ALCHEMY

Amongst the occult sciences, alchemy is nowadays one of the most inspiring, not only because
of the countless books that have been written since ancient times, but also due to a desire to
know more about the truthfulness of the Philosophers Stone, also know as the Universal
Medicine.

For a long time, alchemy was synonymous of quackery and dubious credibility. The main reason
for this has always been the lack of serious publications, as most of the available material
consisted of crude imitations of the ancient treatises, authored by "blowers" - pretence alchemists
- where the absurd comes together with the lack of knowledge.

At the present time, due to the publication of translations of the most important classical works
of the Great Masters, most people have revised their opinion.

The word alchemy, deriving from the arabic "al-kimia", has the same meaning as chemistry.
Nevertheless this chemistry - known as spagyric in the ancient times - is not the same as the
actual chemistry, but a different one, of a transcendental and spiritual nature.

The arabic "al" is known to mean the Supreme Being - the All-Mighty - like in
Al-lah. Alchemy has always been known as the science of God, the chemistry of Al.

Alchemy is the art of perfecting the bodies with the help of nature. In a way, being a technical
science, alchemy can be seen as a practical art. As such, it develops on a certain number of
theories relative to the constitution of matter, the generation of inanimate and living substances,
etc.
The alchemical view of matter defines it as having three fundamental principles, sulphur,
mercury and salt. These, when combined in different proportions, give birth to new bodies.

In Roger Bacons The Mirror of Alchemy we find that ...alchemy is the science that teaches how
to prepare a certain medicine or elixir, which, when projected on the imperfect metals,
communicate its perfection.

The operative alchemy - a direct application of alchemical theories - is the search for the
Philosophers Stone. It comprises two principal aspects: the universal medicine and the
transmutation of metals, where one is the real proof of the others validity.

Most of the times, alchemists were also doctors in medicine, philosophers and astrologers, like
Paracelsus, Albertus Magnum, Saint Augustine, Brother Basil Valentine and so many of other
masters, nowadays known for their undoubtedly genuine works.

Each master had a set of disciples that he would initiate in the art, and transmit his knowledge.
Moreover, intending to preserve their knowledge from the passage of time, they would
frequently write it down, more often than not under a pseudonym, concealing their precious
formulas by mean of allegories, symbols and images.

The lack of a common and static set of symbols is the main difficulty presented to those who
strive to understand this art. Everything was - and still is - dependent of the imagination and will
of the author.

An alchemist, unlike what most people think, is not a gold maker. As we said before, the
transmutation will occur only as a means to prove the veracity of the universal medicine or
philosophers stone.

Nowadays, like in the past, alchemy has its followers. They can be found amongst every social
stratus, as Cyliani teaches in is Hermes Devoil: ...Kings of the Earth, if you knew the large
number of people that at the present surrender in secret to the quest for the philosophers stone,
youd be surprised.

Thousands of books have been written about this art, because, as it seems, since the middle ages
to the 19th century, alchemy was very popular. It was practiced not only by gentlemen, nobles
and knights, religious people and clericals, but even by kings and popes, who frequently wrote
some treatises on the art of Hermes.

This has obviously led to the publication of countless books of little value, poorly related to
alchemy.

Nowadays, these books on the hermetic art are in great demand. Unfortunately, one will find
many books that seem to be serious, but are in fact mere speculation. Even so, they are most
frequently acquired by those desiring to extract some new information, or just for plain curiosity.
It is far from our intents to declare that serious books were not written on the subject of alchemy.
Such books do exist, and are well known by the students and researchers of alchemy. Most of
them can be found in compilations such as the Teatrum Chemicum, the Biblioteca Chemica
Curiosa de Mangeti, and also the Bibliothque des Philosophes Chimiques de Salmon.

Brothers and Friends

Dear Brothers and friends who search a way to enter into the Philosophers' Garden.

You are like the young man shown in the image, who symbolically expresses his feelings and
desires by crossing his arms and by his perplexed look: He does not know where to enter the
garden.

You are therefore similarly disoriented and perplexed for not being able to achieve our inner
desires and goals.

Frequently, I am asked by seekers, (which most of the time are only motivated by curiosity) as to
how to find the key to be able to open the well locked gate and be able to enter into the Garden.

It is not easy to know the Secret key to open the lock to the Garden, but once opened, you will
know that you have a way free to the Secrets that this Garden contains. In order to find the Secret
key, it will take much work, time, perseverance and above all much patience.

When the Secret is disclosed to you, you will be able to open the gate, and you can go into the
inner heart of the Garden. However, you will be disoriented in its labyrinths, which was carefully
designed by our great Masters.
To walk in the labyrinths, and to arrive to the Great Goal, you will need the charitable hand of a
guide who will help you in the intricate labyrinth.

Besides the aid and guidance that can be given, you will need to have the knowledge to
understand the language that is spoken. Therefore, before looking to enter into the Garden, you
will have to be prepared because you will inevitably face great dangers. These dangers are like
the two mythological dragons whose poisonous breath can cause great harm and even death to
you.

Like a soldier who goes to war and is prepared for combat, you will also have to have the
necessary training in order to face the dangers of the two dragons.

In this URL, you will find the necessary materials, which will prepare you for gaining the Secret
Key to the entrance to the Garden. Remember that a house is not constructed by starting with the
roof, but with a strong foundation.

Therefore, Brothers and Friends, you must start by working in vegetable Spagyrics.

Only after you have obtained sufficient experience in vegetable Spagyrics will you be able to try
the mineral Spagyrics, which is the door to Alchemy.

The first Rule is that you never start an operation for which you aren't duly prepared because of
serious risks and possible danger to your life.

Secondly, after you have obtained suitable experience in several operations of mineral spagyrics,
you will be then be able to start to study and understand the great Master Alchemy books which
you will find in this URL. It will not be necessary to look for other books because the books
recommended were selected very carefully to help you and not loose time reading useless books
that would lead you to nothing.

After your careful reading of the recommended books, you will be then be able to ask for further
advice to gain eventual understanding and be able to put into practice the teachings contained in
the books.

After having understood and performed the suggested operations, you will have the Secret Key,
and be in a suitable condition, to enter into the Garden. You will be able to face the two dragons,
fight them in a fierce battle, and win the battle.

However, you will not be able still to sing a song of victory because there will be other more
arduous battles. Thus God helps you.
 HUMILITY
What does Humility have to do with the practice of Alchemy?

Humility is to receive the teachings that are given us without contesting them, because we
believe in the knowledge of the teacher that gives it to us, without prejudice even when we see
that they are not in accord with the logic or the procedures that we know through study or
experience. Transcending these apparent discrepancies, Humility is the ability to accept the good
will of the teacher who transmits knowledge to us in good faith.

Humility is the ability to recognize when we are wrong, although convinced that we are right,
when our errors are revealed to us.

Humility is the ability to explain to others what they do not know, but without boasting of what
we do know.

Humility is to share with the others our knowledge without receiving anything in exchange; only
for the satisfaction of transmitting the knowledge.

Humility is to contemplate Nature, to observe its evolution and to recognize that we are
incapable of understanding it fully; to follow it and to imitate it.

Humility is to feel incapable of understanding all that the Great Masters have bequeathed us
regarding the Art; to recognize and to accept the occasional incapacity of our ability to
understand it.

But as human beings, we are not perfect, nor do we act in the way of Humility.
 Charity & Jealousy
The words "charitable" and "jealous" do not take on their literal meetings when Alchemists use
them to refer to each other. This is because the words do not refer to attributes of the personality,
but to the nature of their written work.

For example: Alberto the Great in his book Compounds of Compounds and Raymond Lull in the
Clavicle had been extremely charitable because in these books they described the practical side
of the work in plain language. It is very rare to find texts like this.

Basil Valentine was one of the great classic alchemists and the author of several books. In his
book Twelve Keys of Philosophy, he was extremely jealous because great skill of interpretation is
necessary to be able to interpret The Twelve Keys, and we doubt that anyone has properly carried
out his work as defined by the Keys. It is our opinion that even Canseliet with all his erudition,
did not complete Basils instructions.

This quality of his work did not last forever. In The Last Will and Testament, the Master was
very charitable because he explains in practically plain language some Keys of the book The
Twelve Keys of Philosophy concerns the way of Vitriol. Without the reading of The Last Will and
Testament, it is practically impossible to understand The Twelve Keys.

Philalethes, in the Open Entrance to the Closed Palace of the King, is a little more "jealous" in
the description of his Work, but the diverse regimes they are described in almost vernacular
terms. In The Marrow of the Alchemy and in the Speculum Veritatis he is sufficiently "charitable
".

Those who already have some knowledge of the Art can say that in The Breviary Nicholas
Flamel is sufficiently "charitable". The ways of this great Master and of Philalethes are
complemented.

Of the contemporary alchemists, Fulcanelli was an extremely erudite alchemist who rarely
appears. However, in the books The Mystery of the Cathedrals and The Dwellings of the
Philosophers, we see him as "jealous", because in explaining his work he mixes so many ideas
(for obvious reasons) understanding it in terms of practical alchemy is very difficult.

He often gives us the impression that he is describing the wet way, when in truth the method he
describes in his books is predominantly the dry way.

Canseliet, his disciple and also a scholar of our Art, in his book Alchemy Explained: on the
Classic Texts, was sufficiently charitable in the spreading of the matters and the modus operandi
of the dry way. Little of this path would be known if not for his well-known work.

Also Kamala Jnana (whom some say was Roger Caro), in his book Dictionary of Alchemical
Philosophy as well as others, was sufficiently "charitable" in the description of the matters of his
Work, and also in the modus operandi.
Of modern authors we have authors like Atorne. In his book The Alchemical Laboratory, he
describes the dry way with enough charity. Solazaref is also a modern alchemist, but his work is
not that clear-cut. In his several books we cannot say that he is "jealous" at all because he
approaches certain subjects with sufficient clarity, but very important ones have been left in the
shade.

In our modest opinion, a modern artist, like the classical masters, could be "charitable" without
divulging in plain language the matters of his work or the modus operandi, by writing small
tracts very skillfully, artistically and even ironically. This would insure that those who already
have some knowledge can be guided. It would also keep the door closed for those have not
attained the requisite knowledge, experience and responsibility to understand them.

To be "charitable" does not mean that we reveal everything without knowing to whom it is being
revealed. But it a true alchemist knows that by tradition when a seeker without perfect
knowledge of terminology or the modus operandi of our art deserves help when he requests it. In
fact, it is the responsibility of the true Alchemist to develop the skill to determine to whom, how
and when knowledge should be imparted.

Nowadays, the artist has to be very careful in the evaluation of those who ask for help. One must
be very cautious with "charity" until they are able to competently veil their words or reliably
ascertain the integrity of the seeker of alchemical knowledge, and whether or not they deserve to
have it.

Because of the openness of modern communication, specifically the Internet, people will
frequently contact us requesting help in their researches in alchemy.

About "charitable" help, some years ago, we ask a brother to describe the first steps of his "said
work". Doing this, we referred to some matters and modus operandi, and so he was sure about
our alchemy knowledge even if we had and extensive exchange of correspondence.

The reply came as follows:

"When you tell me to have charity... For charity we give food to the hungry, to medical causes
for the sick and infirmed, we give alms to the poor... but a Science such as Alchemy, cannot be
given as charity..."

This artist would have (and he had certainly) his reasons to be "jealous". He was well within his
rights, but nevertheless, he breached the tradition. In my humble opinion, the tradition of
alchemy teaches us to give knowledge to whoever deserves it - without asking anything in
exchange.

All the printed works become public and therefore it is possible for anyone to write
commentaries on them. Anyone can transcribe small excerpts without the authors or publishers
express permission as long as the laws are followed regarding proper acknowledgement of the
source.
Therefore, any commentary based on those texts never could be taken as either offence or
personal attack to their authors but as critique of the interpretative and operative methods that
could be contested.

One cannot say that an author wrote a book such as Cylianis Hermes Unveiled or several other
commentaries with the intent to plagiarize other authors, or insinuate that they plagiarize others.
Everyone has his own style to write and will do it as well as possible.

Understand therefore, that there is a difference between style of interpretation and personal
attack.

There have been some "heated" discussions that we have had on an Internet alchemy list
concerning critiques based on our point of view. These critiques were of the work of a very well
known artist, but often due to the lack of better arguments to contest our points, certain people
always took it for a personal attack.

Unhappily, this behavior still continues in some of alchemy lists.

In summary, we want to say that constructive criticism of any method or written work, never
should be interpreted as an offence or personal attack on the author; in fact, these criticisms
originate constructive discussions in the lists which can be advantageous to the subscribers with
less understanding in our Art.

Kirlian Photography
Kirlian photography was invented by Seymon Davidovitch Kirlian. He was born on February 25
of 1898 in the city of Krasnodar, in the South of Russia. Seymon Kirlian could have been
inspired and to have taken interest in the study of unusual and natural phenomena by a visit by
Nikola Tesla to Yekaterinodar in 1917 where he gave a conference just before the 1917
revolution. Kirlian attended this conference and went away deeply impressed.

Seymon Kirlian used his experiences along with trial and error to verify the correctness of his
own ideas, and coupled with his stubborn and laborious method of work, proved successful with
the creation of a device for photography and visual observation by means of high frequency,
high-voltage, low-current electricity.

His wife and comrade, Valentina Chrisanfovka, was educated in humanist studies and worked as
literary assistant for a radio broadcasting committee.

After her marriage with Seymon Kirlian in 1930, Valentina Kirlian, also creative by nature, took
part in her husbands research and gradually began to read related specialized literature. Husband
and wife differed in their approaches in the study of the natural phenomena, but these differences
united them rather than separated them.
Seymon Kirlian was more interested in technical matters such as equipment or investigating
characteristics of metals and non-conductors. Valentina Kirlian, on the other hand, was more
intersted in the study of life processes.

Then In 1939, while repairing medical equipment used in dArsonval electrotherapy, Kirlian
discovered that the electrical discharge between a vitrified electrode and particles of human skin
changed colour. Trying to discover the cause of this, he photographed the electric charge without
the use of a conventional camera, that is, exposing the film directly to the current.

This experiment led to the invention of a system of high-frequency electrical photography.

During the next ten years of work at home and in the workshop where he repaired medical and
other types of equipment, Seymon and Valentina Kirlian were repeatedly successful in
photographing by means of high-frequency currents.

They devised a non-standard but simple apparatus, and in 1949 they received an "Author's
Certificate" (Soviet patent for "A Method of Photographing by means of High-Frequency
Currents").

Their simple device and the photographic method was completely revolutionary and
unprecedented. Seymon and Valentina subsequently received hundred from letters from
scientists and research institutes from all the parts from the Soviet Union.

Semyon Kirlian

Kirlian photographs are electronic images, more precisely, electronic images created by "cold
emission of electrons", or auto-electronic emission. The Kirlian method therefore allows the
recording not only of the various biological states of plants and animals but also the psychical
state of human beings.

This would produce results, for example, in fields such as the study of parapsychological
phenomena traditional methods of research often seem impotent.

The difficulties encountered in the study of the "Kirlian Effect" are not limited only to electronic
phenomena. Seymon and Valentina Kirlian had given great importance to the phenomenon of
resonance in the photographs of high frequency electricity. An example of this is the "phantom
leaf" phenomenon, which Seymon Kirlian himself initially refused to believe.

Victor Adamenko, his assistant, discovered this phantom effect in 1966 and Valentina Kirlian
congratulated him with his discovery, but Seymon Kirlian flatly refused to believe in the
authenticity of the strange photograph for many years. It was finally in his later years that be
began to open up to their idea of the phantom leaf after many compelling conversations with
Adamenko on the subject

In 1962, with the support of Valentina Kirlian, the once sceptical Seymon Kirlian began study of
the psychic phenomena and in 1967 Seymon and Valentina had examined the hands of the healer
Alekxei Kivorotov using their method. This was the first objective investigation of psychic
healing in the Soviet Union.

Several hundred enthusiasts, from students of higher educational institutions to professors, are
now studying Kirlian photography in the USSR.

An international association for study of the Kirlian effect unites many scientists of different
countries. The broad development of this new field of science which could lead to a change in
the way we look at the world and ourselves, would be a fitting memorial to those humble but
persevering explorers of unknown extrasensory world - Semyon and Valentina Kirlian.

Transcribed from: Memories of Semyon Kirlian by Dr. Victor G. Adamenko, Ph. D., International Journal of Para
physics, vol. 13, 1979.
 ALCHEMICAL SYMBOLISM
This splendid medal in alchemic gold was coined in 1609 in order to test the success of an
Adept.

In Les Clefs Scretes De La Chimie Des Anciens, Fabrice Bardeau, First Image, Robert Laffont,
Paris, 1975. Coll. part. ph. Suark International.

In the centre of the medal we can see a complex triple symbol composed by three different
symbols.

The lower is the spagyrical symbol of the earth or is the subject mineral of the dry way, and the
amalgam way that Flamel designates by Saturnie and Basil Valentine by gray Wolf.

The following symbol is of the salt and, upward, a circle with three small spheres in centre,
which could mean the gold or sun.

Further, and in the upper part, we can see two curved arms with two blazing heads, which
symbolize the alive fire or are the common fire.

On the middle of these two curved arms, we see a figure that resembles the Phoenix and on top
of it the spagyrical orpiment symbol.

On the middle level of the triple symbol, on the right side, we see a masculine image seizing in
the left hand a sceptre and in the right hand the philosophical sulphur spagyric symbol.

On the left side we sees other masculine image but with feminine dress seizing in the left hand
the philosophical mercury symbol.

On the medal underneath date 1609, the spagyric vitriol symbol.

We try to know by the association of these symbols, what would have been the alchemic way
done by this artist who made the Philosophical Stone which transmutes the vile metal in gold,
out of which medal was coined.

Inside of our modest knowledge we didn't achieve it. Perhaps, this artist just wanted to show us
symbolically, that an alchemic work, so much can be done by the vitriol, as described by Basil
Valentine in the Testament or Last Will and Testament, by Saturnie, with the salt, by the sun and
mercury also symbolized by the two curved arms of the triple symbol, as described by
Philalethes in An Open Entrance to the Closed Palace of King, in Marrow of the Alchemy and by
Flamel in the Brvire or Testament.

The Phoenix symbolically also represents the philosophical sulphur. With relationship to the
symbol of orpiment symbol we didn't know its alchemic meaning in this medal.
Perhaps some of you have better interpretation have about the symbology represented in this
magnificent medal, as we have.

ALCHEMY
(Some considerations)

We have read several opinions concerning the Hermes' "science" that we loved so much.

As it is natural and obvious, each one has a different point of view, and some coincide with
others, but most, in our opinion, generalise without focusing or having a well-defined purpose
that applies directly to practical alchemy, hiding instead in speculative alchemy some times
"said" philosophical.

We don't want in any way to be pretentious but we would like to give our modest opinion about
this polemical subject, respecting the opinion of others, as it is our tradition attribute.

The ancient alchemy treatises refer to the Arabic Al-khimia. It is the same meaning that today we
give to the chemistry (we would say spagyrics) only that this old "chemistry" is a spiritual and
transcendental chemistry. "Al" in Arabic means Supreme Being the Almighty, as Al-lah.
Therefore the term alchemy, designates since the most remote times, the God' science or Al's
chemistry.

Our ancient Masters in their treatises always invoked the divine help as for instance, Albert the
Great, (1193-1280) in his book foreword the Composed of the Compositions.

I won't hide a science that was revealed to me by the grace of God Further in Chapter IV, Of
Sublimation of Mercury: on behalf of the Lord, seek a pound of pure mercury from the
mine.

Also Raymond Lull, (1235-1315) in his book The Clavicule, says: Therefore, with the help and
permission of Almighty, that he please in revealing me the Great Work, will speak here about the
Art without fiction.

Flamel in his book the Brevire or Testament (1414) he also recommends to his nephew the
following:

Therefore, don't forget to implore to God that give you understanding or reason of the truth and
nature

Even Philalethes (1645) he says: certainly my feather frequently hesitated in writing

everything desirous that he was of hiding the truth under zealous mask, but God constrained me
and I could not resist Him, only that knows the hearts

In those days, the Church and the faith in God infused by it had much influence on the People's
existence and of that there is very sad examples of the Inquisitions treatments for those that
didn't profess it. The people profane that practised the alchemy were pursued and, for that, most
of the treatises known today were written under a "nom de plume" for their protection.

There are many classic masters, contemporary and modern that don't make any references in
their works to the divine help. Today, at the end of the XX century, the alchemy will have to be
shown under a different prism although respecting the tradition.

At present, people have been trying to understand the alchemy phenomenon because the modus
operandi includes chemical process (spagyrical) but, while in the chemistry the reaction between
a salt and an acid done in similar conditions always gives the same result, in alchemy, in certain
operations, the same is not verified. It is here that resides the distinction that, in our days, some
people don't accept because under the point of view of official science (chemistry) it doesn't have
any logic.

Consisting that Roger Caro, a great modern alchemist who already died, made the following
experience of an alchemic operation (Kamala-Jnana's work) with two of his disciples. He placed
the same matters and the secret fire in three different matrass well closed with a rubber stopper.

He gave a matrass to each one of his disciples and one for himself. All began the operation
SOLVE at some time. In Roger Caro's matrass the instantaneous natural exothermic reaction
(about 400 C) necessary to the sublimation of the matters raises immediately and in the disciples
matrass the temperature was only 80 C.!

This got us to conclude that the operators own bio energy could have influence in the natural
chemical reaction among the matters. We made several times the same operation with canonical
matters and we didn't surpass the 80 C.!

Our Masters says that the alchemy is the art of work and improvement of the bodies with the
help of Nature that, at present, is not easily understood and all the more to do. What will we be
able to understand by the help of Nature?

We know by the ancient treatises that, usually, an alchemists work begun in the Spring (in
Europe). Also, it is in this season that the dew is collected and that the secret fire salts for some
alchemic works is deliquesced, because in this season the atmosphere is abundant in Universal
Spirit.

Unfortunately, up to now, in no alchemic treatise that we know of, have we found an exact
definition of what the ancient Masters understood by the term "universal spirit" and the help of
the Nature.

We know also, that the polarised light of the Moon in full moon nights has an influence on the
collection of the dew and is saturated of such universal spirit. That the dew is by excellence, the
vehicle to treat the salts employed in alchemy.

Some time ago we had a "discussion" concerning the importance that the astrology would have
in alchemy. We understand that it has some importance and we refer you to what above we said.
At the occasion, some "astrologers" of the forum answered affirming that astrology had a
fundamental importance in operative and interpretative alchemy, multiplying themselves in
theoretical astrological examples and planetary conjunctions referring, inclusively as example to
some Abraham the Jew's Tablets, etc.

To prove them that it was not exactly what they affirmed we sent to the forum the first
Philalethes' image of Speculum Veritatis, to be astrologically interpreted. An "astrologer" just
made an interpretation that was far away of the real alchemic meaning that it represented,
confirming like this, my statement.

After, we describe symbolically the First and fourth Tablets of Abraham the Jew where, in our
opinion, the matters inherent to the alchemic operations are just described symbolically without
any visible astrological reference.

Therefore dear brothers, let us say this: do not dispersed in philosophical discussions and
unrealistic interpretations of what alchemy is, because it being an operative technique, its the
application of theoretical alchemy that leads the search of the Philosophers' Stone or Universal
Medicine.

We already had occasion to give our opinion based on the Great Masters concerning the
Philosophers' Stone and of the Universal Medicine and, for that it will be unnecessary to repeat
it.

It is true that certain matter and alchemic operations by tradition can't be discussed in a forum.
But if some of our great Masters described their works charitably in clear language for the time
as Flamel, Valentine, Albert and others did, we, on the other hand, cannot do it in the same
language?

Will some say, and with certain reason, because we made this observation when we frequently
wrote spagyrical texts? The main reason is that the spagyrics is the first step "to make the hand"
for the alchemy.

We don't have nor we had the presumption of giving "alchemy or spagyria lessons" but just
trying to share with others a little that along the years we learned with other brothers in Art and
Masters so that they find their own way.

A true alchemist will owe to have the humility of listening to the other brothers even though
these are in the wrong way but he being convinced that they are trashing the right way.

No alchemist can have the pretension of knowing everything about the Art even if one has read
all the alchemy books of the world and be an expert lab operator.

There is always something to learn with others and because of that, it is very important to share
the knowledge.
At present, we are not aware that there is any modern alchemist that is an Adept, in other words,
that has accomplished the Great Work and obtain the Philosopher's Stone or Universal Medicine.
We know of a French alchemist that was our Master and that we admired to much for his great
knowledge, and of which we were convinced that he had made all of the alchemy ways, but he
had made just some "particular".

Same of the great Master that was Fulcanelli (Lubicz, Dujols and Champagne), his disciple
Eugne Canseliet didn't achieved the antimony dry way having just Fulcanelli, made a
"particular".

For some assumed alchemists and "masters" as the ancient puffers, that insist in affirming his
opinions openly of texts badly interpreted and moulded to his convenience that induce in mistake
whoever reads it, a true alchemist will owe without arrogance, to restore the truth and not allow
our Art to be discredited.

We will never just learn alchemy by the reading of the books of the Art even those of the best
classic authors or modern without having enough background for that. In alchemy, each one will
have to travel his own way, alone, if he can, or with the help of another brother or Masters
charitable hand.

To this respect, Albert de Great in the Composed of the Compositions, says: The science that I
learned without fictions transmits you without feather. The envy perturb everything, and envious
man cannot be right at God's face.

ALCHEMY and SPAGYRICS

Books
From our own experience of more than twenty years of practical work and study of alchemy we
can tell you without fear of being deceptive that most of the time things in Alchemy are not as
they seem.

Portuguese translations of very well known Alchemy books exist, with suggestive titles that will
lead you to acquire them without hesitation. Later comes the feeling of disappointment and of
money thrown out.

The same thing happens with some Spanish and French books, the worse being that these are
much more expensive.

What titles should then we look for?

For starters, we advise you to acquire a good introduction to alchemy and its history, such as O
Ouro dos Alquimistas, Jacques Sadoul, 70 Editions, La Alquimia, Lucien Grardin, Ediciones
Martinez Roca, s.a., Barcelona, La pierre philosophale, Georges Ranque, Robert Laffont, Paris,
Les Clefs of la chimie des Anciens, Fabrice Bardeau, Robert Laffont, Paris, Thories&
Symboles des Alchimistes, Albert Poisson, ditions Traditionnelles, Paris and History of
Alchemy, Serge Hutin, Editions M M, S.Paulo, Brazil, De l'Esprit Universel, Volume 2,
ALKAEST, Solazaref, Somme Hermtique Tome III, Editions Aux Amourex de Science.

Aside from ALKAEST these are not books on operative alchemy, but rather focus generically on
its history, which is a good starting point.

You can always request a catalog from the publishers and pick some other books on the subject.
Luckily for us, many books exist nowadays on this matter.

Nevertheless the books we suggested should be enough. Acquiring other books would probably
be a waste of money and only serve to confuse you.

Later on, as your knowledge of Alchemy basics increases after reading some of the principal
classic and modern authors you will be ready for the more specific books on the paths of some of
the known Adepts.

