one may see through the view holes of the athanor or furnace, in a glimmer of light, all the colours of nature. One must not dwell on these, especially as they are not real, proceeding as they do from a reflection of light. It is after the conjunction of our two beautiful and precious substances has taken place that can be seen in due time in a far more marvellous fashion all the colours of the rainbow, mainly the blessed green, an infallible sign of the vegetable nature of our Stone…” (p17, translated from the French).

Three illustrations of Mercurial birds, representing the volatile nature of alchemical work.

Emblem 9 (of 12) from the 1752 Hermaphrodite Child of the Sun and Moon by unknown alchemist L.C.S., reproduced by Adam McLean (p42).

Translates Mike Brenner in McLean’s edition: “A soaring eagle with heart aflame, with the Sun and Moon at the threshold of its wings, bears tokens of dominion: the crown of influence, the sceptre of the king, and the globe of the empress.

“Its buoyancy in flight and its flaming heart show the ethereal nature of this eagle: wet outside, fire inside. It is our Liquid Mercury.

“The Sun and Moon seek solace under the shadow of these wings, basking in the pleasing radiation from the flaming heart.

“To win the Crown of the Earth, fuse the power of the sceptre and the globe…” (p42).

Copperplate 7 (of 19) from Johann Conrad Barchusen’s 1718 Elementa chemiae, appearing in Johannes Fabricius’s 1976 collection, Alchemy (p18).

Comments Fabricius: In plate 7 “the deluge [cf. the biblical Flood] leaves only a small patch of land, on which the Hermes bird descends [beneath the symbol of Mercury]. The chaotic situation is emphasized by the emergence of the seven planets on the horizon, a symbol of universal disorder. As indicated by the sign of sulphur, the sinking island is set on fire by sulphurous flames from the hellish interior of the earth. Yet the alchemist’s sinking island is ‘supported’ by a sealed chest of drawers emerging from the sea and containing immense riches of silver and gold. Although the adept’s world has become a sinking island, it has been simultaneously transformed into a treasure island” (p18).

Second woodcut of the 1550 Rosarium philosophorum, also appearing in Fabricius’s Alchemy (p24).

In this depiction “the king, standing atop the sun and representing the spiritus, meets the bride of his choice, resting on the moon and representing the anima. The rose branches crossed by king and queen bear out their mutual love, but the court clothes suggest the restrained nature of their initial encounter.

“The two roses at the end of each branch refer to the four elements, two of which are active and masculine (fire and air), while two are passive and feminine (water and earth). Their ordered arrangement in a ‘rosie cross’ suggests the abatement of the prima materia and its warring elements. The fifth flower is brought by the dove of the Holy Ghost, a parallel of Noah’s dove carrying the olive branch of reconciliation in its beak. Descending from the quintessential star, the bird reconciles the masculine and feminine elements, just as its third branch equates the rose branches with the three pipes of the mercurial fountain, now transformed into a stem of roses.

“The dove is the agent effecting the rapprochement between king and queen, just as the bird indicates the spiritual and heavenly nature of their love. The unusual character of this affair is further stressed by the partners’ left-handed contact. This uncustomary gesture points to the closely guarded secret of their infringement of a general taboo. Actually, the royal couple engages in ‘unnatural’ and illegitimate love, the secret of which is of an incestuous nature: the bride is the king’s own sister. Hence the ‘Rosarium’ admonishes: ‘Mark well, in the art of our magisterium nothing is concealed by the philosophers except the secret of the art…’” (p24).

Five paintings from the Pneumo-Cosmic Manuscript, an enigmatic sequence of 52 such alchemical illustrations. Neither the author nor the date of the work are known (although the paper establishes a terminus a quo of mid to late 18th century), and no explanatory text is provided beyond a brief introductory paragraph (see below). The present edition was reproduced from a manuscript in Glasgow University’s Ferguson collection and hand-bound by Adam McLean.