This is where telling the good from the bad works starts to be hard. Some books, due to their
seductive titles, will at first sight seem to be easily understandable, but as we told you before
things in alchemy are not always as they seem.

Many titles are deceptive and do not correspond to the books contents from an operative view of
alchemy. Knowing the paths that may be followed in Alchemy will help you find your way.

At least three essential paths exist in Alchemy: the Wet path, the Dry path and the Mix path. It
wont harm you to know something about each one of these paths, but you can always pick only
the books that cover the path that interests you most and lies within your possibilities.

First of all, we suggest you to acquire an ancient book on spagyrics in order to learn the
spagyrical and alchemical terminology and understand the modus operandi.

It is very important if one wants to understand the books on our Art to be able to "travel" to the
time they were written, trough the knowledge of chemistry and arts of the time.

Thus we suggest you to read the Traite de la Chimie by Christophle Glaser, Apothiquaire
ordinaire du Roy, Paris 1663, Gutemberg Reprints. This is a facsimile reprint so you must be
able to understand ancient French. Any bookstore will be able to order it from the publishers. As
far as we know it is still available.

At the National Library in Lisbon you may also find the Cours de Chymie by Glasers disciple
M. Lemery, edition of MDCCLVI, under quota SA 1527.

It wont be easy to understand alchemical treatises and its terminology without one of these
books.

Regarding operative alchemy, you should try to acquire some of the following books:
La Clavicule, Raimond Lull, Arch Milano, 1974; Le Compos des Composs, Albert le Grand,
Arch Milano, 1974; Le Dernier Testament, Basil Valentine, Retz, Paris; Le Secret Book du
trs Ancien Philosophe Artephius, La Table d'meraude, Paris; Oeuvres, Nicolas Flamel, Le
Courier du Livre, 1989, Paris; The Open entrance to the Closed Palace of the King,
Global/Ground, S.Paulo, Brazil; Le Livre des XXII Feuilletes Hermetiques, Kerdanek De
Pornic, Phoenix, 1981; Herms Dvoil, Cyliani, ditions Traditionnelles, Paris; Dictionaire de
Philosophie Alchimique, Kamala Jnana, ditions G. Charlet, Argentire, France, L'Alchimie
Expliquee Sur Ses Textes Classiques, Eugne Canseliet, Paris Chez Jean-Jacques Pauvert and
De l'Esprit Universel, Volume 1, V.I.T.R.I.O.L.U.M, Solazaref, Somme, Hermtique Tome III,
Editions Aux Amoureux de Science.

All these are true alchemical works that will be very useful in your study. La Clavicle (The
Clavicle) and Le Compos des Composs (The Compound of Compounds) are some of the texts
you will find at my website.

You do not need to acquire them all. Acquire them as you locate them, which will not be easy
since many are out of print.

To make your choice easier, lets see which path each work describes. But first youll have to
learn the meaning of the alchemical terms Sulphur, Mercury and Salt used by all Masters.

The basis of the hermetic theory is the unity of matter. According to it, all matter is one although
it can be found under many forms, which then may be combined in order to form new bodies.

Sulphur, Mercury and Salt are not the chemical bodies commonly known, but certain qualities of
matter. Thus, Sulphur in a metal refers to the color and combustibility; Mercury the brightness,
volatility and malleability; Salt is the medium by which Sulphur and Mercury are united
according to some, and hardness according to others.

Having clarified the meaning of these terms, let us follow to the correspondence between the
works and the alchemical path they describe:

La Clavicle. Mix Path.

Le Compos des Composs. Mix Path.
Le Dernier Testament. Wet Path.
Le Secret Livre Du trs Ancien Philosophe Artphius. Mix Path.
Oeuvres (Brvire). Amalgamate Path.
Open entrance to the Closed Palace of the King. Amalgamate Path.
Le Livre des XXII Feuilletes Hermetiques. Mix Path.
Herms Dvoil. Mix Path.
Dictionaire de Philosofhie Alchimique. Wet Path.
L'Alchimie Explique Sur Ses Textes Classiques. Dry Path.
V.I.T.R.I.O.L.U.M. Wet Path.

This table will make it much easier to you to find the right path when you begin. Be aware that
the dry path has some special requirements.
The dry path is carried on refractory clay crucibles on a gas oven operating around 1000 C.

The wet path uses flasks and retorts of flameproof glass and a low temperature oven called
Athanor. The wet path has always been considered the noblest one, being also the more time
consuming.

You will encounter several difficulties in understanding these books, as other brothers and we
did. Without the help of a Master or the charitable hand of a brother in Art it will be difficult for
you to take the first steps. But do not lend yourself to despair. Keep on studying tenaciously and
as soon as you start understanding a little of alchemical spagyrics you will find that while
reading the same texts some light will come through where before only darkness existed.

Remember that in alchemy one book "unlocks" the others. This means that a given matter or
operation that might be omitted in the text of some book could be found clearly described on
another book in almost plain language.
Authors work on Plants Kindom
Plant Alchemical Work
Method to be Followed to Obtain Cohobation (reunification of alchemical Sulfur, Mercury and
Salt):
1) First of all, put our herb through a steam distillation so we can obtain its volatile oils. Then,
place a 5000 ml round bottom flask into a sand bath. Pour 3000 ml of distilled water into the
flask. Take a wide mouth double-jointed flask and place a small piece of filter paper inside the
flask over the bottom joint. Add enough ground herb to the flask so it is half full. Next, hook up
the reduction head and the distillation adapter. Finally, use a 2000 ml flask as a receiver at the
end of the apparatus.
2) Turn the heat on low. After some time, steam will cloud up the double- jointed flask as it
passes through it. Our distillation adapter also will become fogged. At the end of the drip tip we
will see water droplets forming. The drops will fall into the receiver. After a few milliliters have
collected in the receiver, we will notice that a colored oil is collecting on top of the water. When
approximately 1500 ml of the water has been distilled over, turn off the heat and let the apparatus
cool. Then, transfer the water and oil in the receiver into the oil separator.
3) Take the double-jointed flask off the distillation flask. Pour 100 ml of fresh distilled water into
the distillation flask and hook up the entire apparatus. This entire process should be done at least
three times to ensure that the majority of the volatile oils come out of the plant body.
4) While our second separation of the volatile oils is under way, we will gather the oils obtained
from the first. To do this, simply open the stopcock at the end of the drain tube. Slowly drain off
the water. When only a little water is left in the separator, close the stopcock. After each
subsequent extraction of the volatile oils from the plant body, take what is in the receiver and
place it in the oil separator. Drain the water out of the separator leaving the oil behind. Reuse this
water for all of our subsequent separations of oil from the plant body. By the time we have
extracted oil from 12.5 kg of plant material, we will have a few milliliters of pure volatile oil, i.e.
Alchemical Sulfur.
5) Take the essence from the depleted body of the herb and place it into the wide mouthed 5000
ml round bottom flask. The water that was left from the separation of the volatile oils is now
poured over the herb. Seal up the round bottom flask with a fermentation lock and place it in an
incubator at 27 degrees C. In about two weeks, our plant body will have fermented and yielded
up its Spirit i.e. alchemical Mercury. Distill off the Spirit as we have done before and rectify it
seven times. Save the phlegm from the Spirit for later use.
6) Empty the remaining liquid and plant body left in the 5000 ml flask into a glass pot. Take the
pot outdoors and boil off all the moisture. When the moisture is gone, the herb body will begin to
roast; then, incinerate it. When the body has obtained an ash gray color, turn off the heat and let
the pot cool. Grind and weigh the ash, set up the soxhlet extraction and extract the water-soluble
salts from the ash. Evaporate the water from the salts in the oven overnight. Grind and weigh the
salts; then place them into the kiln to calcine at 600 degrees C for one week. At the end of the
week, turn the kiln off and let it cool. Grind and weigh the salts. Repeat the process of extracting,
drying, grinding, weighing, calcining, grinding, and weighing two more times to get the
hygroscopic Salt, the third principle.
7) Once we have got our hygroscopic Salt, it is time for cohobation, so pour our rectified Spirit -
i.e. Mercury (already preserved) over the Salt - then add the volatile oils - i.e. Sulfur.
8) Allow the mixture to digest in an incubator at 30 degrees C for a week. Be sure to slightly
shake the container three to five times a day.
9) Decant the essence (spagyric essence) from the undissolved salts. It will be seen that the
essence is now coloured yellow and smells strongly of the herb we used in the operation.
10) One drop in wine or distilled water will yield the full effects of the plants medicinal nature.
Save the remaining salt.

Distilled Vegetables
The distilled vegetables will only be possible to obtain by the means of distillation, with the
spirit of wine of the plants that contains essential oil.

At that suitable season, choose a plant and pick the blossom summits that contain the essential
oil. Next, cut them in pieces and with them fill a 6-litre cucurbit that you will use to distil the
essential oil.

Pour in 500 ml of spirit of wine well rectified at 60 or other without so much amounts of water.

Let to digest one or two hours to the temperature of 40 C. First, distil with soft heat, and later,
with a stronger one, without surpassing the 80 C, so that it distils the whole spirit of wine that
was introduced.

The spirit of wine will drag with itself some water along with the essential oil of the plant, which
will be inseparably dissolved in the spirit of wine.

After everything is distilled, turn off the oven and let it to cool. Remove the helm. Now, with a
hook of thick wire, remove from the cucrbita the whole plant and dry it in the sun. After it is
dry, incinerate it on a suitable iron foil or porringer.

Calcinate them in an iron frying pan or in a mud porringer, on a gas stove, with a very strong fire
and extract the salt as the Art demands (to see Extraction of the Salt of the Plants).

Pour the distilled liquids in a circulation or incubation vase. Following take the salt well
calcinated and still hot and pour it in the distilled liquids; place the upper vase and shake
circularly, in order to better dissolve it.

Let to circulate for 10 days. The water contained in the spirit of wine will dissolve the salt. If it is
not dissolved completely, the remaining salt will be crystallised in the bottom of the vase.

This process is similar to the distillation of the essential oils because the oil inseparably meets
and dissolves in the spirit of wine, but spagyricaly, it is more complete for having the plant salt
in dissolution. Just as the essential oil, this distillate can be taken in simple drops or in
homeopathic doses.
There are some artists that make the spagyrical vegetable distillate, by fermenting the chosen
plant in water with sugar, giving like this, origin to an alcohol that dissolves the essential oil of
the chosen plant. We never used this process because we consider that in the fermentation
process, it looses a part of the plants essential oil. Besides, for our process, it is the spirit of wine
(mercury of the wine) that makes the essential oil extraction.

Vegetable Tinctures
Several methods of preparation of the vegetable tinctures exist, but the more current, is the
alcoholic maceration.

The medicinal plant tinctures are macerated in a liquid, generally ethyl alcohol (spirit of wine) at
60.

There is some that prefers to make the tinctures with dry plants in warm temperature in
appropriate apparel called Soxhlet, which allows obtaining the tinctures in some hours.
Whenever it is possible, we preferred to prepare them at cold temperature, in alcoholic
maceration, using fresh plants picked at a certain occasion, since they have more virtue.

Under maceration, the medium proportion between the dry plants and the liquid is, generally, of
1:5, that is to say, in order to prepare 1000 ml of tincture; it is necessary to have 200 g of dry
plants.

Pick, at a suitable season, of the plants that you choose either the roots flowers or fruits, as per
what is indicated for each case, and that you want to do the tincture with.

If you take the roots, wash them very well with water and dry them with a very clean cotton
cloth.

Cut the plants in pieces or mill them in a kitchen electrical machine. Consecutively, pour them in
a glass flask, with a large mouth and with the capacity of 1 litre.

The plants should not surpass 3/4 of the height of the flask. Pave them lightly. Pour in the spirit
of wine, well rectified to 60, so that the spirit is 4 or 5 cm above the level of the plant materiel.

Close the flask well and let to macerate for 10 days. If you don't need soon of the tincture, let to
macerate 20 or 30 days. As the fresh plants contain water, the graduation of the spirit will
devaluate slightly. It would be preferable, that the spirit of wine has more than 60.

Once this period of time has passed, prepare for decantation and pour the tincture in another
flask of the same size. After having drained the whole liquid, remove the plants soaked in spirit
of wine and place them in a clean cotton cloth. Squeeze very well the tincture that still remains in
the plants over a wide recipient, so that the plants have release almost all of their tincture.
Pour this tincture over the other. Now, place in the first flask a glass or plastic funnel, with
cotton to filter. Pour little by little, the tincture in the funnel. Close well the flask that contains
the tincture. Remove the residues that were in the cotton of the funnel and join it to the plants.

Dry them in the sun. When they are very dry, put them in an iron frying pan and incinerate them.
This operation should be made in the out doors since a great amount of smoke is exhales from
the incineration.

Pick up the ashes; put them in a small stainless steel porringer and place it on a gas stove with a
very strong fire.

Calcinate them very well for at least one hour or longer, until their colour has become of a very
clear ash.

Now, with the grey hot ashes, pour them in successive fractions on your tincture and close the
flask. Let them for one week and shake the flask circularly once a day.

At the end of this period, filter into another flask through a glass or plastic funnel with cotton to
filter.

Remove the residue that is left in the funnel and calcinate it again, as previously, and pour it, still
hot, on the tincture. Repeat the process once again. In the last filtering, reject the caput that
remains at the bottom of the flask.

The tincture, now, will be stout and perfumed. Keep it in the dark, in a tightly closed flask,
sheltered from the light.
If you want to increase its healing value, you will have to circulate it in a suitable vase called
circulation vase or incubator. You will do this in the beginning, when you pour for the first time
the hot ashes in the tincture.

Formerly, the masters used, for this effect, a very special vase, called pelican. Today, unhappily,
it won't be possible for you to get a pelican. You will have to use a circulating vase composed of
a matrass of plane bottom or 1 litre Erlenmeyer, with another spherical 250 ml with wheelwork
male IN29, installed neck in to neck of the bottom matrass.

The circulation will occur on itself. Leave it during one week with soft heat 40 to 50, (degree)
on a small electric oven with a temperature control.

At this temperature, the spirit of wine will volatilise and condense in the upper balloon, and
return by drops in the lower balloon again creating like this a circulation. If the temperature is
too high, you will take the risk of creating to much pressure inside the glass and therefore push
the upper balloon out of its socket connector with the bottom flask. To avoid this, you can order
the glass blower to place a vent with a capillary tube at the top of the upper balloon.

This tincture can be taken in drops of homeopathic dosis.

Homeopathic Dynamization. The homeopathic dynamization is better known than the

circulation, because the science of homeopathy makes wide use of it.

The dynamization is not a simple break-up, as they say, but a potentialisation. With the
dynamization, the therapeutic potency is deliberately almost immaterialized. The material
substance, the more " diluted " it is, the more energetic it becomes.

There are actually two types of dynamization: decimal and centesimal.

Decimal dynamization. In a glass flask, of 100 ml, well washed with distilled water, pour 90 ml
of alcohol diluted down to 30 with distilled water.

With a graduate syringe, well washed with distilled water, remove 10 ml of the tincture from the
mother flask (TM), and pour it in the flask with the 30o alcohol.

Close the flask and do at least, 100 vertical and energetic shakes.

Also instead of that, you can pour in a smaller flask, well washed 90 drops of alcohol and 10 of
TM. Shake as previously, at least 100 times. You will have, like this, the first dynamization or
D1.

Pour in another flask again, well washed with distilled water, more 90 ml of alcohol at 30. Pour
in 10 ml of D1. Shakes vertically 100 times. You will have now a dynamization D2. Always
repeated the same process, until you obtain the dynamization that you intend.
In the centesimal dynamization, the process is similar. Instead of pouring 90ml of alcohol, pour
99 ml to 1 ml of TM or 99 drops of alcohol and 1 of TM. At the end of the first dynamization,
you will have a C1 or CH1 and like this successively, to C2.

Circulatum Made Easy!

1. Ordinary potash is moistened with high-grade etheric wood oil (cedar, cypress and pine).

French turpentine from the painters supply store is probably good, so it is just "wet".

Add as much copaiba balm (also from the painters supply. Its here I want to use the amber oil
instead), so that the mass gets a honey like consistency. (Not to thin!)

2. The mass is set to digest at about 40 degrees Celsius.

Cover the flask with metal foil in which you have made pinholes so that evaporation can take
place. Use a wooden spatula to stir the mass several times a day.

3. When the mass "toughens up", add balm and oil in equal parts to remoisten.

4. After three to four weeks, the salts will have dissolved completely if one has worked correctly.
The mass will be soapy to the touch and looks like dark honey.

5. Pour on high-grade alcohol, about 5-8 times your mass volume. Let it digest for a week or two
in a closed vessel, at even heat (40 degrees Celsius) the longer the better.

This is also stirred several times a day.

6. The alcohol is gently distilled of at low heat. This is cohobated seven times and redistilled.
Take care that none of the balm goes over with the distillations.

Regulate the heat with great care. Now some of the salts have been volatised, and the circulatum
is ready.

It has a stinging smell, and leaves a subtle and penetrating taste on the tongue.

How to use:

Parts of the FRESH plant are added to the circulatum and shaken.

After a short time there will be an oily layer on top of this. This contains the salt and sulphur of
the plant.

The faeces will sink to the bottom and are to be discarded.

By careful distillation in water bath, the phlegm of the plant and the circulatum goes over.
The essence remains in the vessel. Now the phlegm can be separated from the circulatum
through further distillation.

The circulatum will last forever, to be used again and again, on any plant one likes.

If it weren't for a certain inevitable small loss of alcohol during distillations.

Recipe extracted from LION AND PHOENIX by Daniel Hornfischer.

Alchemic Spagyrics
Pick at least 5kg of Rosemary (Rosmarinus Officinalis), or of another plant that you choose and
dry it in the sun. After it becomes very dry, incinerate it on a sheet of iron.

Spagyrics is the application of the art of alchemy, in the preparation of herbal and metallic
tinctures, and in the preparation of spirits and of menstruums. It consists of provoking an
evolution of the matter, to purify it, and to exalt the matter, which is not possible to do without
long and subtle operations as some old authors never revealed clearly.

Spagyrics, in the Greek terminology, means to separate, to divide and to associate or to unite.
The spagyrical art was practised from more retreated times, and flourished in the main well-
known civilization centers.

The spagyrical preparations are based in natural works of Universal Generation, by which it can
extract from the matter its quintessence, whose constitution can be ennobled so that they can be
assimilated by the human being.
What is the difference between a common tincture of a plant and of a spagyrical preparation?
The tincture is a simple maceration of a medicinal plant in an alcoholic solution, usually up to 60
degrees. The spagyrical preparation opens the plant, that is, it separates alchemically its
primordial components, Mercury, Sulphur and Salt, and then it unites them again in an intimate
combination in the Circulation.

But, the great vegetable Secret is the First Being (ENS) or the Salt volatilization This is one of
the secrets of the herbal spagyrics that few artists know and the ones that know it, according to
the tradition, they never reveal it in clear language. If you are not capable to obtain Alkahest,
you learn at least, to volatilize the tartar salt... Van Helmont.

We did not refer to the theory of the planetary correspondences adopted by some modern authors
and even for some classical adepts such as Paraselsus, who says: And as the medicine it should
not produce effect without the sky participation this should be made under its influence. Many
classical authors and some contemporary do not offer this opinion, being limited to describe its
preparations alchemically.

With the metallic or mineral spagyrics, as we already said, the purpose is the preparation of
tinctures of metals or minerals. Herbal spagyrics is practically innocuous if we don't work with
toxic plants. The same doesn't happen with the metallic or mineral spagyrics. Only artists with
much experience in the laboratory manipulations will prepare it right because some metallic or
mineral compositions are toxic.

Distillation of Essential Oils

For the distillation of essential oils, you will have to use a 6-litre alembic with a 2-litre recipient
with high neck.

It will be unnecessary to tell you that the essential oils can only be distilled from plants that
possess it, such like Rosemary (Rosmarinus Officinalis), Anisette (Pimpenela Anisium), Cypress
(Cupressus Sempervirens), Camomile, (Anthemis Nobilis), Eucalyptus (Eucaliyptus Globulus),
Mint (Menta Piperita), Lavender (Lavendula Officinalis), Pennyroyal (Menta Pulegium), Thyme
(Thymus Vulgaris), etc.

For you "to become handy at it", we recommended to distil the Eucalyptus plant, because it is
very easy to get the oils from it, as well as for the amount of essential oil that it contains. The
leaves of the adult branches contain 1,2 to 3% of essential oil.

Cut some branches of Eucalyptus and remove the leaves, one by one. Put them in an alembic
until it reaches the height of the neck of the cucurbit. Place the cucurbit on an oven and, pour
onto the leaves 3 litre of water the source.

Place the thermometer, the protection cone and, finally, the helm after you have applied silicon
on all the joints. Adapt to the beak a reducer with air hole and this one to a matrass (receiver)
with plane bottom having a neck of more than a transverse hand of height.
First, heat up to a moderate temperature, of about 50 degrees C, for the space of one hour and,
only then, will you increase the temperature to about 100 degrees C.

After some time, you will notice, inside the helm, tiny globules of essential oil that will run down
the throat towards the beak and in to the recipient together with the distilled water.

Continue to distil uninterrupted, to the same temperature, but having the caution of verifying if
the helm doesn't heat up too much. If it becomes so warm that you could not place your hand on
the top, then reduced the temperature.

When the distillation reaches more than half of the height of the belly of the recipient, you can
observe a thin oleaginous layer upon the water, with the thickness of 2 or 3 mm. Continue the
distillation until the essential oil reaches about half of the receivers neck. Then, turn off the
oven. With the remaining temperature, your distillation will reach the top of the recipient.

Observe that the essential oil doesn't surpass the upper level of the receiving vase, because, if
that happens, the oil will get lost through the air hole of the adapter.

You will have distilled 20 or 30 ml of essential oil that you will remove through the recipient
neck with a syringe, and keep in a glass flask tightly closed and sheltered from the light.

Instead of the long neck recipient, you can also use a separator for essential oil.

Leave your alembic to cool down and remove the helm. Remove the cucurbit from the oven and,
with a hook of very strong wire, remove all of the eucalyptus leaves from the cucurbit.
Repeat the process again, using the distilled water that was in the recipient, being, just necessary
to increase to more than 1 litre.

The same process will be applied to all the other plants that contain essential oils. It is evident
that not all plants have the same amount of oil, and that the revenue will be different for each
plant, although the extraction process will always be the same.

Pay attention that you dont evaporate all of the water in the cucurbit so that the plants don't
burn. If that happened, the essential oil would go out with empyreuma, what would be very
unpleasant. If you pour 3 litre of water in the alembic and distil 2, it wills leave 1 litre in the
cucurbit.

Evidently there are other distillation to expedite the process and that give larger revenue as it is
with a 100 litre stainless steel cucurbit or plus, equipped with a flowing back column refrigerated
and an oil separator. But this system is out of the ambit of our spagyrics and it is only used in
factory.

Distillation of Essential Oils

For the distillation of essential oils, you will have to use a 6-litre alembic with a 2-litre recipient
with a high neck. Essential oil can only be distilled from plants that possess it, such as
Eucalyptus (Eucaliyptus Globulus). For you "to become handy at it", distill the Eucalyptus plant,
because it is very easy to get the oils from it, as well as for the amount of essential oil that it
contains. The leaves of the adult branches contain 1.2% to 3% of essential oil.

Cut some branches of Eucalyptus and remove the leaves, one by one. Put them in an alembic
until it reaches the height of the neck of the cucurbit. Place the cucurbit on an oven and, pour
onto the leaves 3 litre of water the source. Place the thermometer, the protection cone and,
finally, the helm after you have applied silicon on all the joints. Adapt to the beak a reducer with
air hole and this one to a matrass (receiver) with plane bottom having a neck of more than a
transverse hand of height.

First, heat up to a moderate temperature, of about 50 degrees C, for the space of one hour and,
only then, will you increase the temperature to about 100 degrees C. After some time, you will
notice, inside the helm, tiny globules of essential oil that will run down the throat towards the
beak and in to the recipient together with the distilled water.

Continue to distil uninterrupted, to the same temperature, but having the caution of verifying if
the helm doesn't heat up too much. If it becomes so warm that you could not place your hand on
the top, then reduced the temperature. When the distillation reaches more than half of the height
of the belly of the recipient, you can observe a thin oleaginous layer upon the water, with the
thickness of 2 or 3 mm. Continue the distillation until the essential oil reaches about half of the
receivers neck. Then, turn off the oven. With the remaining temperature, your distillation will
reach the top of the recipient.
Observe that the essential oil doesn't surpass the upper level of the receiving vase, because, if
that happens, the oil will get lost through the air hole of the adapter. You will have distilled 20 or
30 ml of essential oil that you will remove through the recipient neck with a syringe, and keep in
a glass flask tightly closed and sheltered from the light. Leave your alembic to cool down and
remove the helm. Remove the cucurbit from the oven and, with a hook of very strong wire,
remove all of the eucalyptus leaves from the cucurbit.

Repeat the process again, using the distilled water that was in the recipient, being, just necessary
to increase to more than 1 litre. The same process will be applied to all the other plants that
contain essential oils. It is evident that not all plants have the same amount of oil, and that the
revenue will be different for each plant, although the extraction process will always be the same.

Extraction of the Salt of Plants

Pick at least 5kg of Rosemary (Rosmarinus Officinalis), or of another plant that you choose and
dry it in the sun. After it becomes very dry, incinerate it on a sheet of iron.

Gather the ashes from the incineration, place them in an iron frying pan, and set the pan on a gas
stove.

Adjust the stove to a very high heat and calcine the ashes for one hour, constantly stirring them
with a stainless steel spoon. When the ashes are well calcined they will be a clear grey colour.

Next, pour 750 ml of rainwater into a 1 litre large-mouth flask. While they are still hot, add the
ashes to the rainwater, a little at a time.

It is important that the water level is at least one hand's-width above the ashes. Add more water if
necessary to reach the desired level. If one flask is not enough to hold all the water, divide the
ashes between two or three flasks as necessary. Stir the water/ash mixture well with a glass rod
and then let it settle for one hour.

If the ashes have been properly calcined, as our Art demands, the water of the lixiviation will be
clear and transparent; otherwise, it will be the colour of tea.

In another similar flask, place a glass or plastic funnel with a small cotton lid. Decant the water
of lixiviation by pouring it into the funnel, and when everything has drained, add the ashes to the
funnel with a stainless steel spoon. Rinse the original lixiviation flask with a little rainwater and
pour it onto the ashes in the funnel. When the whole liquid has been drained, pour some more
rainwater on the ashes to extract all of the soluble salt that remains in them.

Pour the lixiviated liquid into a porcelain container and set it in a sand bath, which has been
placed in an electric, or gas oven. As the water evaporates, the dissolved salt will begin to
crystallize or coagulate, and as the evaporation proceeds further, a film will be created on the
surface of the thickening liquid, which will impede the continued evaporation of the water.
Therefore, when the solution arrives at the point where it develops a surface film, we recommend
stirring it well with a glass rod, to break-up the superficial layer of coagulated salt.