“A work of natural magic, fashioned with an admirable brush of pneumo-cosmic nature. The characteristics of the universal prototype of Chaos, through the artful ape of Nature, have been represented to itself in many images, and preserved to eternity the memory of this matter” (title page, from the Latin).

V.

XX.

XXV.

XLIX.

XLVII.

John Dee’s Monas Hieroglyphica, which I have redrawn, from his 1564 book of the same title, translated from the Latin by C. H. Josten (in Ambix vol. XII, nos. 2 & 3, 1964).

“The Sun and the Moon of this monad desire their elements, in which the denarian proportion will be strong, to be separated, and that this be done with the aid of Fire” (p161).

Constructed with the geometric proportions detailed in Theorem XXIII (p201-205).

“Our hieroglyphic monad possesses, hidden away in its innermost centre, a terrestrial body. It [sc. the monad] teaches without words, by what divine force that [terrestrial body] should be actuated. When it has been actuated, it [sc. the terrestrial centre of the monad] is to be united (in a perpetual marriage) to a generative influence which is lunar and solar, even if previously, in heaven or elsewhere, they [sc. the lunar and solar influences] were widely separated from that [terrestrial] body [at the centre of the monad]. When this Gamaaea has (by God’s will) been concluded… the monad can no longer be fed or watered on its native soil, until the fourth, great, and truly metaphysical, revolution be completed. When that advance has been made, he who fed [the monad] will first himself go away into a metamorphosis and will afterwards very rarely be held by mortal eye” (p135-137).

Four emblems from The Hermetic Garden of Daniel Stolcius. This 1620 collection includes 160 emblems appearing in Mylius’s Opus Medico Chymicum, each accompanied by a four line Latin verse composed by Stolcius. The present edition was hand-colored and -made by Adam McLean.

The selection of emblems below concerns the Philosophical Stone.

Emblem 27: Mitigo, the Philosopher.

However men and beasts despise the Stone, yet it is loved by the wise.

However men and beasts trample the Stone,
It still takes no notice of them all.
For only at the hands of philosophers is it investigated;
These it loves and delights in them especially.

Emblem 62: Author of the Philosophical Rhymes.

You shall visit the interior of the Earth.

He who seeks the Stone shall search the interior of the Earth.
And there shall find where the Medicine lies hidden,
There recognize the many headed Dragon,
There see what may become the Lion by our Art.

Emblem 100: Petrus, Monk and Philosopher.

The fiery little light lives in the Earth, and water cannot extinguish it, for it is heavenly.

This heavenly radiance is hidden in caverns in the ground.
Yet still the moist wave cannot put it out.
Seek it. Revolve the whole world, like Atlas, in your mind.
Perhaps you will find it.

Emblem 107: Hortulanus, Philosopher and Chemist.

Only he who knows how to make the Philosopher’s Stone, understands what they say concerning the Stone.

Only he who knows how to produce our Stone,
Hears the mystic words of the hidden chorus.
Then, in the amazing, different cycle of the Elements, he perceives,
And obtains by entreaty, the longed for riches of Hermogenes.

Two diagrams from John Hazelrigg’s The Sun Book (1916), which reconciles astro-theology, alchemy, and the allegory of Christ.

Man is a “fourfold unit as concerns the elements of his constitution, each of which acts through the threefold essences of his being [Mercury, Sulphur, and Salt; or Spirit, Soul, and Body]; and expressed accordingly each by a triangular symbol, thus: ? Earth, ? Fire, ? Water, ? Air… The field enclosed by the basic lines of these four ideographs is an equilateral square (base of the pyramid), typifying the human cosmos as a reflection of the fourfoldness of the Microcosm. With these folded over, as with an envelope, the apex of each centers at the navel, which is the All-Seeing or Psychic Eye.