After all of the water has evaporated, the remaining coagulated salt should be as white as snow.
If it is not white, you will have to calcine it again in a stainless steel porringer or pan, with a very
strong fire and dissolve it in fresh rainwater once again, following the instructions given above.
The secret to extracting the white salt the first time is the proper and complete calcination of the
ashes. Do not be in a hurry in executing this operation, because if it is done properly, it will save
you a great deal of work.

We met an artist personally whose pretension and arrogance was humbled to the degree, which
characterises true alchemists. On a certain occasion, we had the opportunity to show him plant
salts that were white as snow and coagulated according to the Art. When we told him that it had
been extracted from the first calcination, he didn't believe it, even though he proclaimed wisdom
of the Art and had never accomplished this on the first crystallization.

When we revealed to him the modus operandi, he remarked that we burned the sulphur of the
salt! It goes without saying that this answer demonstrates a gross ignorance of the Spagyrical
Art.

Although this fixed salt is primarily potassium carbonate, it also contains small amounts of other
mineral salts that were contained in the plant, and it probably the thick liquid will create contains
some oligoelements.

This fixed salt will be necessary, along with the plant's sulphur or essential oil, in the preparation
of the First Being of the same plant.
If you intend to obtain potassium carbonate (formerly well known as the salt of tartar)
exclusively, we recommend incinerating a large amount of grape-wine tartar, acacia, fern or oak,
which are all rich in potassium salts.

If you intend to obtain exclusively, potassium carbonate or salt of tartar, as it was well known
formerly, we recommended to incinerate a large amount of grape-wine, acacia, fern or oak,
which are all rich in potassium salts.

Following the procedure given above, you will able to extract a beautiful salt of very pure
canonical tartar from the crude tartar, which is commonly left as a residue in wine barrels.

Salt of tartar that has been well calcined, is highly deliquescent (i.e., it will readily absorb
moisture from the air.) Once it has absorbed some water it's nature is altered, so be sure to store
the salt in a well-sealed large mouth glass flask.

First Being (ENS) or Salt Volatilization

If you are not capable to make the Alkaest, at least learn the tartar volatilization" Van Helmont
".

Tartar salt in the science of spagyric is potassium carbonate because it can be prepared pure from
wine tartar. We also call tartar salt the potassium carbonate prepared from plant salt that any
spagyrist will know how to prepare.

Lemery in his "Cours de Chymie" Paris, MDCCLVI, page 697, describes the "Esprit de Vin
Tartaris": which is distilling the wine spirit and tartar salt (potassium carbonate) several times.
The wine spirit carries within its distillate a small amount or tartar salt. But this is not a true
volatilized salt.

Normally the volatilized salt is made by essential oils but there is a "key" that is necessary to
know to give it the volatility. Without this "key" only by accident will you see it rise.

The plant salt volatilization occurs in the neck and throat of the retort"Never", will say the
chemists of the so call formal science. In the meantime, for the pleasure of our eyes, we see it
form like ice along the throat and neck of the retort to the receiver!

As you know, there are four elements in Nature: Air, Fire, Earth and Water. Within these four
elements, two have a natural affinity and the other two are opposites. Also, oil and water are
opposite elements because if you pour water into hot oil it will violently repel it.

Pay attention because this is the work's "key"!

Collect at least 5 or 10 kg of Rosemary (Romarinus officinalis) and dry the whole of it. Burn it
and extract its salt.
Into a 500-ml retort, pour 150-ml of essential oil of Rosemary. Put the retort on a small butane
gas stove into a stainless steel porringer (pan) and sand bath. To the retort, attach a receiver with
an air hole in it.

With a small spoon (teaspoon) and a funnel, pour the salt prepared, as Art requires, into the retort
by small quantities to a maximum of 30 gr. There is a strong reaction when the salt falls into the
oil and its color will change between dark yellow and dark brown.

Now, distil the works but take care not to boil the oil.Distil gently and at the end of the
distillation when you see the kaput mortem (the dregs), showing like dark honey or coffee, then
you can stop the fire.

Pour the distilled oil again into the retort and distil 3 to 6 more times and the last time, distill all
the oil in the same manner, but with more heat. Now you can see the salt volatilize, going up to
the top (heaven) of the retort, the throat, and the neck and forming like ice as you saw in the
photo.

Pour a small amount of oil into the retort and distil again to dissolve the salt at the top and throat
of the retort. Again, the kaput (in the bottom of the retort) is like dark honey. Now, clean the
retort with good turpentine, and again, pour in the retort, the oil with the volatilized salt and add
150-ml of mercury (alcohol) made by distilling the plant and flowers to get the canonical wine
spirit rectified at about 100%.

Repeat again and again in the same manner. Take out the kaput each time, distill and finally pour
a small amount of the mercury into the retort, distills again to completely dissolve the salt in the
retort's throat. Now, in the receiver, you will have the first Being (ENS) of Rosmarinus
Officinalis; Mercury, Sulfur and volatilized Salt all together. It is a fine medicine as Van
Helmont says.
If you understood the "key" necessary to the work, you will be successful certainly, but if not, we
are sorry, because it is a great Arcane occulted by the ancient alchemists and the great modern
spagyrists like Von Bernus.

THE ROSEMARY
From the reign of Isabel of Hungary, the Rosemary plant has had the fame of being a product of
rejuvenescent. The Rosemary is known formerly from everywhere as a condiment and healing
product. This aromatic plant acts favourably on the whole motor-vascular nervous system and its
influences are profitable in the nerves of the heart.

It is a plant of pleasant smell that one should have in the kitchen as a privileged place among the
spices, because who knows its usefulness for the health will know how to use it and to appreciate
it.

If we put the fresh Rosemary in an old wine we will obtain a good tonic for the heart, very
effective for the lower pressure, and for all the people that are pale and weak and also for the
oldest.

After influenza or some other similar virus upset, a small Rosemary wineglass helps to a fast re-
establishment. This beautiful and modest bush, with its leafs and its flowers is an appreciated
condiment and healing medicine.

A.Vogel. El Pequeo Doctor. Editorial ARS Medica, S.A. - Barcelona, 1986.

 What Distinguishes A Vegetable Tincture From The
"Primum Ens"
"The Preparation of So-Called Primum ENS Melissae" in the A Compendium Of Alchemical
Processes published by Kessinger Publishing Company, USA, page 100, author unknown,
describes a preparation of a vulgar tincture of Melissa made with tartar oil as the first solvent and
later with the spirit of wine. This is not a First Being.

This tincture of Melissa cannot even be considered as spagyric, because a spagyric tincture must
have the three "fundamental beginnings" of the plant, Sulphur, Mercury and Salt. In the recipe
given, only Sulphur and Mercury are present. Therefore, it is just a vulgar tincture, as referred to
in old medicine books and not a "PRIMUM ENS".

The recipe calls for dissolving first the plant in tartar oil and later carefully pouring on spirit of
wine, which will extract the tincture from the tartar oil. The alcohol will float on top of the
denser tartar oil. This extraction process is performed until the alcohol ceases to be colored.

What is the difference between a spagyric tincture and a First Being? The preparation of spagyric
tinctures requires the three essential "beginnings" of the plant as above. The preparation of a
proper spagyric tincture of Melissa is as follows:

Macerate the fresh plant with pure cold 60% spirit of wine. Other alcohols are not desirable.
After some days of maceration (at least 10) in a close large mouth glass flask, filter the tincture
into another flask and incinerate the residue. Extract the ashes. Calcine the extracted material and
while still hot, pour it into the tincture. Circulate and then filter. The tincture is now ready for
use. A repeated calcination, circulation and filtering can also be performed, if desired.

Another way to make a distilled tincture of Melissa is as follows:

Distill a mixture of the fresh plant and at least 60% spirit of wine. The distillation will drag the
Sulphur of the plant along with the spirit of wine. Calcine the residue of the distillation, and
extract the ashes. Join the leached Salt to the distillate. Circulate as above.

What then, is the difference between the genuine spagyric tincture, the distilled vegetable and the
First Being?

After you have made your spagyric tincture of Melissa, pour it into a Pyrex glass retort with a
ground glass beak and a vented receiving flask. Distil to dryness with a gentle heat that doesn't
surpass 80 degrees C. The distilled will be an inseparable mixture of Sulphur and Mercury
remaining a "honey" in the bottom of the retort. Pour this thick "honey" into a small stainless
steel pan and calcine well, until the ashes are of a clear white color. Leach them and coagulate.
What will find in the coagulation? The "raw" Salt of the plant this is potassium carbonate.
Follow the same procedure with the distilled vegetable tincture. This won't leave a "honey" like
the spagyric tincture but the Salt, which is impure, can be calcined, leached, filtered and
coagulated. What will you have then? Just the "raw" Salt as in the previous case. Why?

The Salt was not "volatilized" and was just dissolved in the water contained in the spirit of wine
at 60% and, thus, it cannot unite to the other two "beginnings".

It is easy to see that this way will never have the three "beginnings" united, as they must be in a
First Being.

In the preparations described only two of the three beginnings are united: the Sulphur and the
Mercury. The Salt continues "raw", therefore it cannot unite to the other two ones. These
preparations can never be considered a First Being, but just a tincture and a spagyric distilled
Melissa.

How then can a Melissa preparation be considered a First Being? The three "beginnings"
Sulphur, Mercury and Salt are united. It is necessary to volatilize the Salt so that it can unite
inseparably to the other two. This is the "key".

If you distil in a retort with a gentle temperature, a First Being of Melissa, the Sulphur and the
Mercury first indissolubly united just as in the tincture will drag with it some volatile Salt, and,
instead of being in the bottom of the retort as a "caput mortem", it will be partly volatilized as
"ice" in the upper walls of the retort and in its throat. Pour some spirit of wine into the retort and
distil with gentle fire to drag the "ice" into the receiver where the three "beginnings" will be
indissolubly united forever.

To conclude, the secret of the First Being it is the Salt Volatilization by the Sulphur and then to
join it the Mercury.

This is a true " PRIMUM ENS ".

Vinegar of Wine
In the great wine producing countries of Europe such as Portugal, Spain, France and Italy, it is
not always possible to find pure crude wine vinegar just as it is produced by the wine-makers.

A wine-maker doesn't like to have near the "ill-fated" vinegar because it puts in risk its precious
wine.

But the vinegar is necessary for the alimentary industry. And here enters the great vinegar
producers exclusively dedicated to the vinegar production on a large scale.

Unhappily not all those producers are honest and make a good vinegar of wine. Many of them
use wine of bad quality and they use chemical products to accelerate the acidification.
Some years ago, we acquired, from one of those factories, 40 litres of vinegar of wine at 10%.
When the employee was to fill the 20 litre vessels we noticed that in one retreat of the warehouse
there was an amount of big blue plastic containers that are use for transport of chemical products.

It was not possible for us to find out whatthat product was because the employee didn't give us
opportunity of doing so. But after distilling 5 litres of the said vinegar, there remained in the
bottom of the cucurbit a residue of an acid salt.

We desist of acquiring vinegar from that supplier. Someone suggested us another supplier in a
zone of great wine producers about 60 km away from our residence. We went there to order 40
litres of vinegar of wine.

We found a warehouse that in former times would have been a great wine cellar of a wealthy
producer. We ordered 40 litres of vinegar of wine. However we glanced over at the enormous
wood vats that took thousands of litres and noticed there were some big sacks of paper in a
retreat of the warehouse that looked like sacks of cement.

The solicitous employee asked us if we wanted crude vinegar or ready to use. We answered that
we preferred it crude although the price was the same.

Of course we could not resist the temptation of asking him if it was just pure vinegar of wine. He
affirmed and, coincidentally, told us that a cistern truck that had transported the wine was still
parked in a park beside the warehouse.

As we had already had a negative experience, we asked him what the sacks that were in the
warehouse contained. He answered us without hesitation that it was actived coal to clear up the
vinegar.

We risked asking a question more knowing that in these cases people don't like much to answer.
It was how they made vinegar in such great amounts?

The employee without hesitation told us: you know, this oakwood vat takes thousands of litres of
wine. We never completely remove all the vinegar and we leave about a fourth of its capacity.
Now, look what is underneath the vat.

Observing we saw an electrical motor and what seemed to us an apparatus to force the entrance
of air or similar thing. Here is the secret, he told us. The air transporting oxygen is forced
continually through the bottom of the vat during about two or three days and, at the end of that
time, we have vinegar of wine with more than 10% of acetic acid.

Everything was explained. The acidification was forced by the oxygen entering the bottom of the
vat and after arriving at the wanted graduation, the vinegar was filtered through active coal to
clear it up and give it that "straw" colour that a true vinegar of white wine. usually has.

He gave us a last explanation. So as not to spend a lot of coal in the clarification of the vinegar
we use a quarter of red wine and the remaining white wine. As it is necessary for the
acidification that there is tannin in suspension. Look, this vinegar is too strong for culinary use, it
has to be diluted in water. It was what we wanted to hear because the stronger vinegar gives
more spirit when it is distilled.

We left the warehouse satisfied with the employee's gracefulness and with the necessary
knowledge to produce our own vinegar.

In large 5 litres plastic bottles pour 1 litre of red wine of 11 to 12. Pour on this wine some
commercial vinegar of wine. Leave the large bottles uncovered in a place sheltered to light and
where the temperature is as constant as possible. In some time the wine acidifies which we can
check by the vinegar smell and taste. We used a densimeter in degrees Baume to check the
graduation of the acidification.

When it reaches the wanted graduation, at least 1 Baume (10%), pour into the big bottle one litre
more of white or red wine. If it is was for culinary use that could be white wine. After some time
the graduation is verified and when it reaches 1 another 1-litre bottle of wine at 11 or 12 is
added. Continue successively like this until arriving at the 5 litres.

If you arent in a hurry, you leave the vinegar for a much longer time because it will reach about
2 Baume, that is 20% acetic acid.

The vinegar made at home in this way with a litre of red wine and four of white wine has a claret
colour, an excellent flavour in agreement with the wine employee's quality and an aromatic smell
completely different from the commercial vinegar that is made with wine and forced air.

Instead of five large bottles, you can use more, but, from experience, we can tell you that it is
easier to acidify small amounts of wine than large amounts without using forced air. Or it will
take a long time to acidify to the 10% at least.

When it reaches the necessary graduation it will be ready to distil. You can also use it for
culinary purposes after having diluted it in water until 10% or even using depending on your
taste. The commercial vinegar has a graduation of 6% of acetic acid that is to say 0,6 Baume.

Distillation of the Spirit of Vinegar

It is known from the most remote times, even before written history, that wine under certain
circumstances and conditions sours and turns into vinegar, a word that means "sour wine".

During this transformation, the alcohol disappears completely and is changed into acetic acid.

Acquire a minimum of 50 litres of good, pure red wine vinegar at 10% acidity. Reject any
industrial vinegar, because it usually contains chemical products.

Arrange four plastic 1.5 litre bottles such as the ones used for mineral water or soda.
Pour the vinegar into the bottles, without filling them completely, leaving at least the headspace
the size of a hand.

Place the bottles in a refrigerating ark or in a freezer, and tilt them slightly so the liquid doesn't
touch the bottle caps.

Let the vinegar freeze solid. When all is completely frozen, remove the cover of one of the
bottles and tip it into a large mouth flask of 1 litre capacity. Let 500ml of vinegar drain into the
flask. Switch the flask and drain another 500 ml. What remains in the bottle is a discoloured ice
that contains only water. The water is rejected.

The first flask of vinegar will be about 4 degrees Baume. The other will be only about 1 or 2
degrees. A graduated hydrometer of 0-10 degrees Baum will be very useful.

Join all the 4 degrees vinegar you collect in a 5 litre plastic bottle. Join the weaker vinegar in
another bottle.

Now fill the 1.5 litre bottles you used earlier with the weaker vinegar and freeze them as was
done earlier to obtain vinegar of 4 degrees. Join it to the other vinegar of the same graduation.

Always repeat the same process until you obtain, by freezing, vinegar of at least 8 to 9 degrees. It
is very slow but effective work, and you will need a lot of patience and perseverance.

When you have all the vinegar with this graduation, proceed to your distillation. For this
procedure, you will use an alembic and the same oven that was used for the distillation of the
spirit of wine (6-litre alembic).

Pour 5 litres of the concentrated vinegar in the cucurbit. Distil about 2.5 litres on a gentle heat
and the remaining amount with a stronger heat. The first spirit to come over is a beautiful lemon
colour, and it will be about 1 or 2 degrees. The other will be stronger. Caput will remain in the
bottom of the cucurbit, like a thick dark honey that you must place in a separate container.

Pour 5 more litres of vinegar in the cucurbit and repeat the process until you have distilled all of
your supply.

Fill the bottles with the distilled spirit again and freeze, as previously, always separating the
spirit of different graduations. It will be very difficult to freeze beyond the 5th or 6th cycle.

When you have the whole spirit to 5 or 6 degrees Baume, pour it in the cucurbit after you have
washed it very well with a solution of caustic soda. Distil in the same way, using weaker heat in
the beginning. The spirit that leaves first is always the weakest and what remains in the cucurbit
will approach 9 to 10 degrees.

Repeat the process until you have all your spirit to 10 degrees. At this graduation, the vinegar
spirit contains more than 80% of natural acetic acid, which will dissolve most of the metallic
oxides. It is greasy to the touch, like tartar oil.
This is a true work of Hercules that few artists will know how to do correctly.

In regards to the honey (Kaput) that remained from the distillation, pour it in the cucurbit and
distil with very strong heat. It will produce a highly graduate, empyreuma spirit that will join to
the other. Faeces will remain in the bottom of the cucurbit that you must remove with a wood
spoon with a long handle, and you can calcine it in a mud porringer or in a frying pan of iron,
over a gas stove with very strong fire. After it is well calcined and no longer contains any
combustible material, leach the ashes with rainwater and coagulate the salt, as demanded by the
Art.

This salt is very deliquescent if it is well calcified. For this reason it should be kept well closed in
a glass flask. It is a true tartar salt that will be very useful in several spagyrical operations.

Spirit of Wine
We have noticed that some spagyrist frequently recommends using in the preparation of the
tinctures and other spagyrical preparations, commercial alcohol, or the distillation of brandy or
other spirituous drinks.

Those liquors, besides the alcohol whose provenience is ignored, contain other products such as
colouring and preservatives, etc.

There is not doubt that chemically an alcohol, which is distilled of cane, sugars or of beets and of
fermented fruits, is chemically an ethanol.

Spagyricaly, there is an abyssal difference between a commercial ethanol and the ones acquired
in a pharmacy and the spirit of natural wine.

I will give you an example of a good spirit of wine that has the quality. Acquire a bottle of good
spirit of wine with at least 25 years of permanence in a barrel of French or Portuguese oak, just
as the one that we showed you in the image.

Pour a little in a suitable glass and shake it circularly. Drink that precious nectar slowly. Then,
smell what remains in the glass. You will feel an incomparable, very pleasant sweetened smell,
similar to honey and with "bouquet". How was possible similar transformation of the aged spirit
of wine along 25 years?

The explanation that we found can only be attributed to the essence of the wine. It will be
unnecessary to tell you that it would not be economically reasonable to distil this "nectar" and
extract its spirit, given its high price.
Also, concerning the famous Porto wine, in its production, is added a spirit of wine of the best
quality, to reach the alcoholic graduation of 18%.

The Law prohibits expressly using other spirit that is not pure spirit of wine so its high quality.

This is just to give you an example, because the spirit that you will need for your spagyric works
can be extracted of the wine of a recent year so that it is relatively cheap.

We have also noticed that there is a certain difficulty to elevate the graduation of the spirit of
wine up to 98% or more. This is not difficult if you use the suitable glassware and it is not
necessary to have a vacuum distillatory or complicated vase. An alembic is enough with an
extension that hinders the access of the water to the helm and that is contained in the spirit of
wine at 90% and with addition of quicklime in the percentage indicated in our writing on the
spirit of wine.

We never had any difficulty with the glassware that we used to obtain a spirit of wine of at least
98%.

Why spirit of wine and not any alcohol? The spirit of wine in the scale of the vegetable evolution
is the most perfect of the vegetable mercuries. It not only contains ethyl alcohol, but also the
essential oil of the grapes conforms to the breed.

Besides, distilling the flowering branches of a plant that contains essential oil will make it an
integral part of the mercury of that plant because it drags it in the distillation.
It is also right that the mercury of a plant can be obtained by fermentation of the same without
addition of ferments or of sugar.

For a plant as Melissa or other similar ones that contain a lot of water, that operation is not so
difficult, but it is necessary to have a great amount of the plant to obtain an alcohol by
fermentation that later on allows the rectification up to 98%. Adding sugar to the plant for the
fermentation is a rude mistake under the spagyrical point of view because the alcohol that one
will obtain in the distillation is one from the fermentation of the sugar and not the mercury of the
plant.

Actually, the distillation from the fermentation of the plant would be almost impossible.
Therefore the viable solution is the distillation of the spirit of wine together with the flowering
branches of the chosen plant.

Let us speak of the distillation of the spirit of wine. For that you will have to distil a wine of
good quality and, for you to obtain 750ml of spirit of wine at 45%, you will have to distil at least,
5 litres of wine at 12%.

For us Mediterranean countries (Portugal, Spain, France, Italy and Greece) where wine of high
quality is produced and to moderate price, it is very easy because the wine is relatively cheap and
it is not necessary to have a wine of high quality for the effect, because the wine of the year that
cost not much more than 1 Euro or 1 USA Dollar per litre, will do just fine.

And to conclude, we will say that there is no alcohol that is comparable to the spirit of wine.
Therefore, it is why our Masters prescribed it for the spagyrical preparations and so that you
don't try to do your preparations with any other kind of alcohol because it won't have the same
virtue.

Spirit of Wine Distillation

To distil the spirit of wine you will need an alembic of good 6 litre Pyrex glass cucurbit of plane
bottom with a short neck polish female IN70 mm, and a 2 litre helm whit a short neck polish
male IN70 and throat and a beak of IN19 mm.

The recipient will be a 2 litre spherical matrass with a long neck polish female IN29 mm.
Between the helms tubular beak and the recipient will be placed a IN19/29 mm adapter with an
air hole. Also you will need a gas or electric oven with a temperature control for sand bathing.

To begin and "to exercise the hand", acquire, at least, 50 litre of good red wine at 11 or 12.

Pour 5 litre of wine in the cucurbit and place the helm and the recipient with the adapter and
apply silicon in all joints. Leave it for some time to digest, in gentle fire, with a temperature of
40 C, and then distil at 80 C maximum.
When you have distilled 1 litre in the recipient, cease the distillation and reject the phlegm that
remains in the cucurbit. Of the faeces of this phlegm you can then, extract its salts, as we will
explain later on, when we speak of the extraction of the spirit of vinegar.

Your distilled spirit will have approximately 45. Pour it in a large glass bottle and close it well.

In the same way, distil the remaining 45 litre of wine and join all the distilled spirits together.

When all of the wine has been distilled, you will have 10 litre of spirit at 45 measured on the
alcoholmeter.

Wash the cucurbit and pour into it 5 litre of spirit at 45. Place the helm and the recipient as
before and distil again, at a temperature of 80C. When you have distilled 2 litre of spirit, cease
the distillation. The spirit will have, at least, 90. Distil the remaining 5 litres as previously. Join
this distilled spirit to the other of the same graduation.

Now, apply an extension of 40 cm of length to the neck of your alembic and adapt the helm to it.
This increase in length of the neck is destined to hinder the access of the water to the helm and to
allow, like this, a stronger distillation.

Pour the distilled 4 litre of spirit at 90 in the cucurbit and join to it 10% of its volume (40g) of
recent quick lime. Place the helm and the recipient to the apparel and distil at a temperature of
78 C, until just 2 litre of spirit passes in to the recipient. Pour this spirit in a large glass bottle,
close, and continue the distillation to the recipient until 1,8 litre or less has passed.
Cease the distillation. If you proceeded step by step like we told you, you would have distilled a
spirit of wine of a great graduation near the 100 mark, measured on the alcoholmeter at a
temperature of 15C.

If you don't get it the first time, repeat the last phase and distil a little less of the spirit.

Keep it in a glass bottle, well closed, to avoid that the humidity of the air alters it.

This canonical spirit of wine will be very useful in all the spagyrical operations, mainly, in the
preparation of the sweetened spirit of salt as Basil Valentine refers to in The Last Will and
Testament and in the preparation of the vegetable and metallic tinctures.