“These again are summarized in the… interlaced triangle — the Solomonic Seal — the three lines composing the upright symbol signifying Spirit-fire-air, the masculine trinity; the one inverted is Soul-water-earth, or the feminine trinity; — not separate identities, but differentiations or diverse modes of activity of the One Essence. Combined, these two symbols represent Man-Woman as the substance of the six days of Creation… The seventh day, or the central point equidistant from the six apices of the triangles, signifies not a state of rest, but of equilibrium or repose in the formative processes, and whereat — the investment completed — is inaugurated a new departure in the realms of becoming” (p156-8).

This creation is an allegory for the “interior experiences of every disciple in the path of Initiation. It is thus that the microcosmic system is transformed from a sepulcher of vanities into a tabernacle of divine realities” (p160).

Briefly (too briefly), these six stages are:

1. Nativity, fermentation: “the manifestation of an energy that induces to decomposition, that the elements of bodies may be re-combined in new compounds… that creates a condition of inter-repellence that breaks up and dissolves, to the end of a higher refinement and a more subtle re-arrangement of the relativities, both as concerns physical and spiritual substance” (p161-2). This energy, this vital heat, is the fire of the microcosmic Sun, the Spirit.

2. Baptism, betrothal: of the Soul to the Spirit: a necessary duality: a Divine Marriage between the radical moisture of the microcosmic Moon (Woman) and the vital heat of the microcosmic Sun (Man), whereby the Soul is vivified and may infuse into the Body. Whence the initiate must now confront the four elements of his inner nature.

3. Temptation, earth: “through bodily cleansing the entire structural constitution is gradually metamorphosed and sensitized — the protoplasmic fluids seek new currents — the intermolecular ethers grow more penetrant and corrective in cellular transformations, and the aberrancies and the chimeras that constitute the confusions of the microcosmic wilderness are quelled and corrected through conflict with the sensuous incitements — the sex desires, gluttony, the physical vanities, and the carnalities of the animal nature” (p166).

4. Passion, calcination, fire: the cleansing of the Mind: “here the Higher Will is constrained to do battle with the glamors of Illusion, to overcome the seductive sophistries of Reason, the material Logic that betrays” (p168). “Only in passivity of mind doth the Divine principle express itself” (p174).

5. Gethsemane, dissolution, water: “whence is evolved the intro-vision that feels and knows and does not reason” (p170). This element “claims attention to physical ablution, an important point in connection with which is the fact that the pores of the skin as exhaling media do but represent a function correlative with that of inspiration. In- and out-breathing are not exclusively a specific action of the lungs, for every capillary duct is an avenue of communication with the Universal” (p174).

6. Crucifixion, sublimation, air: “thence through the aeration of the blood the fire at the center of soul is evoked” (p175). “This is the point of Equilibrium” (p172), the “interlaced halves of his being… linked with the Supernal Center” (p176).

“Man is both the artificer and the laboratory. He is the agent and patient, the principle and the personification; he is at once God’s most gifted craftsman and Almighty’s most interesting workshop; he is the Philosopher’s subject-matter, as also the alchemical vase in which it is leavened into holy consistencies — a consortment of perversities and concupiscences, yet a god in the making. He is a circumference, whose center is an altar of divinity where abide the fires of Hestia, whether in abeyance or irradiating forth as the rivers which flowed from out of Eden to water the Garden; for here, housed in clay, guarded by the keepers of the mystical gates, and battlemented with physiological ramparts, is the fabled Eden in which still walk Adam and Eve, as at the dawn of Time; where still crawls the slimy serpent, and where groweth the tree of the knowledge of good and evil” (p147).

Back from a particularly rectifying weekend. Hence an etching from Basil Valentine’s 1603 Occulta philosophia, again reproduced in Fabricius (see previous post).

The figure presents Valentine’s “vision of the great stone, the Benedictine superman supporting as Atlas the cosmic globe with its multitude of stars, the earth occupying the centre. The Sun is in Pisces, the moon in Aquarius, the circular work at its end. The inscription reads: ‘Seek this poster with diligence: therefore it has been shown to you. The earth is the source of the elements; they come forth from the earth and return to it again.’ The flying scroll is inscribed: ‘Visit the interior parts of the earth; by rectifying thou shalt find the hidden stone’” (p208).

“The three-headed bust of an antique philosopher conveys ‘prudence,’ the infans philosophorum with ABC ‘simplicity.’ The union of these modes testifies to the Benedictine’s attainment of the highest lucidity of which the human intellect is capable. The state of mind is that of child and genius. Says an alchemical treatise: ‘The work is not brought to perfection unless it ends in the simple… for man is the most worthy of living things and nearest to the simple, and this because of his intelligence’ [Liber platonis quartorum]” (p208).

The woodcut “is accompanied by the verse” (p208):

I am the one who carries heaven | and earth
While studying both with the utmost diligence.
First I display prudence, | then simplicity,
That my day’s wages may follow soon.

“The stone… may be amplified by a passage in the ‘Rosinus ad Sarratantam Episcopum,’ one of the oldest alchemical texts in Arabian style: ‘This stone is below thee, as to obedience; above thee, as to dominion; therefore from thee, as to knowledge; about thee, as to equals… This stone is something which is fixed more in thee [than elsewhere], created of God, and thou art its ore, and it is extracted from thee, and wheresoever thou art it remains inseparably with thee… And as man is made up of the four elements, so also is the stone, and so it is [dug] out of man, and thou art its ore, namely by working; and from thee it is extracted, that is, by division; and in thee it remains inseparably, namely by knowledge. [To express it] otherwise, fixed in thee: namely in the Mercurius of the wise; thou art its ore: that is, it is enclosed in thee and thou holdest it secretly; and from thee it is extracted when it is reduced [to its essence] by thee and dissolved; for without thee it cannot be fulfilled, and without it canst thou not live, and so the end looks to the beginning, and contrariwise’ [Artis aurif.]” (p208).

Three etchings reproduced in Johannes Fabricius’s Alchemy: The Medieval Alchemists and Their Royal Art.

Emblema XXXIX of Michael Maier’s 1618 Atalanta fugiens (see earlier post).

“The foreground figures illustrate the riddle of the Sphinx: What is that which walks on four in the morning, on two at noon, on three in the evening? Answer: Man. The geometrical signs inscribed on the three foreground figures refer to the opus and to the composition of the philosopher’s stone [says Maier]: ‘The true meaning is: first one should consider the square, or the four elements; from there one should advance to the hemisphere, which has two lines, the straight and the curved one, representing Luna, who is made white; after that one should pass to the triangle, which consists of body, soul, and spirit, or Sol, Luna, and Mercurius’” (p32).

Basil Valentine’s Tenth Key, 1599. The Latin inscriptions read: ‘I am born of Hermogenes. Hyperion elected me. Without Jamsuph I am compelled to perish’.

The above “shows Basil Valentine’s emblem of the third coniunctio and the production of the stone. Its trinitarian design merges the sun and moon (top corners) in the sign of Mercurius philosophorum (bottom corner). The Trinity is inscribed with a radiant double-circle… symbolizing the philosopher’s egg. Its ‘nesting’ in heaven is expressed by the name of the Highest inscribed in the stone’s centre”.

“Basil Valentine’s ‘election’ by Hyperion is a reference to solar rebirth, Hyperion in Greek mythology representing the Father of the Sun. The text reads: ‘In our stone, as composed by me and by those who have long preceded me, are contained all elements, all mineral and metallic forms, and all the qualities and properties of the whole world. In it we find the most powerful natural heat, by which the icy body of Saturn is gently transmuted into the best gold. It contains also the highest degree of cold, which tempers the fervent heat of Venus and coagulates the living Mercurius, which is thereby also changed into the finest gold. The reason for this is that all the properties are infused by nature into the substance of our great stone, and are developed, perfected, and matured by the gentle coction of natural fire, until they have attained their final perfection’” (p165).