Spirit of Wine Alkahest

The Alkahest by Dr. Fabrizio Tonna
Preparation of the Components and Obtainment of the Sal Tartaricum Paracelsii (the Tartar of
Paracelsus).
First Phase of the Work on the Wine
Procedure of igneous feeding - Putrefaction
The procedure consists of the progressive enrichment of the subject made by the double
interaction of photon and field that come from what the Ancient ones defined as superior Waters
and inferior Waters. Apparently useless, the operation determines some real transformations
inside the igneous structure of the subject. Therefore, this has to be made in a skilful way in
order to avoid subsequently problems.
2000 cc of non-treated wine are placed in large porcelain or glass PYREX plates. In ancient
times, they used square or round basins made of enamelled earth of a diameter of 500 mm, or
more, and 40 mm tall. Today, PYREX glass or DURAN-SCHOTT plates of the same
dimensions can be used. They have to be filled to about 1/3 of total volume, which corresponds
to 15 mm of thickness of the mass in wine.
The plates are set outside on a levelled plane, in order to guarantee the horizontality of the liquid
and an uniform thickness. The solution adopted in Jacob Sulat, Mutus Liber, Rupellae 1666 is
not advisable, although it helps with a simultaneous surplus of magneto-tellurism, because it
doesn't guarantee an uniform thickness of the mass.
The exposure needs a cycle of 40 lunar days considering alternate phases of raising moon and
decreasing moon, as well as the absence of exposure to the light of the sun (at least in this initial
phase).
a) Expose the wine during the whole night in increasing moon phase, retiring it 15 minutes
before the dawn. Duration of the operation: 40 nights in increasing moon.
b) In the phase of retirement, the mass is decanted in 500 cc polished balloons and surmounted
by a connection with capillary pipe with 0.5 mm internal diameter. During day the matter has to
be retreated into an underground place or a cellar where a suitable temperature is insured.
c) During the decreasing moon phases, it is necessary to maintain the wine in the balloons and to
preserve it in the cellar. In this case, the capillary pipe is replaced with a polished cap.
When the exposure is finished, the wine is decanted in a circulatory and placed into an incubator
to the temperature of 30C for 20 days. Anciently, this operation was conducted using the heat of
equine dung, or by a brick construction capable of holding the container up to its neck and
subsequently filling it with fresh dung and closing it, leaving the capital outside however. Today,
it is possible to avoid all this by using a steel cylinder inside of which has been fixed some
refractory ceramic wool (insulating). Once the circulatory has been set on the inside, we close
the system leaving the capillary one on the outside. The heating can be insured by a tide of warm
air or by an electric resistance. Also the use of a light bulb can guarantee a constant heat to this
temperature, but it will be necessary to isolate it from the container to avoid too much preventive
interaction with the light.
Circulation-Stabilization of the Tria Prima
The circulation is required to stabilize the Essentials or Simple in their reactive structure, in order
to be able to subsequently separate them through the process of distillation. The operation is both
simple and complex; it needs practice and knowledge of the regimes of fire. The whole
glassworks will have to be dried on a stove.
1500 cc of Wine (treated as described in the previous phases) is carefully filtered using a porous
filter n5 and theyre set in a capillary circulatory of 2000 cc.
We close everything, taking care to grease the joints as already described and we put it on a sand
bath. The bath will be provided with a thermometer for the control of the temperature. Being a
real process of digestion, we will have to consider these parameters:
a) the heat - the temperature we will submit the mass to, is 40 C.
b) the times - The total period of duration of the operation will be 40 days.
c) the interactions - The interactions will include the simultaneous action of magneto-tellurism
with the lunar and solar irradiation. For this purpose, the circulatory will be maintained to the
outside of the laboratory, in order to receive the whole irradiation.
At the end of the procedure we will have a ready mass to be submitted to following distillation
for the separation of the Tria Prima. We will preserve this mass in a dark place, tightly dam in an
un-actinic glass bottle.
Phase 2 of the Work on the Wine
Distillation-Separation of the Tria Prima
1. The operation is very delicate and complex and perhaps one of the most important of the Art.
The purpose is the division of the Tria Prima constituent the vegetable support. The obtainment
of the Sal Tartaricum Paracelsii objectively departs from here, even if its concentration, or better,
its awakening into the mass of the Wine has been made before. We have to consider that three
are the physical components of the wine and in all of them it is contained an important fraction,
constituent the Sal Tartaricum Paracelsii. The anatomy of the Sal Tartaricum Paracelsii includes
three bases: a volatile tartar, a mercural tartar, and a sulphur tartar. All of these substances are
related to a precise procedure of obtainment, beginning from the same base subject that we will
describe after we have treated the Distillation with more detail. This (the Distillation n.d.t.), will
be conducted till dryness according to the rules proposed by R. Lullo. The whole glassworks will
have to be dried on a stove.
2. 1500 cc of wine circulated in the previous experience are set in cucurbita, provided of capital,
side pipe with mercury thermometer (0 150 Cs), collector balloon put into water and ice,
ending with Dimroth refrigerant cooled with icy water and provided of capillary pipe. As always,
all the polished joints and the flanges must be siliconed.
3. The instrument needs to be heated with bath of sand; the second is advisable because it
contains few silica, for reasons of transmission of the heat. What I said with respect to the
management of the temperature has to be more respected still in the present case.
4. Once mounted, the instrument begins the dryness distillation that consists of three precise
moments:
a. Distillation up to 90 C for the separation of the alcoolica fraction (350-400 cc in total), after
which it will be necessary to remove the ball to extract the alcohol and to put it apart marking
him as Fraction I. Pay attention to cool the capital with wet rags with icy water during the
whole operation.
b. Distillation up to 100 C for the separation of the watery fraction (200 cc in total). It can still
contain organic fractions with a p.e. next to the 97-98 C. It will be necessary to remove the ball
when you will start to see a light cloudiness of the mass and immediately replace it with another,
with the purpose of continuing the distillation. Label as Fraction II.
c. Distillation still to 100 C for the remaining acid phlegmatic fraction (total 900 cc) that
represents the most interesting part from the Alchemic point of view. It will be suspended when
no more matter will pass. From this we will get two important components: I. The Acid Phlegm,
as 800 cc resultant (Fraction IIIa) and II. A rubbery caput as 100 cc resultant (Fraction IIIb).
Isolation of the Volatile Tartar
1. All the gotten fractions, excluding the Fraction III b, will be submitted to vacuum filtering on
porous filter n 4.
2. Subsequently, 400 cc of Fraction 1 are united (by cold) with 200 cc of Fraction II, in a
capillary circulatory and submitted to cohobation for 48 hours, in raising lunar phase, next to the
full one (it means that we have to predispose the operation beginning from the preceding day to
the full phase).
3. Then, we proceed with the rectification of the whole alcoholic fraction through fractioned
distillation in column (T = 80 C). The Ancients used multiple tubular aludels or essences
distillers with very long neck (technique for ascensum). In this case, the distillation is suspended
when, to the 2/3 inferior of the neck of the distiller, a turbid substance starts to climb. Corrected
alcohol is labelled as Fraction SYN I, the amount is of 300 real cc.
4. Into a cucurbita, we obtain a turbid mass that is lately re-distilled to 100 C in a middle
traditional distiller to extract all the water from it.
5. The fixed residue is subsequently evaporated till dryness, leached with water (distilled for
three times) and from the evaporation of this last the Tartar Volatile will be gotten. Store the salt
in closed vials to the flame, preventively dried on a stove.
Preparation of the Fixed Mass
1. The fixed mass is constituted by the binomial acid Phlegm (Fraction III a) and rubbery Caput
(Fraction III b). In order to rejoin them, it is necessary to do a preliminary acid fermentation,
opportunely made in the mass behaviour in the cellar, under the influence of the increasing moon
phases.
2. 800 cc of Fraction IIIa are united to the temperature of 50 C to the 100 cc of Fraction IIIb,
under constant agitation.
3. Once the whole components are amalgamated, we proceed to lower the temperature up to
35C and we maintain it for all of the fermentation. Such phenomenon baits with the raising of
the temperature of 5 C for exothermic fermentation and it diminish toward the end of the
operation.
4. The duration is varying and it depends upon the external conditions and upon the period of the
year. In every case, it remains at the most inside 15-20 days.
5. It can happen that, during the fermentation, a yellowish and transparent oil is released with an
epireumatic smell. In such case, it will be necessary to increase by 2 C the temperature to allow
its re-absorption in the mass.
6. The prepared, fixed mass will subsequently be filtered on porous filter n 2 and preserved
from the light in closed vial to the flame.
Evaporation of the Fixed Mass - Igneous Accumulation
The evaporation requires, in order to package the particles of igneous subject, that in the phase of
previous enrichment they become denser. It deals with a capital operation, without which it
would result impossible to extract the necessary Fixed Salt.
The residual mass is evaporated by setting it in a wide container and submitting it to the heating
of 70C, constantly shaking it, until it acquires a syrupy consistence (D = 1.20). This was the
ancient technique. Currently it is possible to use many other methods:
a) Evaporation to the ROTAVAPOR, with use of a vacuum to a temperature of 60 C. It is the
best method, because the constant rotation of the evaporation balloon increases the surface of
evaporation and for adabasi of interface we have a wider volatilization of the sub-volatile
components still tied to the mass and of little interest for our search. You get a pure and reliable
product (D = 1.40).
b) Evaporation in a vacuum drier to a temperature of 70C. Good method, but limited to only the
watery components. Part of the volatile components is still held in the mass and they could return
in the following phases (D = 1.15).
c) Evaporation into a dry-stove, with or without use of the vacuum. The second system (vacuum)
is always best because it avoids an excessive oxidation of the mass.
When the operation is finished and weve verified the density (D = 1.40 optimal) we finally have
the Honey so dear to the Philosophers, containing the Fixed Salt. The return is about 150-200 cc.
Isolation of the Mercurial Tartar and Sulphurous Tartar
1) We prepare the Bolus of Armenia, according to as the Ancient ones symbolically defined in
their writings and well revealed in clear letters from Balduinus Clodius. The Honey is mixed
with fresh grey Clay previously pulverized and calcined. We make some doughy little balls of a
diameter of about 30 mm.
2) The prepared Honey is submitted to distillation for ascensum in tall cucurbita provided of
connected capital to collector equipped with a refrigerant Dimroth from 500 mm of mantle. The
water for cooling is ideal if it is at 4 C. In every case, the balloon collector must be cooled by
placing it into icy water.
3) The distillation is conducted on a sand bath to a temperature of 130 C.
4) They separate: a. an acid Phlegm (Fraction SYN II); it separates itself to 100 C a complex of
Etherised Oils (Fraction SYN III); it separates itself to 120 C and b. a caput.
5) The Fraction SYN II is joined with a mixture of equal parts of white clay and coal, to form
other little balls of the diameter of 30 mm.6. The little balls are calcined to 1000 C to the
obtainment of ashes.
6) Leach the ashes with tri-distilled water and settle down. After filtering: a. evaporate the water
up to crystallization of the Mercurial Tartar; b. the ashes are still desiccated, calcined and
leached. The Waters are evaporated to get the Sulphurous Tartar, which can be extracted with
Fraction SYN I.
Authors work on Mineral Kindom
THE NITRE
The nitre or Dragon is a potassium nitrate salt formerly known as saltpeter. Saltpeter is
composed of the names "Sal" or salt, and "Petrae" or rock. Literally, salt of the rock.

The nitre is efflorescent on the surface of the earth, in many parts of the Globe, as in Egypt, in
India, China, Persia, Ceylon, etc.

Sometimes it appears covering the walls of some natural open grotto in the calcareous rocks and
on the old, damp, lower walls of buildings, mainly of the structures where the animals go to rest,
as, for instance, the stables and the corrals.

At present, it will be very difficult and nearly impossible to get it where it originates in its natural
environment.

There is, however, a method of preparing the commercial nitre that is revivified in the natural
environment where it originates.

As incredible as it seems, it is daily within your reach. And although it may be repulsive to you,
there is no other alternative that can be used to prepare it.

Arrange a provision of, at least, 10 litres of the liquid excretion of ruminant animals or of
yourself and pour it into large plastic 5 litre bottles. Let it putrefy what you will notice the
nauseous smell that exhales.

Acquired a pot of porous mud that it is not glazed, that is, that it is porous, with the capacity of,
at least, 15 litres. Place it in a basement or in the attic, to shelter it from direct solar light.

Pour into 10 litres of the putrefied organic liquid, little by little, 4kg of the commercial nitre,
stirring very well with a wood stick, to dissolve the salt the best possible. Place on top, a mud
cover and, underneath, a plastic plate, in order to receive the liquid that will eventually drain.

After some days, the salt will begin to flow, because of the porosity, in the external part of the
pot, in the form of a layer of fluff, very fine, that is going to grow, as you can observe in the
picture.

When you observe that the amount of salt is enough and it tends to come off of the wall of the
pot; remove it with a brush, or with a wooden spatula, taking care of not loosening the mud
crusts that eventually come off of the wall of the pot.

When you have about 1kg of salt, place it in a recipient of stainless steel, as for instance, a big
porringer, and pour into it enough cold rainwater to dissolve it completely.
After all is dissolved, filter through a big funnel of plastic, with a cotton filter, into a large plastic
5 litre bottle.

Pour the liquid filtrate into the recipient of a stainless still and place it on a gas stove, taking care
of not letting the temperature to go up above the 60 degrees.

When the liquid is reduced to a third, approximately, turn off the fire and place the recipient to
rest one night, in a fresh place. The following day, you will find in the recipient the salt
crystallised in agglomerates of great needles, very beautiful of seeing, as you can observe in the
respective picture.

Remove the salt with a spoon and I repeated the same process, until you have extracted all the
salt.

It is very probable that, in the first crystallisation, the salt is not completely pure and white
therefore, dissolve it in rainwater again and I repeated the process, until your salt is white and
transparent. Remove and dry it to the shade, in a white cloth of very clean cotton.

In certain operations, as in the distillations of spirits, you can use another potassium salt that,
probably, it will be easier for you to get, originating from your natural environment. It is the
sodium nitrate originating from Chile or Peru, which is used as natural fertiliser in agriculture. If
you can get it natural, all you will have to do is the purifying, dissolving it and crystallising it in
rainwater, just as you did with the nitre. But if you have any doubt with relationship to its
provenience and quality, it will be preferable for you to use the nitre revivified.

Star Regulus
Although somewhat synthetically, Philalethes now teaches us how to make the Separation and
the Purification with a view to the obtaining of the starry regulus (shown at left). First, by
melting the subject with Mars, separating them, then he refers to the Caput. Next follows the
purification with two suitable Salts until the Star appears.
Philalethes and Flamel both omit an operation whose execution is indispensable before the
Separation is carried out: the Purge. This operation allows us to purge (to purify) the mineral of
the silica impurities that usually defile it.
The alchemical oven should already be built with view to this operation. For this, it is necessary
to construct a hole in the bottom of the oven, over which it is placed, afterwards, the crucible,
which also has an 8 or 10mm hole in its bottom.
In order to carry out the purge, put the mineral in small pieces into the crucible, until it is filled,
and replace its lid. Put the crucible in the oven taking care of verifying that the hole in the bottom
of the crucible coincides with the one in the oven. Underneath the oven bottom is placed a glass
recipient filled with rainwater.
Light the gas torch and introduce it into the appropriate opening constructed in a suitable side of
the oven. When the mineral reaches its melting point, it will drip through the holes of the
crucible and the oven, dropping into the recipient filled with water, solidifying, as it does, into
granules. A scum will stay in the crucible and it should be removed while it is still hot. Take care
no breath the poisonous black dragons breath.
Basically, this is an operation known to a good metallurgist that consists of melting, with an
appropriate heat, the reduced purged mineral powdered with the metal in filings, in the suitable
proportions. The melting process, as Flamel says, involves the use of two different Salts as a
flux: Saltpeter and tartar, or the vegetable Salt of wine. We will include that the required
proportions of the two Salts together are 1/15 of the total mass.
Flowers (white powdery salts) of natural nitre can be found at several places on the earths
surface, dried by the action the sun's rays. Often it also appears covering the walls of certain
natural grottos opened in the calcareous rocks, and also is found in the wet walls of buildings
where the animals are kept, such as in stables.
At present, you might find it will be almost impossible to get the first Salt (nitre) from its natural
environment. There is, however, a way to prepare it, using the commercial Salt revivified in the
natural environment that it originates in. In this way it can be daily within your reach and if there
isn't another process that allows you to obtain natural nitre, we cannot overlook this way of
preparing commercial Salt.
Spirit of Sal Nitre NH4NO3: Obtain and store at least 10 liters of the organic urine of any
ruminant animal, or from yourself. Putrefy it in large 5 liter plastic bottles and, only then, you
can use it to revivify your commercial nitre.
Acquire a ceramic pot, not glazed, with a capacity of 10 or 15 liters. Place it, of preference, in a
basement or attic or in a place sheltered from solar light. Pour in 10 liters of the organic urine,
putrefied, and 4kg of the commercial nitre. Mix well with a wooden stick, to dissolve the Salt as
best as possible. Place a ceramic cover on the mouth of your pot and a plastic plate underneath,
to catch the liquid that eventually will leak out through the walls of the pot.
If you don't have a suitable place to put the pot, we advise you didn't put it in your flat due to the
bad smell that exhales from the contents of the pot. After a few days, the Salt will begin to form,
because of the porosity of the pot, on its outside wall in a form of a fluff (shown at left). When
you have enough, remove it with a paintbrush or with a wooden spatula.
Next, dissolve it in hot rainwater, in a stainless steel recipient (shown below). After all of the Salt
has been dissolved in this manner, filter the hot liquid and pour it into a large glass bottle,
through a plastic or glass funnel, through a cotton filter. Pour the filtered liquid into a stainless
steel recipient and place it upon the fire again, to evaporate the excess water. Take care not to let
the temperature rise over more than 60c. When the water is reduced to a third of its original
volume, remove the evaporating dish from the fire and place it in a new place sheltered from the
sun light. The following day, you will find that in the dish the Salt has crystallized into
agglomerations of needles, as you can observe in the image below.
With a spoon remove the Salt and dry it in a very clean white cotton cloth. If the Salt is not white
and crystalline, dissolve it again and crystallize it as previously. After drying keep it in a tightly
closed large mouthed glass flask sheltered from the light.
In relationship to the second Salt, as we live in a country that produces wine, it will be easy for
us to obtain it in a natural condition. Tartar can be extracted from the dregs of the wine making
process. The best tartar is deposited as large crystals on the bottom or on the walls of wine
barrels.
Potassium Hydrogen Tartrate K4HC4H4O6: This Salt is dissolved in boiling tap water to the
proportion of 1/18.

Acquire, at least, 10kg of wine tartar produced from white wine, as it is easier to purify it. Grind
it into a rough powder in an iron mortar. In a stainless steel bowl heat up 10 liters of tap water
until it boils. Pour in, little by little, 0.5kg of powdered tartar. Leave it boiling for some time
until all of the Salt is well dissolved. While the water is still boiling, with an enameled mug or
cup pour it into another similar bowl, through a very clean cotton cloth, to filter it.
Let it rest for twelve hours. The Salt will crystallize into small crystals that you will remove and
will place to dry in the sun on a cotton cloth. Repeat the same operation with all of your tartar.
The Salt of the first crystallization will be very impure; therefore, you will have to repeat the
process to obtain the whitest Salt. Keep it in a well closed large mouthed glass jar.
The Separation is made in the following manner: place a ceramic refractory crucible, with its
cover in a gas oven. Put, first, in the crucible, our warrior reduced to filings and replace the
crucible cover. When it is reddened, pour, in successive phases, the powdered mixture of the
mineral and the flux, mix with an iron rod. After everything is well liquefied, drain the melted
metal into a stainless steel conic mould previously warmed and greased with oil or suet, and let it
cool slowly. The Caput will be on the surface and the Regulus, because it is heavier, sinks to the
bottom.
After it is well cooled, remove the regulus from the mould and holding it in your hand with the
help of a leather glove, separate the regulus form the caput mortem with a hammer blow applied
to the caput mortem-regulus junction point.
Afterwards, in a metal mortar, grind the regulus roughly and then pour it into a crucible with its
cover replaced and melt it using the flux again, in suitable proportions, in order to obtain the
starry martial regulus.
The geometric crystalline lines looking like a star that appear on its surface after taking it out
the vitriolic crust show the sign of the regulus purity. It is this sign that the ancient alchemists
named the star.
Therefore, Philalethes says: When you see its star, follow it to the cradle, and there you will
behold a beautiful Infant (starry regulus). Remove the impurities, look upon the face of the
Kings Son.
In fact, if the Separation and the mercurial Purifications where properly executed, breaking the
regulus obliquely, you will verify that its crystallization was made in laminations like mica and
shining as if it was polished silver.
We should include here that in the properly performed Dry Ways First Work, there is a
preliminary operation to execute usually not referred to: The Assation. This what Philalethes
describes in this part of the verses of The Marrow of the Alchemy or in An Open Entrance to the
Close Palace of the King as well as Flamel in the Testament.
It is evident that they lack to describe here some very important small operative details, but
these, as tradition asserts, they would only teach mouth-to-ear, from a Master or a Brother of the
Art. However, we think that the essentials have been said.
Finally, Philalethes writes: "That after his death (the starry regulus) he will bestow upon you his
flesh and blood, the highest Medicine in the three monarchies of the earth.
And, in fact, it is just like this. The starry martial regulus is, without doubt, the base of departure
for the whole Work. This matter will attain, as our final goal, The Universal Medicine or
Philosophical Stone.
After everything that we have said, demonstrated and confirmed unequivocally, will there still be
anybody so skeptical as to doubt what our Masters have written concerning our Art?
With all references that we have given you concerning the Salts preparation, materials
proportions and modus operandi, we have been extremely charitable because we have told you in
a few lines what we have taken years to discover and to learn with our Masters. Therefore, don't
think that, from this point, it will be as easy as this; you will have to travel your own way.
Certainly, you will notice that we have referred to the materials classic name, including the
Salts, just as they where known in earlier times, though silent, intentionally, on some details of
its canonical preparation that, if only for the Arts sake, they remain a true Herculean work. This
will, then, be your research job. In the enclosed bibliography, you will find the titles of the works
where you can learn what it is necessary to know about the preparation of the Salts we referred
to, and in this same manner, other suitable spagyric operations.
Don't forget that, in order for you to understand the materials terminology and the various vases
mentioned in the classic literature of alchemy, you would have to refer to the knowledge of that
time in reference to the sciences and the arts. The practice of alchemy can't be faced only with a
basis in the positivist knowledge of our century.

The Philosophers' Stone

Here is one of the biggest secrets in alchemy: the philosophers' stone! According the teaching of
our great Masters the philosophers' stone is the culmination of the Great Alchemical Work.
Few have been the alchemists who had the happiness of contemplating it and from those who did
it, only one as far as we know left us the visual testimony of this achievement: he was Kamala-
Jnana.

Not even Fulcanelli (Jean Julien Champagne) who in Dwellings of the Philosophers describes it
in so much detail succeeded in materializing his great dream. (Fulcanelli - Dry Way).

Neither he nor Pierre Dujols arrived at the end of the work. In Dwellings of the Philosophers,
which was mainly Dujols' research, he describes it in so much detail that us, simple students or
researchers of the hermetic Art, can have a concrete idea of that so longed philosophical stone, so
as not to be deceived by pretence adepts.

The Philosopher's stone

Dwellings of the Philosophers, Archive Press& Communications, P.O.Box 11218, Boulder, CO

80301, USA, pages 134 and 135:

Many educated people call the hermetic gem a mysterious body; they share, about it, the
opinion of certain spagyrists of the 17th and 18th Centuries, who classified it among abstract
entities, styled non-beings or rational beings. Let us therefore inquire so as to obtain, about this
unknown body, an idea as close as possible to truth: let us study the descriptions, rare and too
brief for our liking, that certain philosophers have left us, and let us see what certain learned
people and faithful witnesses have reported.

First, let us say that, according to the sacred language, the term philosophers stone means the
stone, which bears the sign of the Sun. The solar sign is characterized by its red coloration,
which can vary in intensity, as Basil Valentine says, "Its colour ranges from rosy red to crimson
red, or from ruby to pomegranate red; as for its weight, it weighs much more than it has
quantity." So much for colour and density.

The Cosmopolite, whom Louis Figuier believes to be the alchemist known under the name of
Seton, and others under the name of Michael Sendivogius, describes in this passage its
translucent appearance, its crystalline form, and its fusibility: "If one were to find," he said, "our
subject in its last state of perfection, made and composed by nature; if it were fusible, like wax or
butter, and its redness, its diaphanous nature or clarity appeared on the outside; it would be in
truth our blessed stone. "Its fusibility is such, indeed, that all authors have compared it to that of
wax (64 C); "It melts in the flame of a candle," they repeat; some, for this reason, have even
given it the name of great red wax.

With these physical which contains treatises characteristics the stone combines some powerful
chemical properties the power of penetration or ingress, absolute fixity, inability to be oxidized,
which makes it incalcinable, and extreme resistance to fire; finally, its irreducibility and its
perfect indifference to chemical agents.

And on pages 137 and 138:

Let us leave aside these processes and tinctures. Above all, it is important to remember that the
philosophers stone appears in the shape of a crystalline, diaphanous body, red in the mass,
yellow after pulverization, dense and very fusible, although fixed at any temperature, and which
its inner qualities render incisive, fiery, penetrating, irreducible, and incalcinable. In addition, it
is soluble in molten glass, but instantaneously volatilizes when it is projected onto molten metal.
Here, in one single object, are gathered physiochemical properties, which singularly separates it
from a possible metallic nature and render its origin rather nebulous. A little reflection will get us
out of our difficulty. The masters of the art teach us that the goal of their labours is triple. What
they seek to realize first is the universal Medicine or the actual philosophers stone.

Obtained in a saline form, whether multiplied or not, it can only be used for the healing of human
illnesses, preservation of health, and growth of plants. Soluble in any alcoholic liquid, its
solution takes the name of Aurum Potabile (although it does not even contain the least atom of
gold) because it assumes a magnificent yellow colour. Its healing value and the diversity of its
use in therapeutics makes it a precious auxiliary in the treatment of grave and incurable ailments.
It has no action on metals, except on gold and silver, on which it fixes itself and to which it
bestows its own properties, which, consequently, becomes of no use for transmutation. However,
if the maximum number of its multiplication's is exceeded, it changes form and instead of
resuming its solid crystalline state when cooling down, it remains fluid like quicksilver and
definitely non-coagulable. It then shines in darkness, with a soft, red, phosphorescent light, of a
weaker brightness than that of a common night light. The universal Medicine has become the
inextinguishable Light; the light giving product of those perpetual lamps, which certain authors
have mentioned as having been found in some ancient sepulchres...

Finally, if we ferment the solid, universal Medicine with very pure gold or silver, through direct
fusion, we obtain the Powder of Projection, third form of the stone. It is a translucent mass, red
or white according to the chosen metal, pulverizable, and appropriate only to metallic
transmutation. Oriented, determined, and specific to the mineral realm, it is useless and without
action in the two other kingdoms.

Here we have the physiochemical features that identify the true philosophical stone. We have
said it over and over regarding the so-called "medicines" achieved by certain alchemists, while
these auto proclaimed "adepts" keep calling their productions the universal medicine.
These aforesaid "medicines", as far as we know, are far from having the features here specified
by Fulcanelli.

It is nevertheless noteworthy that Fulcanelli in his text never refers the medicine obtained from
his work. This is due to the fact that he actually never achieved it.

Justice should be made to him for his great humility!

The Vitriol
We know that some brothers have difficulty in getting natural Vitriol for the alchemic and
spagyrical works.

In my country (Portugal) we have pyrite and calcopirite mines 200 km from our residence.

Those mines are located at Alentejo in Aljustrel, but at present, they are closed and it is not
possible to find anymore native vitriol of such pure Mars quality as found inside the mines on
stalactites formations that weigh more than 2 kilograms each.

However, outside of the mines, the pyrite that was removed from inside the mine gathers and it is
abandoned to the intemperate weather. The rainwater drags the natural pyrite sulphatization and
forms small lakes with thousands of litres of saturated water of Mars's salts.

Crystallised vitriol

The mines being far away, we reached the conclusion that we were able by the same process, to
produce a natural vitriol exposing the pyrites to the intemperate weather and collecting later the
salt saturated liquid.
For that, we acquired at a junk-dealer an iron-enamelled bathtub and place it in the out doors
with about a hundred kilograms of pyrite. Because of the sulphatization of the pyrite by the
intemperate weather, the rainwater dissolves that sulphate and remains in the bathtub a Vitriol
saturated water that will be drained later.

If it rains too much, cover the bathtub with a plastic to avoid the water excess. As soon as the
weather improves the bathtub will be uncovered and the content is again exposed to the weather.
In the summer, as it doesn't rain as much, pour on to the pyrite, rainwater collected in the spring
and kept in 50 litre plastic barrel.

When you see that the water is saturates of salt, open de bathtub drain to drain the water and
after, crystallise the salt.

Mars'piryte

If you intend to have Hungarian Vitriol instead of pyrite, use Calcopirite, which is, a Mars and
Venus sulphide but this is a little more difficult to find.

However, you can join commercial Venus vitriol to the pyrite to obtain Roman Vitriol. It is not
very advisable under the alchemic point of view but if there is no other solution, you have at
least, a natural salt to dissolve the commercial.

By this process, you can easily obtain a natural Vitriol that you need without having to travel to
the mines because you will haven't the ore on the outside of all mines with the conditions in
which the small artificial lakes have been forming.

Don't worry about the pollution because the mother water originating from the sulphate
dissolution before used should be filtered by cotton where all the dregs insoluble in water will be
retained.
If you reside in the city and you need to collect rainwater, do it in the spring preferably during
thunderstorm days, and placing on the window outside a big plastic basin well secured on the
inside of the room. It isnt advisable to collect the rainwater in the first days of rain because it is
impregnated with dusts and residues that are in suspension in the atmosphere and deposited on
the roofs.

Keep it in large 5 litre glass bottles, which will preserve some years if it is not polluted with
organic material.

Later we will explain in another forum how the Vitriol is purified but if you need to make it, let
me know.

Procuring Native Vitriol

We know that some brothers have difficulty in getting natural Vitriol for the alchemic and
spagyrical works. This pure natural Vitriol crystal is shown in the picture to the left. In my country
(Portugal) we have pyrite and chalcopyrite mines 200 km from our residence. Those mines are
located at Alentejo in Aljustrel, but at present, they are closed and it is not possible to find anymore
native vitriol of such pure Mars quality as found inside the mines on stalactites formations that
weigh more than 2 kilograms each. However, outside of the mines, the pyrite that was removed
from inside the mine gathers and it is abandoned to the intemperate weather. The rainwater drags
the natural pyrite sulfatization and forms small lakes with thousands of liters of saturated water of
Mars's salts. The mines being far away, we reached the conclusion that we were able by the same
process, to produce a natural vitriol exposing the pyrites to the intemperate weather and collecting
later the salt saturated liquid. For that, we acquired at a junk-dealer an iron-enameled bathtub and
place it in the outdoors with about a hundred kilograms of pyrite. Because of the sulfatization of
the pyrite by the intemperate weather, the rainwater dissolves that sulfate and remains in the
bathtub a Vitriol saturated water that will be drained later. If it rains too much, cover the bathtub
with a plastic to avoid the water excess. As soon as the weather improves the bathtub will be
uncovered and the content is again exposed to the weather. In the summer, as it doesn't rain as
much, pour on to the pyrite, rainwater collected in the spring and kept in 50 liter plastic barrel.
When you see that the water is saturates of salt, open de bathtub drain to drain the water and after,
crystallize the salt.
If you intend to have Hungarian Vitriol instead of pyrite, use Chalcopyrite, which is, a Mars and
Venus sulfide but this is a little more difficult to find. However, you can join commercial Venus
vitriol to the pyrite to obtain Roman Vitriol. It is not very advisable under the alchemic point of
view but if there is no other solution, you have at least, a natural salt to dissolve the commercial.
By this process, you can easily obtain a natural Vitriol that you need without having to travel to
the mines because you will haven't the ore on the outside of all mines with the conditions in which
the small artificial lakes have been forming.
Don't worry about the pollution because the mother water originating from the sulfate dissolution
before used should be filtered by cotton where all the dregs insoluble in water will be retained. If
you reside in the city and you need to collect rainwater, do it in the spring preferably during
thunderstorm days, and placing on the window outside a big plastic basin well secured on the
inside of the room. It isnt advisable to collect the rainwater in the first days of rain because it is
impregnated with dusts and residues that are in suspension in the atmosphere and deposited on the
roofs. Keep it in large 5 liter glass bottles, which will preserve some years if it is not polluted with
organic material.

Verdet or Calx of the Venus

The verdet is a green or bluish substance, almost insoluble in water, but very soluble in vinegar
and other acid spirits. The verdigris is formed on the surface of the copper or brass parts that are
exposed to the action of humid air, and is nothing else than a copper carbonate. The copper
carbonate, in its natural state is the malachite.

Frequently, the verdigris is confused with the copper acetate.

Seek 1 kg of native Venus vitriol; place it inside of a glass or porcelain recipient and pour in
source water heated up to 40 C, enough to dissolve it completely. Then filter the solution.

In an enamelled iron basin, dissolve separately, in source water heated to 40 C, 1 kg of salt of

tartar (potassium carbonate) or, if you do not have it, use sodium carbonate. Filter the solution.

Now, plunge a porcelain or enamel mug in the vitriol solution and fill it. Pour it, little by little, in
the carbonate solution as there is effervescence, move well with a wood spoon, and a precipitate
of clear green-blue will be formed at the same time.

Proceed in the same way, always moving, until the effervescence stops. If there is no more
effervescence when you pour the vitriol solution, it is because the solution is saturated. Then,
stop.

Leave it to rest some time, then flow by decantation the solution. If it drains a bluish liquid, it is
because there is still some vitriol in the solution that didn't react with the carbonate.
Pour abundance of tap water on your precipitate to wash it properly, always moving very well,
until the water comes out clear.

By decantation, flow all the water and let to evaporate in the sun or on a gas stove, with
moderate heat, in a sand bath.

When the matter is dry, remove it with a stainless steel spoon and keep it in a large mouth glass
flask well closed.

This canonical Venus verdet, although prepared artificially, was made of native Venus vitriol,
which is the main element of the chemical reaction.

Calx of Venus. If you want to prepare the calx of Venus or Aes Ustum (oxide), put in a mud or
stainless steel porringer, 250g of verdet and place it on a gas stove at a very high heat. Move or
stir well again with a stainless steel spoon, as if you where to calcinate it, until it turns
completely black. When it reaches this point, stop and let it cool. Proceed in the same way, until
you have calcinate all of your verdet. When cool, pour it in a large mouth glass flask well closed.

This calx will serve you to you prepare the verdigris and the tincture of Venus.

Calx of Mars
Pour into a 500ml-glass graduate Pyrex vase (Beaker), 250ml of nitre spirit at least to 30 degrees
Baume. Join to it, little by little, native martial pyrite grinded roughly, as it will dissolve in the
nitre spirit. This operation should be made outdoors or in a well ventilated place, due to the great
amount of glittering vapours (brownish) that the reaction emanates.

When it reaches the saturation, that is, when the pyrite doesnt dissolve anymore in the nitre
spirit, then stop. Filter the martial solution through a glass funnel, with a cotton lid, in a glass
vase.

In a 1litre-glass flask with a large mouth, pour 500ml of water of the source and heat it up at 40
C. Dissolve in it, tartar salt (potassium carbonate) or sodium carbonate to the saturation.

Now, pour slowly, by successive fractions, your martial solution, as the effervescence provoked
by the reaction, will diminish and rest.

It will turn in to a red brownish colour precipitate that will thicken as you pour the acid martial
solution in the alkaline.

When the martial solution being poured in the carbonate solution does not create anymore
effervescence, then, stop.

Stir well, with a glass rod and, then, pour the precipitate in a big porcelain or glass porringer, fill
it with cold tap water. Let to rest. The martial precipitate will seat slowly at the bottom. Now, by
decantation, flow the excess liquid, and tend to be cautious of not letting the martial precipitate
flow together with the water.

Pour in some tap water again, and stir very well with a glass rod, to wash the precipitate well.
Repeated the operation as many times as it is necessary so that the water is without acrimony and
becomes limpid and by decantation, empty the water excess with caution, so not to spill the
martial precipitate.

At to this point, place the porringer on an electric or gas oven, in a sand bath, with a moderate
temperature, to evaporate the excess water.

As the water evaporates, the drying precipitate, will have a stain colour that, when reduced to
powder, will be much clearer.

Pour it in a glass or porcelain mortar, grind it in very fine powder and pass it by a sieve of 60
lines per centimetre or 120 lines per inch.

Keep it in a large mouth glass flask. This calx of Mars is very subtle; it is a wet oxide that will be
good for your spagyrical operations with regards to the extraction of the martial tincture by
means of the spirit of vinegar and other means.

Tincture of Mars
Seek at the very old houses, or in rural properties, iron railings or gates, that with elapsing of
many years, the metal became oxidised and have stain pieces (hydrated oxide) in thick layers,
that easily come off.

Pick up that Mars calx (oxide) and grind it to very fine powder in an iron mortar. After it is
reduced to very fine powder, sift it in a sieve of 120 lines per inch or 60 per centimetre and
calcine it well in a mud or stainless steel porringer, on a gas stove with very strong fire.

This calx or oxide hydrated iron can also be obtained from the martial pyrite dissolved in nitre
spirit, after precipitated by the potassium carbonate and, finally, calcined with very strong fire.

Pour 50 g of that natural calcined Mars caux in a 1-litre Pyrex glass matrass with an IN29 mm
polish and pour on 500 ml of spirit of vinegar to 10 Baume.

Close the matrass with a 150-ml upper balloon IN29 polish male end.

Place the matrass on a small electric oven with controlled temperature. Digested at 40 C.

Every day, shake the matrass circularly so that the matter that stays at the bottom be detached
and better dissolved in the spirit of vinegar. After 10 days, the spirit of vinegar will be saturated
of the Mars tincture and will be of a beautiful dark brown colour as coffee.
Uncover the matrass and flow, by decantation, in another matrass, the whole coloured spirit.
Pour on the matter other so much spirit and let it digest for other 10 days. Remove by
decantation, the spirit, and join it to the previous.

Pour the whole tinted spirit in an alembic as what was already described previously. Distil with
strong heat, to separate the spirit of vinegar, which, after having distilled, it will be you useful for
another operations or, then join it to another of the same graduation.

You don't distil to the dryness, because you will take the risk of oxidizing your salt. Leave, at
least, in the bottom of the cucurbit, 100ml of liquid. Let to cool. The next day, you will find in
the cucurbit a mars salt crystallized in plates.

Flow by decantation the liquid and remove its salt. Place it inside of a porcelain container and
dry it to a heat that doesn't surpass the 40C. When it is dry, pour it in a Pyrex glass mortar and
grind it in very thin powdered. When you make this operation, protect your breathing ways with
a mask, because this salt of Mars, if it were breathed, will provoke coughing.

Place the mortar with the powder spread thinly in the sunrays for some days, until all of the
acrimony has evaporated, what you will recognise by the absence of vinegar smell.

Put this salt in a matrass and flow on it good wine spirit of 100, enough to dissolve it. Digested
as previously and, then, filter. Keep the tincture in a glass flask well closed to the shelter of the
light.

This Mars tincture will be you useful in all the dysfunctions where Mars is suitable.

Pay attention! All the metallic tinctures made by an expert artist, should only be given in
homeopathic dosis, under the doctor's expertise.
 Artificial Cinnabar and Ethiope Mineral
We know that some alchemists have difficulty in finding native cinnabar for their alchemic and
spagyric experiences.

It is not easy to find a pure cinnabar that guarantees us a minimum of efficiency and the best that
we know of is imported from China in magnificent crystals but also, very expensive. Therefore,
we will have to be satisfied with the one of Almaden (Spain) and of other places. The best that
we got had more than 50 per cent of silica.

But for experimental purpose you can easily get an excellent artificial cinnabar by two different
ways: the dry and the humid way.

Dry way

On a gas stove and in a tureen of refractory mud or of sandstone, pour 2 ounces of grinded
brimstone. As soon as this is in fusion, pour 7 ounces of commercial mercury the purest possible,
and passed by the suede. When squeezed, it comes out in rain form.

Mix the melted sulphur continually until that the mercury is well incorporate. Let to cool the
matter, which will be black and place its rough powder to sublimate in a pot of refractory mud or
sand stone, which is an aludel that has a small air hole at the top.

Place the aludel on a gas stove to heat up until the bottom of the aludel is red-hot. The cinnabar
will sublimate little by little in the aludel heat, in beautiful red crystals as needles. Remove it off
the lid of the aludel and keep it in a large mouth glass flask under the shelter of the light. It is an
artificial cinnabar and it is not a live matter because it already "felt" the common fire. But for
experimentation purpose it will be very useful.

Be careful not breath the gases that emanates from the air hole of the aludel because they are
extremely toxic.

Wet way

In a Pyrex glass mortar, pour 70g of native quick silver preferably of "flowing", (the mercury
that is from the cinnabar mines) and 30g of native brimstone. Grind the composition slowly the
necessary time in way to incorporate the quick silver completely in the sulphur. The
compositions after being well grind and mixed, will be of a black colour and it is known in
spagyria by Ethiopian Mineral. Chemically it is an artificial mercury sulphide.
Pour the composition into a 500ml good Pyrex glass matrass with a rubber stopper and, above it,
pour a solution of 30g of caustic potash (potassium hydroxide) made with rainwater or
deliquesced during the night. Close the matrass well and place it on a small electric oven or on a
gas stove in bath of sand to a temperature that doesn't surpass the 60C.

Leave for some hours and the Ethiopian will begin to turn red starting from the bottom of the
matrass until the colour dyes completely the whole mass of the composition.

When the composition is all red, remove the matrass of the oven, let it cool and pour rainwater
inside. Move well with a glass rod and spill everything in a 1-litre large mouth glass flask. Pour
more water into the flask to wash the cinnabar of any salinity. By decantation, spill with care all
of the water. The cinnabar being very heavy will stay at the bottom of the flask. Dry it to a
moderate temperature that doesn't surpass the 60C and it will be ready to used.

The cinnabar if it was prepared with natural matters as the "flowing mercury", the native sulphur
and the salt to unite it in the Natural proportions, then it can be used for alchemic works.
When the preparation of the artificial cinnabar is done by the wet way, a red liquid remains
which is the salt that changed by having dissolved the excess of sulphur. It will have a nauseous
smell of sulphydric gas and it is very toxic, but it is also a medicine that will only be taken in
homeopathic doses and always under a doctor of the speciality required.

We made this preparation several times but without knowing the reason why we didn't get the
Ethiope completely red which could be, for a technical explanation, because the proportions of
the salt were not right or the temperature was inadequate.

This was the old vermilion used by the ancient painters in the oil painting but it has the
inconvenience of being very sensitive to the light and will turn black or darker just as it happens
with the native cinnabar.

Calx of Mercury
Pour in a 500ml graduated glass 250ml of royal water, made with 3 parts of spirit of salt and one
of spirit of nitre. Heat it up to 40C, on a small electric oven in sand bath.

Add to it, little by little, as it dissolves native ore mercury (cinnabar) very thinly powdered or if
you dont have it and for experimentation purpose, you can use artificial cinnabar. This operation
should be made out doors or in a well-ventilated place, because of the toxic gases that emanates.

When no more cinnabar is dissolved in the royal water, stop. Filter the solution of mercury
dichloride by a glass funnel, with a cotton lid, into a Pyrex glass balloon.

If you let the mercury dichloride to crystallise, it is a corrosive sublimate made by the wet way
whose toxicity is the same as if prepared by sublimation in the dry way. Therefore, you should
take all the precautions when handling the respective solution.

In a large mouth glass vase, pour 500ml of source water and heat it up to 40C. Pour in canonical
tartar salt or sodium carbonate and move with a glass rod until saturation.

Pour little by little in the alkaline solution, the dichloride solution, as it will provoke
effervescence by the chemical reaction. When the effervescence ceases, then stop.

It will make a brown reddish precipitate that becomes thicker as the dichloride is added to the
carbonate solution.

When you have drained all your dichloride provision, stop. Move well with a glass rod and then,
pour the precipitate in a big porcelain or glass porringer, joining it with enough tap water to fill
it. Let it rest.

Flow by decantation the exceeding water and repeat the process, until the water has lost its
acrimony.
Dry the calx of mercury on an electric oven in sand bath and then, grind it to thin powder in a
glass or porcelain mortar. Pass it by 60 lines per centimetre sieve.

This canonical calx of Mercury will serve for the extraction of its tincture by the same process,
as the extraction of the Mars tincture, as further on we will see.

In the same way, you can extract the calx of the Sun or of the Moon. The Sun, as you know, will
have to be dissolved in royal water and the Moon in spirit of nitre. Of this calx, you can extract
the respective tinctures in the same way as when you make the Mars tincture.

Pay attention and be careful! The gold and the silver precipitated of their solutions of gold tri-
chloride and of silver nitrate, when poured in a solution of potassium carbonate they become
fulminating and will detonate with great violence with the heat or with the pressure. Therefore, it
cannot be warm or grinded in a mortar and it has to be handled with extreme care if you don't
want to have an accident. The effect is so much more serious the more amount of the product is
manipulated.

Basil Valentine, in its book, The Will and Last Testament, advises us charitably of the danger
that can happen in the fulminating gold preparation.

Therefore and for your own good, if you don't have the necessary experience, keep away from
making these preparations.

Calx of the Sun

The old masters denominated calx of the Sun faintly an oxide or a reduced metal to thin powder.

To reduce to metallic powder the solar star, you make first, an amalgam of the noble metal with
the common quicksilver, then, volatilise the quicksilver with Vulcano and will remained the
metal in powdery state (calx). At present time, the Brazilian prospector, still uses this process
that is very dangerous, due to the quicksilver highly toxic vapours not only noxious for the
animal economy, but for the atmosphere as well.

As this operation is very risky, for the reasons that we exposed you, we do not advise that you do
it.

If you want to reduce gold into calx, dissolve, in a Beaker 100ml, old damage gold jewels in
royal water, made with 3 parts of spirit of salt and 1 part of spirit of nitre. The royal water should
not be in excess, but just enough to dissolve the gold that you have.

The dissolution will have a yellow-greenish colour because the gold jewels usually contain
legally, a small percentage of copper. If it were pure gold, the dissolution would have a beautiful
yellow colour.

If it doesnt dissolve well with effervescence, heat up the solution to 40C, on a small electrical
oven with controlled temperature.

Take care not breathes the toxic vapours that emanate from the reaction. Furthermore, don't spill
the liquid dissolution on the skin, because later, the area of the skin that was in contact with the
golden trichloride solution will be coloured of a dark violet very difficult to eliminate.
Furthermore, the more you will wash the area with soap the more it will be accentuated. Use
rubber gloves when doing this operation.

In the same vase, coagulate the solar dissolution to a temperature of 60C, in a sand bath on a
small electric oven with controlled temperature.

In a graduate 100ml (Beaker) of Pyrex glass pour 80ml of distilled water and dissolve in it the
chloride solar-venusians (gold and copper).

Now, introduce in the liquid a small and very clean copper sheet and polished with sandpaper or
steel wool. Leave it for some time. The gold that is in dissolution will precipitate little by little,
on the part of the copper sheet that sits in the liquid.
When the amount of precipitate gold is sufficiently thick, shake the sheet to free the gold, which
will drop in a powdered form on the bottom of the glass.

When it doesn't precipitate anything else, remove the sheet and by decantation, flow with
precaution the bluish water that remains and which has in dissolution the copper that the gold
contained. Be careful that you do not spill the golden powder,

Wash the precious brown powder well with distilled water and dry it in the same vase, to a
temperature of 60C, keeping it, after its dry, in a small glass flask well closed.

This calx is pure metallic gold, much divided and therefore it has a brown colour like coffee. If
you examine it with a magnifying glass, you will notice some metal particles. You can melt it
with an appropriate fusing heat and, like this, you will have pure gold.

This calx will be easily amalgamated with the common quicksilver and it will be good for the
Filaleto, Flamel and Basil Valentine's work.

Tincture of the Gold or Sun

Dissolve, in a small graduate Pyrex glass (Beaker), in 25 ml of royal water prepared with 3 parts
of spirit of salt and 1 part of spirit of nitre, 3 g of pure gold in fine sheets or of its canonical calx.
To speed up the dissolution, use a small electric oven and heat the royal water to 40 degrees
Celsius.

After having done the dissolution, pour in a 50-ml graduate glass test tube.

Pour in very slowly over this water that contains the gold in dissolution, 25 ml of ether. If you
don't pour the ether very slowly, it will react with the water provoking effervescence and it will
overflow outside of the test tube loosing the precious content. The ether, due to the density
difference, will be superposed to the royal water.

In a short time, you will see the ether turn in to a beautiful yellow colour. But if that doesn't
happen, introduced a glass rod to the bottom of the test tube, and stir circularly one time and
remove it.

The gold in dissolution in the royal water will pass to the ether. When you see that the ether
begins to react with the royal water, it is time that you remove all the coloured ether with a glass
syringe. Remove it and pour in a 250-ml Pyrex glass retort with tubulure and recipient with air
hole.
Place the retort on a small electric oven with controlled temperature and in a sand bath.

Distil with moderate heat all of the ether, until it is reduced to thick oil. At this time, remove the
retort of the oven and place it on an appropriate support to prevent from breaking it due to the
temperature difference.

When cooled, pour in the retort and over the oil, 50 ml of spirit of wine well rectified near 100%
(98), which will dissolve the oil quickly and will be dyed of a beautiful yellow saffron colour.

Finally, filter it if it has faeces.

Keep the tincture in a closed dark glass flask to the shelter of the light.

This gold or Sun tincture will be very useful in all the cases where the gold is suitable.

THE KERMES
The Kermes was a spagyric medicine commonly used in the XVII century. Its preparation was
minutely described in the book of Chymica Geral of the A. J. Silva teacher at the Academy of
the Polytechnic School of Porto, 1886, page 337 and in Cours de Chymie of Lemery, Paris, 1756,
pages 269 and 319.

The kermes is an antimony salt that you can prepare by the dry or the wet way.

Dry way. Melt in a mud refractory crucible on a gas oven, 5 parts of natural antimony sulphide
or stibnite, thin powdered, with 3 of potassium carbonate anhydrous. The melted mass is flowed
on a marble stone, left to become lukewarm and then grind or crushed in a Pyrex glass or
porcelain mortar and dissolved in boiling water whose weight should be 80 times the one of the
mass.
The filtered liqueur abandons (it precipitates) by cooling down, a powdery substance, of a red
yellow colour. That is the kermes. Wash carefully this substance, dry it at a moderate
temperature in a porcelain container and leave it in a large mouth glass flask to the shelter of the
light

Wet way. Boil during three-quarter of an hour in a glass Pyrex vase on an electric oven, one part
of antimony sulphide, thin powdered and 22 parts of sodium carbonate anhydrous in 250 parts of
tap water.

The filtered liquid deposits the kermes by cooling down.

The mother waters of the kermes contain the sulphantimous acid in dissolution by the alkaline
sulphide, and, this last one being treated by the acid that decomposes this sulphide, it precipitates
a moisturised antimony sulphide, the one that is commonly known by the name of gold antimony
gold sulphur.

We had the occasion of trying the preparation of the kermes as well as the antimony gold sulphur
one.

This last one was prepared by dissolving the coming kaput of recent martial regulus, crushed
thin, powdered and dissolved in rainwater on an electric or gas oven at moderate temperature.

After the dissolution is properly filtered, pour in vinegar spirit at 10 Baume.

By cooling down, the dissolution precipitates the gold antimony sulphur.

Keep it in a large mouth glass flask to the shelter of the light.

The Preparation of Antimony Oil

In the book "The Triumphal Chariot of Antimony", Retz, Paris, Basil Valentine describes some
antimony preparations, among them antimony oil. The goal of this work is the preparation of the
Fiery Stone.

The first operation in the extraction of antimony oil is to grind, in a mortar of bronze or iron, at
least one or two kilos of good quality stibnite.

After it is reduced to a thin powder, pass it through a 60 lines per cm. sieve. Pour the reduced
mineral into a Pyrex glass container and place it over a wide mouthed as stove in a sand bath to
calcine it. This calcination is for the removal of the chemical sulphur of antimony and will have
to be done carefully with a regulated fire. Mix it frequently with a with long handled stainless
steel spoon as in the image. If you do not mix the matter frequently, mineral accumulations with
sulphur will form, and you will have to grind and calcinate the matter again.

When properly calcined, the antimony will have a reddish-brown colour and it will not have the
characteristic smell of chemical sulphur. It is a slow operation that requires much patience to be
completed properly. This calcination is the basis of the whole work therefore you shouldnt be
hasty while performing this part of the operation.

Next, with this powdered antimony (well calcined as the Art demands) you will proceed in the
preparation of the antimony glass. Basil Valentine in the antecedent texts, states that it is
necessary to add borax to the powdered calcined antimony.

We never followed this process and used only antimony, without additional substances, as he
relates in the following text. We saw it done this way in the Solazaref Filiation and in Portugal
several times it was made this way as well.

Pour into a good crucible of average size antimony duly calcined until filled, and then place the
cover on the crucible. Place it in a gas oven on a refractory tile, setting it such that the flame of
the blowpipe is in the centre of the crucible.

From time to time, with tongs, remove the crucible cover and verify that the antimony is melting.
When it is completely melted, with suitable tongs, take off the cover and hold the crucible in the
middle, removing it from oven.

Carefully, pour out the crucibles contents onto a copper plate or a marble slab. After it is cooled,
the glass can easily be freed from the copper plate or the marble slab in the form of small plates,
which you will break into small pieces that you will keep in a wide mouthed glass flask.
The true colour of canonical antimony glass (made without borax addition) is reddish brown,
coloured with small dark spots as you see in the image. Placing one of these plates in front of a
source of strong light (such as the Sun) it is red and transparent.

To prepare antimony oil it is necessary to grind the glass in an iron or bronze mortar taking care
to wear a suitable mask (respirator) to filter the thin dust that emanates from the mortar. After
grinding it is necessary to pass it through a sieve of at least 60 lines per cm.

Let us see now, what Basil Valentine says on pg. 170, Chapter VII, on the Way To Make
Antimony Oil:
Take Glass of Antimony; as it is made of the Minera of Antimony, subtily pulverized, and
extract its Tincture with distilled Vinegar; afterward abstract the Vinegar thence and edulcorate
the remaining Powder. Then pour on Spirit of Wine with which extract the Tincture, and
circulate it in a Pelican well closed, for an entire Month. Afterward, distil it per se, without any
Addition, with a certain singular Dexterity; and you will thence receive a wonderful grateful and
sweet Medicine, in the form of a Red Oil, of which after may be formed the Stone of Fire.

This Oil is the Quintessence, and the highest, that can be written of Antimony; as you may find in
my former Writings, wherein have made a short Declaration of Antimony, and in which I showed
also, that there are four Instruments required for its Preparation, and the fifth is that, in which
Vulcan hath fixed his Residence.

This text describes, in suitable spagyric language of that time, how antimony oil is prepared from
its glass.

The first operation is to dissolve the ground antimony glass in "strong vinegar" (we understand
that to mean the spirit of wine vinegar rectified to 10 Baum). Although this operation seems
easy, it is necessary to know the "touch of hand (have the touch gained by experience)" to
make it efficiently.

Next, you will have to use a circulator made with a 2-litre conic or spherical balloon and another
one of 500ml. as you see in the image.
Pour part of the powdered antimony glass into the balloon, and pour onto this the strong vinegar.
Place the circulator in an electric oven with a temperature of about 60 C. Shake circularly the
lower balloon for the glass powder to mix well with the spirit of vinegar.

To facilitate the antimony glass dissolution in the spirit of vinegar, shake the circulator several
times per day. When the dissolution is saturated and of a red colour, shake the lower balloon and
remove the upper. Pour the solution into a wide mouthed bottle using a funnel with a filter. The
un-dissolved antimony glass powder will remain in the filter. Keep the red liquid in a dark glass
bottle.

Remove the filter with the glass powder and dry it in a porcelain container kept at a temperature
of 60 C. Pour this glass powder into the circulator and pour on more spirit of vinegar. Dissolve
again as before.

Repeat the same operation, but do not keep the vinegar as before if it has no dark red colour. In
this case, remove the glass powder that you have separated, and add another recently made
antimony glass powder to it.

Continue with the same operation until you have removed the whole tincture from all of the
prepared antimony glass.

Following this, pour the whole of your provision of dyed vinegar into an alembic, and distil it
with a fire suitable for the distillation of vinegar. Be careful when the distillation approaches the
end. Remove the caput of the alembic with a wooden spoon and dry it slowly in a porcelain
container between 40-60 C to remove the whole acrimony.