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).

Continuing on the theme of the last post, another diagram from Vandenbroeck’s Al-Kemi.

“I worked up a construct [below] to show as clearly as possible the qualities which characterize the predominance of each of the three alchemical principles: heat for Sulphur, humidity for Mercury, coldness for Salt. This structure shows the principles and elements held in a network of relations between trinity and quaternary, and ruled by the permutations of two pairs. Completed to the show polarized duality manifesting a vertex of puncticular and irrational oneness, this pyramid of Pythagorean number forms the renowned Tetractys. An exaltation of the four elements reveals a quintessence as basis of the Pentactys, emblem of manifestation traditionally associated with the five senses” (p118).

Click image for larger version.

“Neither formulas, mechanisms, or processes had any bearing upon the science that concerned us. The presentation would be a gesture of knowing intuition, so that the only dependable representation would be an intuitive perception of form — as number, color, sound, volume, or plane-image. It would be an inscription into the fixed salt, not a notation onto memory” (p228-9).

“Aor maintained that the material process of the alchemical opus are banal, that they occur at every moment in every laboratory in plain view of everyone. There are no special or hidden chemical events, and the alchemical processes are of the most usual sort, so common that they escape notice, as is repeated again and again with regard to materia prima in alchemical texts. The difference in the esoteric manipulation lies entirely in the apprehension of the event: it is a matter of perception, of vision” (p147).

Says Aor, “The Oeuvre is not the discovery of a technique, it is nothing of the sort, it is the perception of an existing process. It is the perception that is the object of study and prayer. That is the theoretical part, and after that comes the practice, the proper gesture in matter and time. The perception of a process, the vision of an evolution, that is the first aim of the scientist. Prima materia into Materia prima is a constant process of nature, it is mindless, and therefore beyond the cerebral cortex. That is really the only difficulty. There is no use addressing the analytic mind with Hermetic language; it can do very little with it. Therefore the language of the birds, not spoken, only heard” (p60).

A diagram from André Vandenbroeck’s Al-Kemi, memoir of R. A. Schwaller de Lubicz.

Says Aor, “It is interesting to study the senses from the point of view of form-perception, to become aware of their functions as formative instruments. Realize how prejudiced we have become in favor of sight, because it seems to give us the volume so immediately and, we think, so surely, so certainly. But that isn’t even the eye’s primary function; this perception of volume is entirely secondary, it is color that is the primary sight-form… In the same way, volume is secondary form for the hearing function; it is sound that is primary. But volume is the material presence and all the senses partake of it… The immediacy of [sight] is what attracts us, but it is a solution of facility, and without perceptual education, it results in a universe of objects, of things. Actually, for the proportional perception that gives us so many profound hints as to the cosmic constitution, the ear is a far better tool. The laws are harmony are just that, perception of ratios and proportionality, and here the sound-form without equal… That trinity of lower senses can in fact be summed up under the sense of touch, as both smell and taste are a matter of contact… And touch… has contact with volume only.” (p106-7).

“You can say that the universe of form, pervaded by affinity, spans between number and volume. Volume and number are the forms of origin, whereas color and sound are later forms of more advanced evolution. Number exists inside and out of the least mineral structure as surely as does volume. Polarity is already number, in the same way that space is already volume” (p107-8).

“Attention, cher ami, if you really want a beginning, you have to find a totality, a oneness, and where experience is concerned, that oneness must be achieved in the perception of the experience. You can fragment it through an analytic view, which is what we have trained our cerebral cortex to do, or you can identify with the formal and functional essence of the experience and intuitively place it in its cosmic context. That takes a reeducation of the senses for modern man… Without adequate perception, you will encounter a world of objects to register into your brain matter, but you will only rarely be inscribing experience into salt” (p177-8).