When the powder (that is an acetate) is dry, place it in a circulator (pelican) and pour on spirit of
wine "sovereign" distilled about 98%. Leave it to circulate at least one month as the Master
relates in the text.

After the circulation, the Master tells us: ... after that time you will distil purely and simply
without any addition. And for this simple distillation you will have a sweet medicine, pleasant
and admirable in form of beautiful oil and red with which if it prepares the Fire Rock.

Basil Valentine was not very explicit in this part of the text, and leads us to understand that after
this last distillation, in the end, it will leave for the alembic beak "a sweet and pleasant
medicine".

The antimony tincture, after being circulated with the spirit of wine is toxic - and only will lose
this toxicity after passing through the beak of the alembic.

Unhappily, because of reasons that opposed our desires, we could not make this last distillation
and, therefore, we will not be able to confirm the end result of this operation. We will make it
when we have the suitable conditions to prepare the necessary antimony glass, and the lab
conditions to work in the dry way.
However, the main operations are described here as we completed them, as well as the respective
modus operandi with the images, for those who have the suitable laboratory conditions to make
it.

Saturn Spirit
The spirit of Saturn is obtained by the dry distillation of the Saturn salt or lead acetate.

In a flat bottom 2 litre Pyrex cucurbit place 500 g of the Saturn salt. Place the cucurbit on an
electrical oven with ceramic plate. On this cucurbit place a helmet and connect to a 2 litre
balloon receiver with a small breathing tube on its belly. Apply silicone to all the joints.

Warm up until the salt begins melting and boiling. Put around the cucurbit a thin aluminium
sheet in order to cover it completely and thus to facilitate the distillation of the spirit.

As soon as the salt begins melting, the phlegm will distil from the salt crystallization water.
When the effervescence stops, the mass inside the cucurbit will become spongy, increasing its
volume by three times. For that reason, do not place more than 500 g of matter into your 2 litre
cucurbit.

When the mass becomes spongy and grey in colour, increase a little the temperature so that it
begins to distil the spirit, which you will notice by the fragrance exhaled by the receiver
balloons breathing tube.

Now, place a cold wet cloth on the helmet and on the horn to facilitate the distillation of the
volatile spirit, taking care to wet always the cloth with cold water as it is warmed up. Also you
will notice in the helmet and the horn some veins like those of the distillation of the wine spirit.
Continue the distillation until no more of these veins are seen in the helmet and the horn. Then,
stop and let cool.

When the cucurbit is still lukewarm, with a twisting movement, remove the helmet. If you allow
it to cool completely, you will not be able to remove the helmet and you will have to introduce
the liquid by the helmets beak. Distil again at low temperature, thus, to unglue the helmet.

With the handle of a long wooden spoon, carefully take out the caput mortem so as not to break
the cucurbit. Keep the caput for extracting the metallic lead. On a gas furnace melt it with salt of
tartar in a stainless steel container or in a crucible.

You will have distilled near 100 ml of phlegm and spirit. Then, wash well the cucurbit with a
concentrated solution of sodium hydroxide and water. Also wash very well the inside of the
helmet with water and detergent, so that it is clean of all remaining acetate.

After everything being very well cleaned, pour into the cucurbit the distillate that contains the
phlegm and the spirit. Put on the helmet and the receiver vase with the care to apply silicone in
all the joints.

Put also a very cold wet cloth over the horn and the helmet to facilitate the distillation of the
volatile spirit.

Apply a smooth heat that does not surpass 50 C. The spirit will start to distil over as you will
notice by the veins that are seen inside the helmet and the fragrance exhaled by the receivers
breathing tube.

Distil like this, sweetly, until no more of the veins are seen inside the helmet. Then, stop and
disconnect the oven.

Take out the phlegm that remains in the cucurbit and dispose. Wash the still again, as previously.

Pour again the spirit into the cucurbit (about 50ml) and distil again as previously, but only 30 ml.
Stop and remove the spirit and keep in a dark glass flask well closed and sheltered from the light.

The spirit of Saturn is an acetone that is still very impure. It has different characteristics from
common acetone from the spagyrical point of view. Is very aromatic, volatile and inflammable,
which you can easily verify.

This spirit was very appreciated for its curative virtues by the old doctors and spagyrist, and
mainly by Becker. He affirmed in one of his books, that the spirit Saturn would be the famous
"Mercurial Spirit" of the philosophers. By what we know, this does not correspond to the truth.

Von Bernus, in his book Mdicine et Alchimie, p 151 and 152, also refers to the virtues of this
spirit. As we know, Saturn is a very toxic metal, and for that reason, in the extraction of the spirit
of the Saturns sugar (lead acetate), all the precautions will have to be taken.
 THE DEW
(1)
The dew or celestial water is the nocturnal atmosphere condensation under the influence of the
Moo, and, according to the alchemical tradition, it is the privileged vehicle of universal spirit.
The old alchemists beheld the celestial water with great appreciation. In the countries of central
Europe, they recommended that one collect the dew in the months of March, April, and May,
because in those months it holds a very special virtue as it is impregnated with the universal
spirit.

In the center and south of our country (Portugal), the best weather to collect the dew occurs in
the months of March and April. In years of little rainfall in the spring, in the month of May, the
herbs of the grasslands to dry thus hindering the condensation of dew. Besides being so little in
quantity as to not justify the spent effort; the dew collected in these conditions is dirty. We have
had the occasion of verifying this personally.

At times, in his books, our Masters makes reference to the celestial water (dew) as an analogy for
when there is a condensation of vapors in a vase or in a distillation.

We saw an Iberian alchemist, who is very much known in your country for the books he wrote
about "your" alchemical work, when the corner of his lips twitched as we talked of the
application of the dew in alchemy. He demonstrated in this way an ignorance of the alchemical
reality.

If you ask one "those" alchemists how the dew in collected and distilled and its salt are extracted,
certainly they won't know how to answer you because that knowledge is not within their reach. It
is in rare books where this operation is described. We learn it in Solazaref's books.
In our Art, this water is usually used as a vehicle in the treatment of philosophical salts and other
things.

The dew condensation is made during the night, closer to dawn. So that there is an abundant
condensation, it is necessary that the sky is clear, cloudless, and that there are not winds or
breezes, that is, in a calm night.

The suitable time to collected the dew, as we said, is in the spring during the first quarter to full
moon.

There are few nights that offer the ideal conditions for collecting the dew. You will have to
watch and take advantage of them when possible.

To collect the celestial water you will need a medium size cotton towel preferable very used, a
10 litter iron enameled basin, some 5 litre large glass bottles very well washed with water, a big
plastic funnel and a very clean fine cloth to serve as filter.

On the previous day, inspect the field where you will do your collecting. Watch for the best
access road and other landmarks that will allow you to easily identify.

Choose a clean field, without pollution, with short herbs (brasses), with a maximum of height
and away from urban areas.

Get up two hours before dawn but before you go to the place, verify the dew by looking at the
roofs of cars parked on the street in an open place away from the building. Look to see if the cars
are covered with condensation. If they are that is a good sign. If there is no condensation on the
cars, it is needless to leave your house because there is no dew. Please take our advice because
we know it well owing to our own experience.

If there is abundant condensation, move to the chosen place carrying all your material. The towel
should previously be washed in rainwater or spring water.

When you arrive to the chosen place, unfold the towel and spread it on the ground at the edge of
the field. Attach a thin rope on the two tips for dragging it over the grass.

Drag the extended towel slowly so the towel will absorb the celestial water that is on the grass.
When you begin suggest you pay attention to the towel's weigh because when see that it
saturated, stop and thoroughly squeeze it into the basin.

The dew, at this time of the year, is at lower temperature than the air; about 5 degrees plus or
minus (in my country) so, for that reason, your hands will be very cold.

Continue in the some way dragging the towel and when it is saturated again stop and squeeze it
into the basin until it is full. Now, take a 5-litre large bottle and put the funnel into it. Use a cloth
for a filter and drain the liquid into the bottle.
Don't forget to take a flashlight because, as we told you, dew collecting should be done before
dawn and sunrise.

Continue until the first rays of the dawn begin to appear on the horizon then stop. Collect your
dew and equipment and return to your house. In one night, in good conditions, you will be able
collect more than 10 litres of celestial water.

The collected dew is lightly yellowish colour of the tea and it is scentless.

The first time we observed it we thought this colour was owed to the dust that was in the grass
where it had been collected. For confirming it the next night, when the sunbeams began to appear
on the horizon and there was good visibility, with a very clean sponge we carefully collect the
dew deposited on plants that were very clean and without any pollution. The colour was exactly
the same.

Once you arrive at your house, while still in darkness, pour the liquid from the 5 litre large
bottles though a funnel with the filter cloth into 20-litre large glass bottles in the basement
sheltered from the light.

If it is possible for you, that is, if you live in the country, on full moon nights, pour the dew in a
big plastic basin and leave it exposed to the moonbeam during the night. I will absorb the
universal spirit and increase its virtue. Collect in before sunrise.
Fill at least a 20-litre large glass bottle, or more according to your needs, and let it stand still in
the basement 5 litres of dew into 5-litre bottle. Do this operation at night while using a small
flashlight.

During this time the dew putrefies and, after that, all the matter that was in suspension will rest
on the bottom leaving a limpid and transparent liquid.

Pour 5 litre of (clear) dew into a 6-litre cucurbit like the one that is used to distil the spirit of
wine and vinegar. Then attach the still head and a 2-litre recipient and distil in a moderate fire
not above 60 C. It will take more than one week to distil everything depending on the size
opening at the neck of the cucurbit. You must not forget that this operation is to be made in
darkness. Keep the distilled dew in 20 litre glass large bottles, within the shelter of the light.

After everything is distilled, there will be dregs in the bottom of cucurbit that you will pick up
and save.

Distil all of the dew in the same way and always save the dregs. After you have distilled 40 litres
of dew, pour all the dregs in the cucurbit and distil to dryness. Remove the caput and calcine it in
a mud or stainless steel porringer on a gas stove with very strong fire. Extract the salt by leaching
with the distilled dew. You will obtain some 20 or 30g of salt.

This dew salt, still raw in the alchemical point of view, contains subtle nitre that after being
properly prepared, as Art demands, is used in the canonical dry way.

The collection and distillation of dew is a true Herculean work that requires much patience and
perseverance. As we already told you in the beginning, it may not always be possible, even in
favourable times, to collect the dew that you will need due to adverse weather conditions, such as
rain, overcast sky, or wind, etc.
The distilled dew will be very useful in the preparation of the several canonical salts inherent to
our Art.

For certain common operations, you can use instead of the distilled dew, rainwater (very clean
and filtered), collected in the spring, preferable on thunderstorm days.

Images: Field for collects the Dew.

THE DEW
(2)
Concerning the collection of the dew and because some doubts have been raised about the
process that is described, we read over again the book L'Alchimie et son Livre Muet (Mutus
Liber), Rimpression premiere et integrale de La edition originale de La Rochelle, 1677,
Introdution et comentaires par Eugene Canseliet F.C.H. disciple de Fulcanelli, a Paris, chez Jean-
Jacques Pauvert.

The comments made by Canseliet in this book, not only confirm what we described as well as
what we suspected when we saw these illustrations for the first time.

The text that we transcribe is a second translation, the first from French to Portuguese and after
from Portuguese to English. Therefore I apologise for any imprecision.
P. 87 - Well then! Yes, the sheep and the bull of the image on the one that we are observing at
present, corresponds to the two zodiacal signs, of the vernal months during which the operation
has for purpose to collect the flower of the sky and is exactly accomplished just as it is defined in
this place.

It is treated without dissimulation in the simple way that firstly we used already not less than
half of a century, except for the difference in relationship with the installation of the white linen
on the stakes. System that can explain in the passage of Altus, the dryness of the land, and
secondly by an English doctor relating to the whole substance placed on the soil "it will acquire
more dew in a very calm night, than a similar substance placed on the herb". (1) Essays about the
dew, Well (William-Charles). Essais sur la Rosee, traduit par Aug. J. Tordeux, Maitre en
Pharmacie, Paris, 1817, p.24.

After a long time, we worked differently; we drag preferably on the green cereals, the clovers,
the lucern and the sanfoin, a linen cloth, carefully washed several times with rainwater.

In this way, any leach salt of the wash would be dissolved in the generous liqueur that will be
absorbed by the linen. In the same way, it shall be feared that the vegetable bearer has not
unfortunately sprinkled any fertiliser on his fields.

P.88 The practice is simple and consists of twisting the cloth after it is soaked at the saturation
point in order to squeeze and collect the dew as the man and the woman shown in prayer on the
second illustration.

P.103 The serious and attentive reader won't be surprised if we tell him that our illustration is
not in its place and that the fourth illustration should have preceded that one. It is easy to
understand that this second part of the preliminary preparation of the work, locates after the
initial collect, the illustration number four.

The precious liquid is submitted now to the action of the universal fluid, in wide circular plates
where it seems to conceal thick and black dregs. These two fractions of the preliminary phase of
the Great Work should always be made in the season designated by the two animals in the
figures.

P.104 Of this celestial water, more exactly of the precious salt that it retains in solution, the
metalloid acquires its great and new virtue.

Canseliet doesn't mention that the dew collected will have to be harvested at dawn before the
sunrise. However, he says that the illustrations are not placed in order of the works and the fourth
illustration should be followed by the ninth and, like we said, after the dew is collected, it should
be exposed to the lunar radiation.

The suitable process for the fourth illustration is to collect the dew on white cotton sheets placed
on stakes for the reasons mentioned by Wells.
However, Canseliet, describes the dew collection just as we made it on the green cereals or the
grass with a linen towel.

And just as we stated, Canseliet used the dew-extracted salt without specifying if it was in the
second work of the dry way or in the Eagles. We always affirmed that Canseliet followed the dry
way just as he describes it in his book Alchimie Expliquee Sus Ses Texts Clasiques.

There is some that say that the spagyric way practised by Barbault would be the way described in
the Mutus Liber. In our opinion the Barbault' spagyric work is not conform in any way with the
work described in the Mutus Liber. The way described in this last one is not made exclusively
with the dew as you can observe in the seventh illustration and it looks as what we thought, in
agreement with what we read that his author (Altus) would not arrive to the end.

THE DEW
(3)

With the arrival of springtime, it is the favourable weather for us to collect the dew. This time we
have decided to collect it just as in the Mutus Liber's fourth illustration, with white cotton
sheets stretched out and fastened on a wooden stakes, spiked in the soil.

In the afternoon of April 1, at the 19.00h, we placed six 50cm wood stakes in the soil of the
garden in an open place without trees, being only 25cm above the soil. The two sheets measured
1,40 x 2,50m and they were fastened with a piece of little rope on each tip of the stakes as you
can observe in the picture.

The night approached, calm, windless with no clouds and the Moon was already in the first days
of last quarter but it shone in the nocturnal horizon with the starry sky. It was an ideal night for
the collection of the dew.

About half way through the night, we went to verify the "material". The sheets were lightly
wetted and bent and we had to stretch them out again. And, for precaution, we place some cards
underneath the sheets to avoid that they make contact with the soil and be dirtied.
Also we took the time to clean, with a flannel cloth, the roof and the automobile glasses that had
some condensation already.

We got up early at 05.30 AM (me and my wife) and went to pick up the sheets loosening them
off the stakes just aided by the weak light of the public illumination. We took the sheets to the
interior of the house and with a weak light we folded the sheets in four parts and tried to squeeze
them in an enamelled iron basin.

We didn't leave a drop of dew although the sheets were still wet. Then, we unfold the sheets and
folded them again, but this time on the length of the sheets. We squeezed them in small portions
at the time, twisting each one of them in the inverse sense. We felt then some dew drain in the
basin. We continued until we had no more dew draining in the basin and then restarted the same
thing with the other sheet.

We poured the dew picked up in the basin in a small bottle of dark glass of 300ml previously
washed with spring water. We place the bottle inside of a black plastic bag.

By curiosity, we cleaned the automobile roof and glasses with the same flannel cloth still wet.
We squeezed it in the basin and we poured that dew in another 300-ml glass bottle that we also
placed inside of the same black plastic bag.

In the house we noticed that the dew picked up by the sheets was cloudy. What we picked up on
the roof and on the glasses of the automobile was dirty from dusts.

We were completely disappointed with the system because the dew picked up on the sheets
didn't surpass the 200ml. The sheets were still wet but it was not possible to pick up anything
else. To wet the sheets, it would be necessary to have more than 1 litre of water so that, the total
amount of liquid that would be picked up is at least 1,5 litre of which we could only pick up 200
ml. The dew picked up on the automobile was the same amount approximately.

The cloudy dew perhaps is due to the fact that the sheets had not previously been washed with
spring water because we wanted to do the experience with dry sheets.

In this condition and with such a little amount of cloudy dew, we could not evaporate it to see if
we got any salt. We tasted the harvested dew and verified that it was an insipid and scentless
liquid.

For the next time, that is, in the fourth quarter of the full moon, we will make a new experiment
but previously, we will have washed the sheets with spring rain water to see if we collect a larger
amount and verify if it will be limpid and try to extract some salt by a slow evaporation.

Conclusion: Mutus Liber's image # 4 is, at least, fallacious and it gives us the impression that
who drew it never picked up the dew by that process. Whoever verifies the referred plank # 4,
will be under the impression that they will pick up litres of dew as one can observe by the liquid
that is drain off the sheet that the couple is twisting.
We will see what happens next time. Therefore, we hoped that some of you make the same
experiment and share with us the results obtained.

Still in reference to the dew, let us see the comments that Eugne Canseliet does in Basile
Valentine's Fifth Key, in Les Douze Clefs de la Philosophie, Les Editions de Minuit, p 140 and
141:

The universal spirit descends of the celestial spaces in the spring and it comes back in the
autumn.

This circular movement of descention and ascension determines an annual and regular cycle in
which the spirit represents the mediator role among the sky and the earth.

It is more abundant in the germination weather that in the beginning of the summer and it
manifests its activity at night more than in the daytime.

The solar radiation dissipates it, the heat volatilise it, the clouds intercept it, the wind disperses it
and impedes it of fix, but on the contrary, the lunar radiation favours it and exalts it.

On the surface of the earth, it joins to the pure dew water that serves as a vehicle for the
vegetable kingdom and forms with it a salt endowed with a particular acidity.

In the distillation or slow evaporation to the shelter of the light, you can pick up minuscule green
crystals much refringents and having a certain qualitative analogy with the ordinary nitre.

Therefore, the Cosmopolite knows it very well, when he imposes in its treatise the name of
philosophical "salptre" with the double sense of nitre and of the stone salt (Salpetrae).

The incorporation of the spirit, meaning the infiltration through the texture more or less soft of
the minerals, do not imply the need of a previous dissolution nor of its transport in an aqueous
vehicle. On the contrary, it is directly just as it arrives to us from the celestial spaces - under a
form of obscure vibration or of invisible energy - that it can ally itself to the mineralised metals.

This demonstrates certain alchemist's mistake because they have not understood its action and
way, they submit the dew of May - extracted most of the times of the nostoc to metals divided,
precipitated or reduced to powder intangible.

The universal fluid, in spite of your great subtlety would know how to penetrate the metallic
bodies, initially because it has already corporified itself in the dew. Now, because of the density,
the inertia of the reduced metals for the human industry, it constitutes much more obstacles to its
introduction.

If one wants to get their animation, it is indispensable to maintain them perfectly melted as
indicated in this image of the fifth key, the character with the face in flames and handling a
bellows.
 The Mutus Liber
Here is one of alchemy books that has caused many difficulties to students of the Art concerning
the interpretation of its images. Nevertheless erudite alchemists such as Magophon (Pierre
Dujols) and Eugne Canseliet have written commentaries about it.

We have, at least four different editions with commentaries on The Mutus Liber. The Hipotypose
of Magophom, L'Alchimie et son Livre Muet of Eugne Canseliet, Mutus Liber by Jean Laplace
and Comentaires Sur Livre Muet by Serge Hutin; all seek to extract its knowledge.

Of these books, only the first two, in our opinion, are of interest because the last two merely
repeat what was said in the first two, without adding anything of value to the interpretations.

Of the first two, we prefer the comments of Eugne Canseliet because they agree more with
practical alchemy.

Canseliet was a scholar of Greek and Latin as we already know from his other works. In the
commentary on the Mutus Liber he concentrates on theoretical and symbolic explanations,
making references the texts of other authors intercalated with his own explanations. In this case
he moved away considerably (or purposely, who knows,) from the true modus operandi. He
focuses on understanding the plates, not a true and practical interpretation of the images of the
Mutus Liber.

In our opinion, the interpretation key of the Mutus Liber images is in Tablets IV and V. It is not
worth continuing if there is no understanding of their symbolic meaning and the modus operandi,
because without this understanding, it will be completely impossible to interpret the images that
follow these two tablets.

For some years we have tried to understand the symbolism of these two tablets, but sadly without
positive results as we explain:

Tablet IV. The image is very explicit. There is no room for doubt that the image shows us the
collection of dew by way of hemp sheets attached to wood stacks. In the centre of the image a
"cone" is seen representing cosmic radiation. On the left side on top there is the image of the Sun
and on the right side, that of the Moon. It may seem strange to you to see the image of the Sun
when the dew will have obligatorily to be collected before dawn when it is most abundant. This
fact shows perfectly that the light that we receive from our nocturnal star is the solar light
reflected as polarized light.

Pg. 87. Without the intervention of the sky, the work of the man is useless. The trees do not
graft and the grain does not sow in all the stations. Each thing in each time. The philosophical
work is called Celestial Agriculture.

Dew collection will have to be done in the spring, in the months from March to May as shown to
us allegorically by the sheep (Aries) on the left side of the image and the bull (Taurus) on the
right.
Pg. 87: Well them! Yes, the sheep and the bull of the image, on which we will look over
presently, correspond to the two zodiacal signs, that is, in the vernal months during which the
operation, having the purpose to collect the " flower of the sky ", is carried exactly such as it was
designed in this place.

Magophon does not interpret these images as representing the vernal months. Canseliet says that
he does it purposely.

Until here everything seems to agree, but it is not so simple as the image shows us. In this image
we see also a couple of alchemists twisting one of sheets over a wide plain basin to squeeze out
enough dew from the sheet, but the basin is already full.

If you try to collect the dew in the same way that is showed in this tablet and when squeeze the
first sheet of a common size you will see the result. You will obtain little more than a half litre
even on an excellent and propitious night for dew collection!

Therefore, the operation represented by Tablet IV, in our opinion, is fallacious, because by this
method it is completely impossible to collect the hundred litres of dew necessary to extract some
tens grams of salt. Therefore, we started to collect the dew in fields whose grass was as free as
possible of animal excrement and other polluting agents. Near cities, it is completely impossible
these days. Canseliet also seems to be of our opinion, as you will see:

Pg. 87: After much time we operated differently, dragging, of preference, on the green cereals,
the clovers, lucerne and sainfoin, a hemp towel, anticipatorily washed carefully several times in
rainwater. It signifies, surely, that no leach or salt dissolves, no matter how little it is, in the
generous liquor that will be absorbed.

Pg.88. The exercise of twisting the towel after it is soaked to saturation is useless, as
demonstrated by the man and the woman who we saw praying in the Second Tablet.

Pg.89. Under the effect of the heat applied with wisdom, thanks to the subtle nitre, the dew
raises and ennobles all or any salt there is, that nature reserves for the Great Work. In the
company of this couple the saline alloy, the condensation easily supports the action of the fire
and without loss

Canseliet is very clear when he says that the dew ennobles any salt, mainly the "saline couple"
(melting) used in the antimony dry way.

We believe that there is no doubt about that in Tablet IV, Altus pictographically describes the
dew collection process by means of hemp sheets attached on stacks, but we saw that, for this
process, so many sheets would be necessary to collect enough dew what it would be impractical.

One has suggested more expeditious methods to collect dew, as by means of devices that extract
humidity from the air, etc. We must remember, however, that the celestial moisture never can
have contact with metallic objects.
Canseliet says on pg.103 Tablet IX would logically follow Tablet IV. We would agree with the
Master, because we know that after the dew is collected, it has to be exposed to lunar radiation,
so that it is charged with the greatest amount of astral fluid possible. But in this image there is a
small problem. In the lower part on the left side you can see that the woman is pouring out the
contents of a great plate into a vase that she delivers to a person who seems to represent
Mercury.

However, if this Tablet was to follow to Tablet IV, the woman would not pour out the contents
of the plate that would contain the raw dew into the vase: she would deliver the plate to the
husband so that they could both pour the contents into the great cucurbit to be distilled as we see
in Tablet V. This seems, to us, to be obvious.

Tablet V: We see the couple pouring the full dew basin into the alembic cucurbit that, judging
by the size of the oven, will have to contain more than twenty of litres of dew. Then a suitable
helm is put into place and we see the dew distilled in a container that is almost full. The fire in
the oven used in this operation is an alive fire.

Let us review, for a moment, this delicate operation of dew distillation.

Pg 91. The fifth image shows us the laboratory, where we recognize our two dew collectors,
who have now poured the provision of the great plate of the preceding scene into the cucurbit.
This fast chaining of the work proclaims that it is necessary to use, in all its freshness, the liquid
that in regard we filter immediately and carefully.

We are here in the presence of the ever so secret distillation that we see expressed without
reservation, the several manipulations of the indefatigable work. They show them to us how, with
reason, the distillatory (alembic) still was assigned under the rosary name.

Then, in the dew distillation shown in Tablet V we find a contradiction between the images and
reality. Canseliet refers to the "secret distillation" and that there is a reason to refer to the alembic
as a rosary.

But, before that, the Master says that it is necessary use it in all its freshness, filtering it only.

This is not the way that we learned in the Solazaref Filtration, or in the writings published by that
Filiation that, as far as we are concerned, is not without reason.

The dew that has been recently collected will have carefully been filtered of all its vegetal
impurities that pollute it but will still presents a tea-like colour, having in suspension
microscopic particles of vegetal matter.

The test for these particles is to leave some dew to rest for a few days in a 20-litre glass bottle in
the basement it will putrefy and exhale a nauseating smell. Only after that dew putrefaction can it
be transfused by siphoning and filtration. Then it can be distilled, still sheltered from the light.
This is the secret distillation that Canseliet refers to, but he does it without first putrefying the
dew.

Why does Canseliet say that the distillatory (alembic) was designed to be known as a rosary?
Here is a very interesting symbolic comparison that only a few will comprehend has an actual,
practical meaning.

The rosary it is constituted for small spheres, not unlike the drops that fall from the beak of the
alembic to the receiver. In any distillation that happens, but here, because of the symbolism, in
our opinion, it is quite unique.

The dew distillation is made in the absence of solar light at low temperature, no greater than
60C, and each drop will have to fall into the receiver at intervals close to the time that it takes to
pray an Ave Maria! Solazaref make reference to this in his writings about dew distillation.

Having said this, if we observe Tablet V, we will see that the dew distillation was made with a
hot fire, that is, beyond the recommended 60C! Here it is, therefore, the first contradiction
between the allegory and the practice.

But there are more. One knows that the dew contains a subtle salt (ammonium nitrite) but as
soon as this salt is put into contact with the solar light, even indirectly, the nitrite of the salt is
changed into ammonium nitrate, which is not a volatile salt.

In the central image we see the woman removing from the cucurbit, with a wooden spoon, a
substance that is placed into a glass bottle. There are four symbols that Canseliet uses for
"coagulation symbols". Later it is delivered to a person who catches in the lap, with the left hand,
a child that has the lunar symbol printed on the left side of its chest.

Canseliet says to us that is Vulcanus, but without much certainty apparently.

But it is not this that intrigues us, as we will see. Whoever has done dew distillation knows that
after distillation there remains in the cucurbit a caput from which a salt can be extracted by
calcinations that is identical to the dew was previously putrefied. Let us imagine that the dew
was collected by sheets. That caput would be an ammonium nitrate that the woman delivered in
the bottle to the person described above.
In these circumstances, what passes into the receiving flask after the dew is distilled? A limpid
water without any salt, because the nitrate is not volatile and does not pass in the distillation.

If the dew had two distinct salts, one volatile and the other fixed, this second distillation would
have produced it. But we know from experience that the dew contains only one salt, that is, the
ammonium nitrite that inevitably will be changed into nitrate if exposed, even indirectly to the
sun and this is not a volatile salt.

Then, in the bottom part of the image we see the man pour the contents of the container filled
with the product of the first distillation (dew distilled already without salt) in four vases with
covers. These are placed in an oven for coagulation (of what?), which, later, in Tablet VI, is
poured into another alembic, and he proceeds to another distillation whose caput is a substance
assigned with a flower.

For the reasons pointed out above, we ask: what is the source this matter represented by a flower
if the salt proceeding from the dew already was in the cucurbit in the first distillation?

We stop here because we cannot find a logical answer that makes the system clear. No one, not
even the erudite Canseliet, was able to give this work a credible explanation.

Therefore, in our opinion, and in the face of concrete facts about the modus operandi of
collection and distillation of dew, which we have done several times, we are forced to doubt the
method described symbolically in the Mutus Liber of Altus.

We would be grateful if anyone who can explain the modus operandi of the V and VI Tablets
would do so. We would be thankful that if it could be done, because we and other brothers will
benefit but as we have said, in the face of demonstrated facts, we are absolutely convinced that
the Mutus Liber will remain Mutus ad eternum!
First Tablet of Abraham the Jew

The interpretation of alchemical imagery is not an easy task, and each interpretation we make is
often somewhat novel to ourselves. The Planche Premire (The First Tablet) of A. the Jew is not
difficult to unravel it if you know the Flamel Work's materials and modus operandi. The
following tablets are not easily understand concerning the modus operandi aspect.

The Flamel method is a mixed or amalgam path, so, the old man seizing a scythe symbolically
means Saturn as in the First Key of Basil Valentine. Saturn as all alchemists know is not a
mineral or volatile metal, therefore this old "winged" man cannot be Saturn because his wings
mean that he can "fly" therefore it will be a metal or volatile mineral.

Flamel uses the term Saturnie not Saturn. Saturnie in Flamel's work is the antimony regulus. As
any alchemist knows antimony regulus is a volatile metal, in other words it can be sublimated.
So the old winged man symbolizes not Saturn but the antimony regulus.

Now, the winged old man trying to cut the feet of Mercury - this refers to "cutting" the
quicksilver volatile. How?
With due precautions in a small stainless steel bowl try amalgamating the powdered antimony
regulus with quicksilver. Never! Not if you had the help of a Volcano could do it!

Then, how can the old winged man cut Mercuries feet? He can only do it with the help of the red
sand in the sand clock that he has over his head. The sand in the image is red, and on the clock's
right side you can see the two spagyric symbols of sand or powder. The red powder is the "key"
to amalgamate the powdered antimony regulus and the mercury; this is the Sun or gold.

This is the first part of the Flamel work: make a solar regulus and after it has been powdered
amalgamate this with mercury and distil it in a stainless steel dismountable retort.

I have described it in clear language because the Master has done it in his book also.

Flamel, in the Testament, does not refer to time, seasons, or other thing like this. At least I do not
remember seeing anything like that.

Fourth Tablet of Abraham the Jew

The main subject of this tablet is a crucified snake. The snake as you know is an animal cold and
poisonous. So, its alchemical symbolism will refer to a mineral or a metal cold and poisonous
too.

Why was snake the crucified?

On the left side crucifix arm where the snake is nailed and on right side of the nail you can see
the spagyric symbol of the Mars.

On the right side arm and on right side of the nail you can see a symbol like a number 8. Here,
this symbol makes no sense alchemicaly. We see it with a magnifying glass and it is a
cruciferous globe badly defined.

Then what meaning, symbolically, has the snake?

It is easily understand because of the two spagyric symbols: Mars and the Globe cruciferous.
Indeed the snake is Saturnie as it was called by Flamel in the Testament, and it is cold and
poisonous like a snake.

Why, then, was Saturnie crucified? It was crucified (dead) in order to make the philosophical
amalgam.

Next. On top of the crucifix we see the spagyric symbol of the Sun and in the centre - Mercury.
They, with Saturnie together, are the philosophical amalgam that will be later distilled.

But there is more. Look at the bottom of the crucifix. What do you see? The Moon and amalgam
(the small circles as you can see in illustration p209 in L'Alchimie de Flamel) spagyric symbols!

Alchemicaly the cross or crucifix can symbolize two things: a crucible or death (putrefaction of
the composite).

Here the crucifix means symbologicaly the death of the composite (philosophical amalgam), the
Sun or Moon (sulphur) and the Mercury.

Male and female, this is the Androgynynous!

Illustration from L'Alchimie de Flamel, Editions Savary, 42 rue Barbs, 11000 Carcassonne,
France.
 To Follow the Nature
If you look at this beautiful picture from Michael Maier's Atalanta Fugiens, you will begin by
noticing a woman wandering through the night, leaving her footprints behind on the sand. She
carries a bunch of flowers on her right hand and several fruits on her left.

Following on her footsteps, we see an old man holding a staff in his right hand. On his left, a lit
torch. On the top left corner, we can also see the waning moon.

The symbolism one can find here is highly remarkable from an alchemical perspective.

The old man alone with his spectacles seems to tell us, as did Basil Valentine at the end of his
First Key:

"Because, truly, if by now you haven't seen the light in my words, there are no spectacles that
might assist you, or natural eyes to guide you, so that you may find in the end what you missed
in the beginning"

This actually means that spectacles (i.e. observation) are needed in order to follow Nature.

Eugne Canseliet, in L'Alchimie Explique Sur Ses Textes Classiques, page 26, says:

"Apothegm that clearly shows that following Nature is not as easy as one might believe, because
one actually needs a staff, spectacles and a torch. These are the essential objects so that our
footsteps may exactly match the moonlit footprints on the sand."

The lunar influence is highly noticeable on some alchemical operations, especially along the
whole work of the dry path of the antimony, and mostly in its first operations.
This influence may be seen not only here but also on the wet path, mostly during the
deliquescence of the salts of the secret fire, as well as while collecting the dew.

How, then, must one follow Nature on the course of our alchemical efforts? Here is a good
subject for meditation.

Cyliany briefly mentions this question on his Hermes Devoile. It is much more deeply discussed
on a little treatise by an anonymous author, the Deux Traits Alchimiques Du XIX Sicle,
Recreations Hermetiques, page 241:

"Nowadays, everyone knows that the moon light is but a reflex of the Sun's light, with other
astral bodies' lights mixed in. Consequently, the moon is like a recipient, or the common fire
mentioned by all philosophers: the source of their living water. Therefore, if you would like to
turn the sunbeams into water, choose the moment when the moon reflects them in full, i.e., as
soon as it reaches its fullest aspect. By this mean, you will have the igneous water from the sun
and the moon's beams in its greatest strength. Nevertheless, there are some essential
requirements without which your water wouldn't differ from pale and useless water. Also be
aware that there is a proper time to collect these astral spirits. That is the time when Nature
regenerates itself and the atmosphere is filled with the universal spirit."

"One can begin to work right after sunset, and continue all night long. But one must stop as soon
as the sun rises, because its light dispels the spirit, and only useless phlegm would remain. All
philosophers have so far kept these things most secret, speaking only through veil and allegory in
a most obscure manner."

So, brothers, here it is, a brief description of Natures subtle energies. It far from exhausts this
subject.

We have read these little treatises many and countless times. Nevertheless, we havent so far
fully understood how to actually follow Nature on alchemical operations, so much more on the
work this artist describes.

Perhaps one day we will have the "intuition" required for lifting the veil and seeing the light.

We strongly recommend you to read this little treatise from which your practical operations will
surely and highly benefit, as long as you can find the matters and the Nature's forces of its modus
operandi.

ALCHEMICAL SYMBOLISM
First Illustration of Speculum Veritatis
By
Eirenaeus Philalethes
Alchemy has always shown a very special fascination to people. At present, the new generation
shows great curiosity and interest for this almost forgotten "science."

There have always existed individuals that penetrate the legendary and the strange, they venture
to cross the entrance of the labyrinth that is alchemy.

Today, alchemy cohabits peacefully with science and it is not rare to see learned individuals in
the branches of science, medicine and letters, who practice the Real Art.

There has been much writing about the alchemical symbolism found in cathedrals, palaces and
even seigniorial houses. It is a fascinating work to try to unmask the secret contained in those
figures sculpted in the stone by our ancestor artists, as testimony of their involvement in Hermes
"science".

In the symbolism of alchemy, so far as we know, fixed rules don't exist. Everything was, and still
is, left to the authors' imagination and their creativity. This often gives motive to "philosophical"
speculations that, in general, have nothing to do with the reality of alchemy.

We said that, in alchemy, there are no fixed rules in its symbolism but, in respect to descriptive
and practical alchemy, the old Masters used, frequently, a figurative language, almost always
based on the Indo-European mythology, that can be interpreted by one who has the necessary
knowledge, and verifies the results obtained in the described operations. Thus, it can be
concluded with some certainty, which chemical substances, metals or minerals enter in those
operations and the modus operandi.

To illustrate this conclusion, we will analyze syntactically what Philalethes author of Speculum
Veritatis wanted to transmit to us, allegorically, in the First Illustration of this treatise.

On the left side of the illustration we see a Wolf eating a young warrior, dropped to earth, with
armour and helmet, holding a sword in the right hand. We see a tree covered with foliage. In the
centre, another warrior, on foot, older and bearded, with a crippled leg, armour and helmet,
holding in his right hand a blazing object that symbolizes fiery (burned) power (principle) and, in
the left hand, a cruciferous Globe with a Star in the centre.

Above this globe, among the clouds, a Sheep has a Star marking on the shoulder, aimed at the
globe. On the right side, there are two old men (alchemists) one of them receiving in his hands
the cruciferous Globe, from the warrior. The other old man is attentively observing.

The symbolism is clear. The sagacious investigator and expert, easily can verify that this is an
allegorical representation of the Philalethes First Work, dry Way that is to say, the Separation
and Purifications, with a view to the obtaining of the starry martial Regulus as we will see later.
But, so that there is not any doubt, we will explain in detail.

The Wolf represents, allegorically, the mineral Subject, also known as the black Dragon,
Saturns son or royal "Saturnie". Basil Valentine, in the First key of its book The Twelve Keys of
the Philosophy, refers to this grizzly hungry Wolf that eats every metal. Christophle Glaser also
mentions it in its Chemistry Treatise. The warrior, that the wolf is to devour with the help of
Volcano, God of fire, here represented by the older crippled warrior, symbolizes Mars.

The cruciferous globe, that Volcano holds in the left hand and is to give to one of the old
alchemists, is the symbol of the earth or of the mineral subject, that the artist has to seek and to
identify to begin the work. The star that we see in the centre of the globe symbolizes the starry
martial regulus, proceeding from the separation and succeeding purifications, done by the fire
and for the salt. Under the cruciferous globe a stream runs, which symbolizes our living water,
that is to say the Mercury, that will be animated later.

The Sheep or Aries symbolizes, astrologically, the favourable season for the beginning of the
works, also clearly identified by the foliage of the tree. Besides, the metallic correspondence of
Aries is the same as Mars, the same generator of the starry sign of the martial regulus, that attests
to this canonical operation.

The old alchemists utilized the fact that the astrological signs and the planets have their
correspondence with the respective metals. Besides, a profusion of sparygical symbols exists, not
always in agreement that makes the task of the investigator of the Hermes Art more difficult.

(Speculum Veritatis, XVII Century, Apostolic Vatican Library, Cod. Lat. 7286 folio 2)

The result of this alchemical operation symbologicaly described is the martial regulus that you
will can to see in the image: Martial Regulus (dwregulus).

In A Grande Obra Alqumica, Rubellus Petrinus, Hugin Editores, Lda, Lisboa, 1997.
 Mercurius of Mercury
Eugne Canseliet, L'Alchimie Explique Sur Ses Textes Classiques, Table 1, Preliminary
Considerations, p 23.

The Mercury of Mercury - Mercurius of Mercury he stands on a sphere with his head covered
with a crown overlapped with the astrological metallic sign signifying at the same time the planet
and mercury; his wings are open and his arms are horizontally extended.

The main personage of this image is a winged and crowned naked young man standing on a
globe.

Above his head he has a crown and, above this, the spagyrical symbol of mercury, on each of his
hands, he is holding a caduceus.

On the side of each caduceus, we can see a bird like a crow that symbolically represents the
Putrefaction.

But, the most significant in this image are the spagyrical symbols that the winged and crowned
young messenger of Gods that only "per se" represents the philosophical mercury, has inscribed.
In the chest, in first plan, the symbol of the Sun is seen that represents the philosophical sulphur.
In the centre of the solar symbol is another complex symbol composed of two important and very
enlightening symbols for an experienced alchemist and expert on Philalethes and Flamel path.

The base of this symbol represents a cruciferous globe or either, the spagyrical symbol of our
mineral, that by means of the metal, whose symbol is projected for the high one are transformed
in the Satrnia of Flamel that, with the king star will form the solar regulus.

On the extremities of the horizontal line that forms the cross of the cruciferous globe two similar
symbols are seen that we arent able to distinguish, seeming to us to be the spagyrical symbol of
the ammonia salt. Alchemically it does not seem to have any practical sense if the one wasnt the
ammonia salt and the other the nitre or then the sand symbols or the metallic fillings.

The solar regulus, together with the quicksilver whose spagyrical symbol which can be found
over the crown of young mercury, will form the philosophical amalgam that later will be distilled
nine times as Philalethes describes in the Open Entrance to the Closed Palace of King and
Flamel in the Breviary or Will Last Testament.

This philosophical mercury represented by the winged and crowned young, cooked "per se" in a
"philosophical egg", or with the Sun in the suitable fire regimes, allows thus, the materialisation
of the Work.

In our humble opinion, this is the symbolical representation of the First Tablet of L'Alchimie
Explique Sur Ses Textes Classiques, Eugne Canseliet.
 ALCHEMICAL SYMBOLOGY
Here is an interesting subject to reflect about in alchemical symbology. The First Tablet of
Abraham the Jew that we had already commented previously.

Le Livre Des Figures Hieroglyphiques, Flamel, Retz, Paris, p. 74: On the inside pages of the
book, its leaves had been engraved with great care, writings with an iron burin, in beautiful and
very clear coloured Latin letters.

P.77: First, in the fourth Tablet he painted a young Man with wings at his heels, holding a rod
(caduceus) in the hand, with two Snakes around it. A Helmet is covering his head. In my opinion
he symbolizes the God Mercury of the Heathen ones. Coming fast towards him, and flying with
open wings, we see a large Old man with a clock on his head. In his hands he is holding a scythe
as does Death, terrible and furious he wants to cut the feet of Mercury.

However, as Flamel relates in the text, the image would be coloured as the one that was
published by Molinier.

In the coloured image there is a very important detail. Inthe clock that "winged" Saturn has
placed on his head, there is red sand. Spagyricaly a symbol that very well can symbolize gold.
Given the path referred to, the gold-dust is means by which Saturn (Saturnie) will be able to cut
the feet of Mercury.

If you verify the black and white image, the winged Saturn has not the wings placed on his
shoulders but on his head, which symbolically represents the same thing. We also see below a
dragon which confirms the symbology of winged Saturn as not representing Saturn but, as
Flamel says, and we have previously relate this in the explanation of this Tablet, is the Saturnie
that is completely different. From the black and white image of the German source, published in
Uraltes Chymiches, Werk, Leipzing, 1760, there is at the lower part of the image a dragon that
the coloured Tablet does not show.

In our opinion, in this image, there is a lack of the symbolic representation with which the
Saturnie will be able to cut the feet of Mercury that is the amalgam with the Mercury.

In summarizing, which of the images deserves our greater confidence? We dont know this
exactly because we dont know the original images of the book of Abraham the Jew.

It is this that cause and will continue to cause students of alchemy greater confusions, because
each artist represents the alchemical symbolism according to his understanding.

Fortunately, for us, who know the modus operandi of the path of Flamel, that Saturn represented
in these Tablets with wings never could be Saturn but Saturnie that is a mineral completely
different and that, for having been represented with wings, is volatile and has the property to
purge the gold, such as was described in the First Key of the Twelve Keys of Basil Valentine.

To be able "to cut" the feet of Mercury, the Saturnie will have to be first melted with the Sun or
Moon and after, yes, it will be able to cut the feet of Mercury (amalgamated) with the young
winged messenger of the Gods.
 ALCHEMICAL SYMBOLOGY
In our comment on the First Key of Basil Valentine in our URL
http://www.tpissarro.com/alquimia/bvkey1-p.htm at the text of the explanation of the First Key
says the following:

If you would operate by means of our bodies, take a fierce grey wolf, which, though on account
of its name it be subject to the sway of warlike Mars, is by birth the offspring of ancient Saturn,
and is found in the valleys and mountains of the world, where he roams savage with hunger.
Cast to him the body of the King, and when he has devoured it, burn him entirely in a great fire.
By this process the King will be liberated; and when it has been performed thrice the Lion has
overcome the wolf, and will find nothing to devour in him. Thus our Body has been rendered fit
for first stage of our work.

If you observe the image that is illustrated in the First Key, you will see that it shows a King and
a Queen. Adjacent to the King we see a Wolf jumping over a crucible, and adjacent to the
Queen, we see Saturn handling a scythe with a cupel between his legs.

Accept it or not, the symbolism is clear. The image symbolically shows us the purification of
gold and silver. The Gold purification is achieved by antimony, represented by the grey Wolf,
and silver by Saturn in a cupel. This procedure is known since the antiquity. This image, as we
said, does not agree with the text of the book.

We made that comment in our book Le Grand Oeuvre Alchimique, Editions Arcadis, and we
don't know what were the criteria of the artist, who ordered the engravings; therefore we know
they were added later on.

Meanwhile, accidentally, seeing an alchemical symbology book, we found this image that
exactly represents what Basil Valentine wanted to explain symbolically in the First Key, that is,
the purification of gold.

This image was copied from M. Maiers book, Atalanta Fugiens, Oppenheim, 1618.

Notice well, that in the image, we see a hungry Wolf eating a crowned King (which here
represents the noble metal) fallen on land.

The text of the First Key of Basil Valentine says: Cast to him the body of the King, and when he
has devoured it, burn him entirely in a great fire. By this process the King will be liberated.

It is exactly this that we see in the figure, a wolf in a fire is being burnt, and a freed King is
leaving running away, which corresponds to the spagyrical reality of this operation of the gold
purification by antimony, such as is related by Glaser, Lemery and others.

In the background, we see a palace surrounded by a river. Symbolically this would represent the
wet path, but as we are unsure of which path M. Maier describes in his book Atalanta Fugiens,
we will not be able to advance further.
The Lapidus book that we have, In Pursuit of Gold, does not have all the images of the Atlanta
Fugiens, nor the text because we were unaware of the existence of this image. If we had read the
book, probably we would know the path that he describes.

Of one thing about which we could be right is that this image symbolizes very well the
purification of gold by the grey Wolf!

THE TWELVE KEYS OF BASIL VALENTINE

(First Key)

Before you begin we would like to tell you that the best known figures of the Twelve Keys were
published in the book Les Douze Clefs de la Philosophie, Les ditions de Minuit, Paris 1956,
translated and commented by Eugne Canseliet.

These prints would be etched in copper and are newer because there are other more ancient
etched in wood "woocuts" probably the 1602 Edition.

Basil Valentine as Philalethes, is one of the most controversial alchemists and your work
described in the Twelve Keys is more difficult to interpret. It has been speculated a lot about your
interpretation not only from the point of view but also operating on the alchemical your symbolic
meaning. "Each head your sentence". This applies perfectly to the interpretation of alchemical
symbolism.

We studied for years these figures based in Dictionaire of A.J. Pernety, Arche Milano, 1980 and
Thories et des Alchimistes Hazard of Albert Poisson, ditions Traditionnelles, Paris, 1981, as
well as the related texts never get out of the labyrinth. Why? Because after an exhaustive study,
we found that the text of the figures, in our opinion, is not in accordance with the pictorial
representation. It's been years and try to realize your's symbolic meaning across to the operative
we'd always always a dead end.
So, to be able to convey our opinion on your interpretation nothing better to describe the
essential part of the text of the first key.

In the engraving of the first key to see if a King and a Queen, standing with the King in his left
hand a sceptre and the Queen holding, too, on your left hand a branch with three flowers.

King-side, below, is a Wolf jumping over a crucible placed in an oven with fire alive. Beside the
Queen, see Saturn represented by a bearded old man with a wooden leg wielding a scythe.
Beneath Saturn sees a lit oven, with a Cup and a large metallic button.

The commentary to the first figure made by Eugne Canseliet is the following:

'The King and Queen of the work, that is, gold and silver, philosophical espagiricamente
designated by the Wolf and the large metal button on the Cup. This and the crucible in the
flames, clearly indicate the dry, which represents a big role the secret fire ...

Not surprised us the comment of Mr. Canseliet because we know well what was seen that this
great master and scholar of our art practiced and described in your book L ' Alchimie Explain Sur
Ses Textes Classiques, Paris Jean-Jacques Pauvert Full, Paris, 1972

There is a very special trend (that is inherent in the human being) of an alchemist always try to
adapt the description of any work that you know and practiced. We saw the trend of Mr. Simn
h. to do a comparison of your work with the Philalethes although they, in our opinion, are
completely distinct. Also Mr. Canseliet has the same way and not only.

If we take literally the explanation of Mr. Canseliet could follow the same path. But, the reality is
quite different although the pictorial representation in the show, in part, that our subject of dry
mineral is present in figure, by jumping over a crucible in the flames.

Those who know well the dry as we know it, you can see that in figure the metallic Acolyte
would allow Separation. Not Saturn or the Queen would not be in the composition of amalgam in
Philalethes. It was precisely for this reason that we rejected the interpretation by the dry method.

Albert Poisson in your book theory and symbols of the Alchemists, 87 page says:

Gold and silver purified constitute the matter away from the stone. The sulfur is extracted gold,
mercury, silver being the next matter.

Reporting us, now, to the text of the first key in their essential parts:

'You know my friend that all imperfect things are unfit for our work, because your leprosy
cannot produce anything good, the good is prevented by the unclean.

All the goods for sale, extracted from the mines worth each your price, but soon they are faked
become unfit. They are, in fact, changed under a false brightness and are no longer, as before,
convenient to our work.
As the doctor, by means of its medicines, purge and clean the inside of the body, where'd he get
the dirt, the same way our bodies should be washed and purged of all your impurities so that, for
our generation, the purification is achieved. Our Masters sought a pure body, without blemish,
that wasn't changed by any stain or mixture. Indeed, the addition of weird things is the leprosy of
our metals.

The King's DIAdem is pure gold and the caste bride to be United in marriage.

So, Yes, if you're going to work with our bodies, take the gray wolf very eager that examination
of your name, is subject to the warlike Mars, but, for your breed of birth, is the son of the old
Saturn, and that, in the valleys and mountains of the world, is prey of hunger's most violent.
Throw him the King's body, so that it receives your livelihood and, once you have devoured the
King makes a strong fire and throw him the Wolf to consume entirely so the King will be
released. When it does three times, the lion will triumph of the Wolf and you won't find anything
else to eat him. And thus our body will be ready for the beginning of our Work.

You know that only this via direct and true is to purge our bodies. Because the lion purifies the
blood of the Wolf and your blood dye joins admirably to Lion dye, as the blood of the two are
mutually linked by a certain kinship affinity.

But, my friend, predicts diligently, so that the source of the life to be found pure and clear. No
strange water should be mixed.

The King runs through six cities of the celestial firmament and fixed your residence in the
seventh, because the King's Palace, in your place, it's ornate gold tapestry.

However, if you understand what I said, so, through this franqueaste the key obstacle of the bolt.
Because, if you don't get it really still the light of my words, no glass glasses that you receive, or
natural eyes to help you, so that you find in the end what you missed at first ...

Taking into account what it says and Albert Poisson and Canseliet even in the face of the images
of the figure, all lead us to the conclusion that the King represents gold which will be purified by
the Wolf and the Queen, silver, purified by Saturn in the Cup, as can be seen by the metal button.
This process of purification of the two precious metals was very unusual at that time.

This was a possible interpretation that, at first sight, seemed to us the most appropriate and for a
long time the accepted although with reservation.

But if you read carefully the text of the key, you will see that the Master does not make any
reference to the purification of the Queen. He refers only to the purification of the King, and
hence our doubt.

Never willingly accepted the comments made by the translator and commentator Mr. Canseliet,
author of several books about our art, that much respect for your scholarship, why not fit the text
as we have said and we thought very strange he wouldn't do this repair.
Later, we acquired one of the last books published of Basil Valentine, Le Dernier Testament,
Retz, Paris, 1977. As the title indicates, this was probably one of the last, if not the last Dungeon
Master's Guide, and maybe that's why, one of the most generous and open.

In that book, we confirmed our doubt because the Master describes in clear language some of the
keys of your book The Twelve Keys of philosophy which, in the original, as we have seen, are
described in symbolic language.

Let's see, then, what can you tell us the Master at last will and Testament on the first key on page
215:

The first key teaches you find, if you want, your seed in a metallic substance or that is gold.

The purification of gold is made in a way that is, well, very thin and then leaked and passed three
times by the antimony, which then the King passed through the antimony, seated and landed on
the bottom, be recast before being blown the fire too strong and then purified by Saturn.

Then, you will find the most splendid gold, more beautiful and more highly brilliant that you can
wish for, similar to clear sun shining and of very pleasant aspect ...

The text is clear and leaves no even place the questions. Only the King, (gold) and only the King,
is purified by antimony or Grey Wolf (the Wolf by jumping over the Crucible), and then passed
the Cup through Saturn (the old man with a wooden leg wielding a scythe), having under a Cup
with a purified gold metallic button as shown in the figure.

As the key text, Saturn is the seventh city in the celestial firmament (seventh alchemical planet).
The Wolf represents symbolically the antimony and Saturn lead.

The old masters, when referred to the respective mineral antimony wanted indicate, namely,
natural antimony sulfide or stibnite. To distinguish the metal mineral designated the latter by
Regulus of antimony.

Let's see, now, how was purged the gold by the artists of the 17th century, as described in the
Trait De La Chymie of Christophle Glaser, ordinary of the King of France apothecary, in 1667,
page 84:

The purification of gold by antimony. The best purification of gold is that it's done by
antimony; the lead just destroys imperfect metals and silver with the gold; Let cement often
impure gold and still eat a small portion; the inquarto not always proof of purity of gold, can
ensure that the gold through the antimony is entirely purged and released from all uncleanness,
because there is no gold you can resist this devouring Wolf.

Take an ounce of gold, as jewelers the employ, put it in a crucible, a fire burning coals between
the wind, and it gets red, put, four ounces of fine antimony powder, which will blow immediately
and will devour while gold, which, otherwise, it is difficult to merge, because of your
composition too perfect. Now it's all melted like water and the story sparkles, is a sign that the
action of antimony destroyed the impurities of gold and, therefore, it is necessary to leave it a
little on the stove and then pour it promptly in a steel Cornett has been previously heated and
greased with a little oil.

As soon as the matter is leaked inside, we must at the same time hit with a tenacious in corneto,
to bring down the Regulus.

After the matter cool down, you need to separate the Regulus of slag, weigh it and then put it in a
crucible to blow it by lying, little by little, double your weight of saltpeter; cover the pot with the
lid, so that the coal cannot and, giving a strong fire, the saltpetre will consume all antimony that
still remains.

The gold is melted at the bottom, beautiful and pure. Leak on a Cornett or leave will be cool in
the Crucible, which will be required from then to separate the gold from the salts

It seems to us that it doesn't take much understood in metallurgy to understand this operation of
purification of the King or gold by antimony, and therefore needs no comment.

To finalize the commentary to the first key, come on, then, to sum up: the purification of gold
(King), it is a crucible of fireclay, a gas oven, through the natural sulfide of antimony (stibnite)
powder, the ancient alchemists called Grey Wolf starving (because it devours all metals),
merging it with the gold. After casting out a steel Cornett previously greased with oil. Separates
the Regulus solar das slag and lies down, after ground, in a crucible with twice your weight of
saltpeter. A very strong fire and merges the Regulus with saltpeter to consume what's left of
antimony.

Finally, purifies the gold in a Cup, through Saturn (lead). Left in a cup of very pure gold button.

Fits then ask: what is the role of the Queen in this key if the master says that only the King and
only the King (gold) is purified by antimony and then passed by the Cup?

Oddly enough none. So why your presence in Figure?

The explanation that the text has been made deliberately in clear language. In Alchemy it is not
usual to do it but if master did charitably in the last will and Testament, why not do it too?

In figure the second key colors, in addition to the symbolic representation, you may view the
correspondence with the real materials. In the description of the third key, we tell you why the
symbolism of the images do not match the text.
 THE DRAY PATH
Mineral subject. Philosopher Dwelligns, Fulcanelli, Lisbon, Editions 70, 1965, p 142and 143.

Its traditional name, the stone of the philosophers, is descriptive enough of the body to serve as
a useful basis for its identification. It is, indeed, genuinely a stone, for, out of the mine, it shows
the external characteristics common to all ores. It is the chaos of the sages, in which the four
elements are contained, but in a confused, disorganised manner...

It is still called black dragon covered with scales, venomous serpent, daughter of Saturn, and
"the most beloved of its children." This primal substance has seen its evolution interrupted by the
interposition and penetration of filthy combustible sulphur, which coats its pure mercury, holds it
back, and coagulates it. And, though it is entirely volatile, this primitive mercury, materialized by
the drying action of the arsenical sulphur, takes the shape of a solid, black, dense, fibrous, brittle,
crushable mass rendered, by its lack of utility, vile, abject, and despicable in the eyes of man.
Yet, in this subject poor relative of the metal family - the enlightened artist finds everything that
he needs to begin and perfect his Great Work, since it is present, say the authors, at the
beginning, the middle, and the end of the Work...

For this reason they symbolically depicted their matter in its first being as the image of the word
which contained in itself the materials of our hermetic globe, or microcosm, assembled without
order, without form, without rhythm or measure...

Our globe, reflection and mirror of the macrocosm, is therefore nothing but a small part of the
primordial Chaos, destined by divine will for elementary renewal in the three kingdoms, but
which sets of mysterious circumstances has oriented and directed toward the mineral kingdom...

The philosophical matter is therefore of mineral and metallic origin. Hence, one must only seek
it in the mineral and metallic root, which says Basile Valentine in the book, the Twelve Keys'
book, (designated by gray Wolf) was reserved by the Creator and destined only for regeneration
of metals.

Sulphur. P148. This spiritual fire, given form and materialized in salt, is the hidden sulphur,
since during the operation it is never made manifest or perceptible to our eyes. And yet this
sulphur, as invisible as it may be, is not an ingenious abstraction or a doctrine stratagem. we
know how to isolate it, how to extract it from the body that conceals it, by an occult means and in
the appearance of a dry powder which, when it is in that state, becomes improper and without
effect for the philosophers art.

This pure fire, is of the same essence than that of the specific gold' sulphur, but less digested, it
is, on the contrary, more abundant than the one of the precious metal. It is for this that it joins
more easily to the imperfect minerals' mercury. Philalethes assures us that it meets hidden in the
womb of Aries, or lamb, constellation that the Sun travels though in the April month. Finally,
that hidden within itself is the magic steel that has ostensibly in its shield the image of the
hermetic seal, star of six rays.

It is therefore in this very common matter, that appears to us to be of simple use, that we should
seek the mysterious solar fire, subtle salt and spiritual sulphur, celestial light diffuse in the
darkness of the body, without which we can do nothing nor replace anything...

Open Entrance to the Closed Palace of the King, Global Ground,S. Paulo, p 34.

Then, further seeking this active sulphur, the magicians found it deeply hidden in the Aries'
house. The son of Saturn accepted it with avidity, being itself a pure metallic matter, very soft
and being close to the first being of metals, completely lacking of the actual sulphur but capable
to receive the sulphur. For that reason, it attracts it to itself as a magnet, absorbs and hides it in
its bowels. And to perfect this work, the almighty imprints on it his royal seal...

Separation. P 22. To make it less difficulty, read carefully what proceeds: take four parts of
our igneous Dragon that hides in his bowels the magic Steel, and nine parts of our Magnet; mix
them together with the help of the torrid Volcano so that they form a mineral water where will
swim a scum that should be rejected. Leave the crust and take the nucleus, purge it three times
with the fire and the salt, which will be made easily if Saturn contemplated its own beauty in the
Mirror of Mars.

Regulus. P 14. And as soon as you see its star, follow it to its cradle; there you will see a
beautiful infant, by separating him from his impurities. Honour this Royal off-spring, open your
treasure to offer him gold; and after his death, he will give you of his meat and of his blood, a
supreme medicine for the three kingdoms of earth.

The sagacious investigator with some knowledge of the Art will easily understand the symbolism
because Fulcanelli as much as Philalethes were extremely charitable in the description of the
mineral Subject's principal characteristics as also to its metallic Acolyte.
We summarised to the minimum the modus operandi because our intention was to describe
symbolically the matters of the dry way up to the Starry Martial Regulus.

The Dry way was described up to the final Remora coccion in the Canseliet's book, Fulcanelli's
disciple, L'Alchimie Explique Sur Ses Textes Classiques, A Paris Chez Jean-Jacques Pauvert,
1972.

WET PATH
All our old Masters almost symbolically described the matters of our Works, even by their
writings or images.

There is an old saying: "A picture is worth a thousand words!"

We composed this figure by an assembly of the picture, and after scanning it were processed in
an appropriate software program. Therefore, it isn't a plagiarism of anybody at all.

Our conception was based on our knowledge of the matters of an alchemical work and of the
modus operandi.

Repair well, nothing was left to maybe. The first thing, which you will perceive, is an aqueous
environment, represented by a beach.

Therefore, this only indicates a humid way for itself. In the first passage, we see a red dragon,
which shows blue wings. The colour of the wings not only have a special meaning, but further it
enhances, that this red dragon is winged, and therefore, it can "fly", which symbologicaly means,
to distil or to sublimate, according to the cases.

This famous red dragon so much can be distilled as sublimated. To be distilled, you will have to
use a metallic agent, which is symbolized by the colour of the wings.
In this way it is not distilled but sublimated and then, there are the two suitable agents, which
forms the intervening "secret fire", one represented by the green key and the other by the
seawater.

It won't be difficult to you, after consulting the alchemical-spagyrical symbolism, you know,
which is the agent, which is represented by the key.

The other agent, who yet is invisible, is present by the whole extension of the sea, view in its
primordial state, that it is corporifyed by the influence of the star king and by the action of
Vulcano. Now, it will be ready for our use.

So as you see, because the symbolism is so clear and transparent, we believed, the description
which we presented, should sufficiently make possible to you, in order to discover those matters.

Seek a dragon, the purest possible one, so by it, you are able to extract an enough amount of its
soul.

The key also, together with its acolyte, will serve to you, to open the lock of the Work. It has to
be pure and extracted out of its natural environment. The influence of the star king also would be
necessary to you, so that this green key is transformed into white flowers.

When you will kill the dragon, in order to resuscitate it into a pure soul, white and immaculate.

Take good care with the soul of this dangerous dragon, so that your soul might not be given to
the Creator!

Dissertation on the Sulfur of the Metals

by Pott.

It is a limpid, volatile, pure, oleaginous liqueur, inflammable as the spirit of wine, acid as good
vinegar, which passes in the distillation in the form of cloudy flakes. This liqueur, digested and
cohobed on the metals, especially after they have been calcinated, dissolves almost all of them, it
takes from the gold a very red tincture and as soon as it rises from the gold, there remains a
resinous matter entirely soluble in the spirit of wine, that acquires by this way a beautiful red
colour; this residue is totally irreducible and I am sure that of it, one could prepare the salt of
gold. This salt is mixed indifferently with the aqueous or oleaginous liqueurs, it transforms the
chorales into a liqueur of green sea, that seems to be its first state; it is a liqueur saturated with
ammonia salt and oleaginous at the same time and to really say what I think of it, it is the true
mense of Weidenfeld or the Philosophical spirit of wine because we extract of the same matter
Raymond Lull's white and red wines. This is why Henry Kunrath in its Amphitheatre gives to the
lunary the name of its fire-water, and his water-fire, because he is convinced that Juncken is
deceived entirely, when he tries to persuade that it is in the spirit of wine that it is necessary to
seek the anonymous solvent about which we spoke.

This solvent supplies a urinous spirit of a singular nature that seems in some points to differ
entirely of the ordinary urinary spirits. It still supplies a type of butter that has the consistency
and the whiteness of the antimony butter; it is extremely bitter and mildly volatile; these two
products are very appropriate one and another to extract the metals. The preparation of this
solvent although obscure and hidden, is very easy of doing; you will excuse me from saying
more of this matter, because since there is very little time that I know of it and worked on it, I
still have a lot of experiences to do to make sure of all its properties. Though without speaking of
the book Of Secretis Adeptorum of Weidenfeld, Dickinson seems to have discovered this menses
in its treatise of Chrisopeia.

The Alchemy Path

According to our understanding and based on that we have read in the great Master works of
alchemy and also in our experience, there is fundamentally, four Alchemical Paths.

The Wet way, the Dry way, the Mixed or the Amalgam way and the Brief way.

The Wet Way. This Path according to the Masters is the noblest way. As its name 'wet' indicates
the liquid or saline material that usually composes the matter's solvent - also known by secret
fire.

Its duration time is more or less long according to the method used. There are humid methods
that take long months to accomplish and others less than one month, as the one of Kamala
Jnanas methods.

The temperatures used can reach 500 degrees at the most in some special cases where it is
necessary to perform the sublimation of the matter and during the vitriol distillation.

In some humid methods a glass Pyrex retort and some flasks of the same material will be enough
to carry out the process. The ovens vary which in some cases could be a small gas stove with
temperature regulation and a bowl or stainless steel porringer that contains the necessary sand
bath.

Other methods such as the Vitriol way they need a special Glauber retort for natural vitriol dry
distillation just as it is described in Basil Valentines The Last Will and Testament.

The Subject mineral of most of the wet method is the Red Dragon of which, after sublimation
with the secret fire, the philosophical mercury will be extracted, known by the name Azoth too.
 Red dragon

In another methods as in the one of Kamala Jnana, in the beginning, there will be extracted from
this dragon through the secret fire the two principles: Sulphur and Mercury.

There is also the acetate Path but we never approached it. We know how to prepare canonically
all the materials for this approach but never tried it.

Before beginning any one of these Paths there are the accessory works also called Hercules
works because they are painful and slow. It is necessary to prepare canonically the Subject, the
salts that will form the secret fire and the spirits.

The Dry Way. This way is executed exclusively in the oven and in crucibles of refractory mud
with temperatures about 1000 degrees. It is a difficult and very laborious way that an artist, even
so, having some knowledge of this way, will never get to execute it without the help of a master
or a brother that knows it already. It is probably best not to attempt it.

The subject of this work, described by Fulcanelli and, above all, by his disciple Eugne
Canseliet, is the Black Dragon or Grey Wolf.

As in the wet way, there are also the preliminary works for the Subjects preparation, of the salts
that serve as melting and also the wise choice of its Metallic acolyte.
 Black dragon

The time of duration is not simply of some few days as some people suppose. It is not as much as
in a traditional wet way but it is also a good period of time; everything will depend on the artists
ability and of the amount of material that he has to work with.

Besides, in this way much depends on the "external conditions" and, therefore is a favourable
season in which to begin. During the remainder of the year he will get ready all the materials and
the "hand work" for the canonical way. Everything is also expensive in this way.

To Summarize: this method is a difficult way that is not really within the reach of any one,
because, besides demanding an appropriate and well ventilated place to build the oven, the artist
needs a great deal of experience in order to execute it as we have described.

Mixed Way or Amalgam Way. This approach, above, is the way described, as that of
Philalethes, Flamel, Lull, Albert, Artephius, etc.

Why do we call it the "mixed" method? Because in the beginning it needs to start bas in the dry
way for the martial regulus' preparation as in the case of the of Flamel, Philalethes and
Artephius methods.

After this first operation by the dry way, and the obtaining of the martial regulus, that is not
determined by the same "external conditions" of dry way, the first operations will be made in
small crucibles in which to make the philosophical amalgam. After this operation, we distil it in a
stainless steel dismountable retort to obtain the philosophical mercury and so on.
 Amalgam

There is an exception in Alberts way that, in the beginning the Subject is sublimated to obtain
the Azoth and afterwards to prepare the Water third and fourth passes to the amalgam just as in
the Philalethes or Flamel methods.

Artephius method is a little more complicated but also is based on the martial regulus and on the
sublimation of the mercury to obtain the solvent. Some variants on this way exist where the
Sulphur of the noble metal can be substituted inclusively by another from the dry way.

We dont know exactly the time of duration of these methods but Philalethes describes it in full
detail in the Open Entrance to the Close Palace of King.

The Brief way. In this way is included the "particular" that is a method not considered a truly
alchemic work.

So much as we know our Master he worked in the Brief way and we saw some splendid pictures
of the plasma emitted by the melting matter in the crucible to high temperatures.

If the dry way is not accessible from this entire brief it is only for the experts and it is necessary
to have special conditions to carry it out.

With relationship to the particular many exist inclusively the Subfusion described in Blaise
Vigenere's Traict du Feu et du Sel and others that you can see in Albert Caus Web and not only
on it.

Here it is a synthesis of the several alchemic works. Seek the true great Masters classic books
and you should not bother with dubious translations that will cause you to be confused. We
already said it and we should repeat. The Fulcanellis (Lubicz, Dujols, Champagne and Canseliet)
they are good and we recommended them to learn workable bibliography, alchemic philosophy,
symbology and some of the dry way modus operandi but they are not easy to understand for the
beginners.

Most is therefore that are beginners are years entering in to a blind alley as happened us and also
the other brothers.
Authors research on the works of Roger Caro

Roger Caro

WAS KAMALA JNANA ROGER CARO?

Kamala Jnana has always been our favorite Master, since he has written his excellent work
"Dictionary of Alchemical Philosophy". (Edited by C. Charler Argetire H.S.)

We have read all Roger Caros books, this great Master, and those written by his disciples, such
as Jean de Clairefontaine (Robert Raguin ?), "Apocalypse Alchemical revelation", which you will
find on my URL.

After reading "All the Great Work Photographed", Edition Roger Caro, we thought that we had
the knowledge concerning the Kamala Jnana Work.

The maters and the modus operandi being described in plain language by Kamala Jnana, Roger
Caro et Jean de Clairefontaine, we have with the proper matters and the suitable glassware many
times tried to do the work that they explained.

We have never been able to separate the sulphur and mercury from the first matter (cinnabar) as
Kamala Jnana and Jean de Clairfontaine explain. We have also tried with the Ethiopian (artificial
cinnabar) prepared with de suitable matters and the Salt prepared according to the Art.

It has been a total failure. Disappointed and thinking something was missing in the texts
[concerning the Solve done with the Ethiopian, there must occur a short exothermic reaction at
around 350C, which should volatize the matter to the upper part (the sky) of the balloon; (we
only obtained 100C). After the cooling, the mixture gathers in gelatinous granules]. Being a
brother of the Art, we have written to Roger Caro, asking him to explain us what was missing in
the Solve text to make it work.
Roger Caro was kind enough to answer us on November 13th 1984:

"I dont see what can worry you, for example, in the Preparation, you have a mineral called
Cinnabar, which contains three things: the true sulphur, the true mercury, and salt (KOH) at
homeopathic dosis. You grind your mineral, into a thin powder, weight it and put it in a flask,
add the due quantity of (KOH), prepared according to the method described in my books, close
the flask with a stopped which you will attach with a thread (too avoid the stopped to pop up
because of the internal pressure generated by gases), shake firmly the flask for a while, and you
will have well started. A good advice, before beginning the practice, looks first for what you will
have to do ... in the different steps and phases.

It requires a lot of patience and over all, a lot of perseverance."

We noticed that the Master was referring to the first part of the work, which is the Preparation or
Separation of mercury and sulphur from the mineral. But the explanation that was given to us, in
our humble opinion, was about the Solve, because the Preparation is made in a Pyrex glass retort
and not in a balloon whose stopper is attached with a thread so that the inner pressure does not
make it pop up.

Was the Master "jealous"? We don't know. However, we repeated many times what he advised
but we never had any reaction between the powdered cinnabar and the KOh.

Was the Master not "charitable" enough, and omitted some practical details or did he not
understand our request?

Besides that, what Roger Caro advises was in contradiction with his own texts, and those of
Kamala Jnana and Jean de Clairefontaine, which recommend the Ethiop to make the Solve.

Currently, we have been able by the wet way, with the help of the secret fire (KOh) to separate
mercury from the cinnabar, without applying the common fire, and therefore, we have obtained
canonical mercury with the characteristics of native mercury.

We have been looking for sulphur, and we are hoping still to find native mine sulphur
"carotage".

But, after all, who was really Kamala Jnana? Let us see what his son Daniel Caro wrote about
him in the Roger Caro posthumous book, "Bible Science and Alchemy", Sphinx publishers:

...It is the time "of the three Lotus Temple", and of the "Temple of Vrhappada" and the
"Temple of Ajunta", this last one being none other than the "crypt", officially "basement" for the
Administration of your property in Angelots in Saint-Cyr-sur-mer. I am still recalling our
meetings in Chinese dress, for the delivery of the Adeptad diploma, after theoretical and
practical examination it was then that you nominated me "Tltougos ".

Alone, you have deciphered, understood and found again the ONE under the multiple of the
tradition and you want to allow all the good willing people to get it too. Then you published
alchemy books, under your true name or under pseudonym Kamala Jnana, Pierre
Phoebus...Then you became a "writer lecturer" then a "free author publisher", you permanently
settled at "Angelot", where one day being contacted by your world wide" peers " you founded in
1971 the Sovereign Order of the Old Rosa-Cruz Brothers, of whom you tell the origins in the
"Legend", which was renamed in 1984 for administrative reasons "Sanctuary of Studies of the
F.A.R.+ C, association under the 1901 law which will have thanks to you, an international
development.

If we believe what Daniel Caro says, Kamala Jnana would be the "pseudonym" of Roger Caro.

But according to all we have read, we believe that Kamala Jnana and Roger Caro were two
distinct people. Lets see the forewords of "All the Great Work in Photographs":

Sovereign Sanctuary of F.A.R.+C. Ajunta, 15 September of 1986. Cabinet of the Imperator.

It is a great pleasure for me to testify to the great accomplishment of my great friend Roger
Caro.

Never has there such a difficult task been realised with so much patience, tenacity, competence
and mastering.

A pictures puzzle of forty quadrichromias spread out without legend, with mastery has been
reconstructed and commented on. This has been a Titanic work, for to re-establish the
chronology, it was first necessary to learn all the secrets of the work, or at least their theory

These pictures were originally taken by our deceased and so missed son Kamala Jnana during
an alchemical experiment in Ajunta, and could only be published by you my dear Great Master.

Signed: A.J. dOssa (Imperator des F.A.R.+C.

The text is clear and leaves no doubt about the fact that the photographs were taken by the
deceased Kamala Jnana and compiled by Roger Caro, as it is said in the text.

Nevertheless in the book "All the Great Work in Photographs", we can see a picture of Roger
Caro in his laboratory!

We have been wondering what pushed Roger Caro to place his picture in a book showing the
Kamala Jnana pictures?

For an investigator leaving outside of France, who has access only to books published in French,
it seems difficult to discover the truth. This strangely resembles the Fulcanelli Myth and the
contradictions of the return of such a personage. (see: http://pwp.netcabo.pt/r.petrinus/Fulcanelli-
DW-e.htm Fulcanelli The dry Way)

But there is even more. Lets have a look at the "Dictionary of Alchemical Philosophy":
Saying this, he reached deep into a greasy paper bag and took out a tin box tied with threads.
He opened it, and took out a book of a venerable aspect, covered with a thick yellowish
parchment, blackened by the fire, and a pack of films.

This book he said, is a gift from Pierrot, an old friend of mine, who is dead only some months
ago. His parents were a well to do people. His brother Jean, who died shortly before him who
was a scientist. He wrote books with a typewriter, and was performing a lot of experiments. He
had travelled a lot and was said to belong to a secret society. Pierrot often told me about his
brother whom he was meeting from time to time. It is he who wrote this book.

He gave me the book. I opened it the inside wasnt old. It was typewritten sheets, which had been
sewed together. It seems in deed to have five books, by looking at the separations followed by
new forewords. It was containing Hebrew alphabets, drawings, colour photographs, maps, etc.

I read here and there and all seemed of a great interest. Beside obviously re-establishing lost
Sacred Texts, they were also alchemically interpreted. After ten minutes I gave him back the
manuscript.

- Had your friend or his brother printed this manuscript? - No Pierrots brother died in an
accident, as he was coming back from a trip, soon after he had finished the writing.

- Im incompetent in Hebrew and Alchemy, but your book certainly has a value. I would have
enjoyed taking notes, but notes taken here and there wouldnt be of a great help. If one day you
should get rid of it, dont get taken by bookshop people. Its unusual and new content has to be
considered.

Seven days later and I came back to APre La Taupe was there. When he saw me coming, he
stood up. I had transcribed everything and I had even photographed certain Hebrew parts,
drawings, texts and maps.

- Pre la Taupe, here is whats belonged to you. I also gave him half a chicken, few sandwiches
and a bottle of red wine and also a blue bank note and a pack of black tobacco for his pipe. Very
kind of you, Im more than happydid you like my book?

- All five of them are fantastic. My wife and me alternated to type it. We have even typed during
the nightbut tell me who was this Kamala Jnana?

- It was Jean Deleuvre, Pierrots brother. Kamala was its Adept name; it was given to him when
he has been introduced alchemist by the Egyptian Temple. "You see told me Pierrot, if I was
rich, I would publish this book and I would write a nice introduction. Its a pity that I cannot
accomplish the Magisters operations."

- Your friend wanted to publish his book? - Yes, it was his hobbit. He was always repeating:
"Time has come"; he wanted to publish it. - Well, if you agree, I will integrally publish all the
five one day, without changing anything, and because this type of book always get publish under
a pen name, well I will sign the Introduction with your friends name, to honour his memory. -
Listening to this Pre la Taupe became pale: "What did you say? You will publish those books
and you will sign Pierre DeleuvrewellIrma told us this. - What to you mean?

- Irma, an old friend, who is also a fortune-teller from time to time, was always saying to Pierrot
"Lad you certainly will write a book, because I see your name on a very nice cover". Since then
Pierrot was dreaming about it.

His mission has ended, and mine is about to be accomplished. As it has been promised this book
must be published. Be the Eternal (as Jean Deleuvre would have say) put this book in the hands
of its chosen ones. Heaven always helps those who are aligned with it and whose hearts are
pure.

Now I will no longer write. May every reader receive illumination as he deserves and this book
is the concrete voice of Christ on Earth:

Et verbum caro factum est.

Pierre Deleuvre.

To go back to what has been said in the Introduction, Kamala Jnana would have been Jean
Deleuvre, who died in an accident, and his brother Pierre (Pierrot) would have collected the
texts, which were with a friend, and he would have given them to an unknown person, which
would have published them.

We don't know the whole story, but if this one is true, it will confirm that Roger Caro wasn't
Kamala Jnana.

A curious fact: a modern Artist who wrote "Alchemy Divine Science", Editions Ramuel, also uses
Jean Deuleuvre's as well as Kamala Jnana as a pseudonym, the forewords being written by Pierre
Phoebus. We can prove that Pierre Phoebus was Roger Caro, non-only because of his son
Daniel's affirmations, but also because of the letters of the typewriter, which are exactly the same
as the ones of the letter Roger Caro sent me.

Consequently according to the forewords of Jean Deuleuvre's book, "Alchemy Divine Science",
Roger Caro knew Jean Deleuvre, but he wasn't his Master:

"And you, my dear brother in the Royal Art, let me congratulate you again, and tell you all the
admiration and passion I had in reading you. Receive all my sincere congratulation. I do not
know who was your Master, but he had perfectly shown you the way to follow.

Thanks again. Your sincerely yours Pierre Phoebus."

Surprisingly, it's Jean Deleuvre, as we saw in his book and the comments on the pictures, which
makes us doubt on the way he did the Solve:

ONLY ONE ORE

"The Royal way can only be undertaken with a mineral containing the sulphur, mercury and salt.
But this also means that nothing should be added which is not of its own nature".

"P 244: How could it be possible to better illustrate the violent reaction which will occur with
the purified sulphur and mercury mixed with the salt, without application of any external heat?

A strong energetic release will induce the sublimation of the three bodies and project them
toward the balloon flasks neck.

If the operator didn't respect the volume, he has the risk to see the balloon explode under the gas
pressure generated by the reaction."

The second picture has the following comment:

"A violent reaction induced by the Salt of the Wise thrown onto the three constituents of the ore:
sulphur, mercury and salt (the salt being in very small amount), generates formation of
translucent and gelatinous bubbles which rise to the neck of the balloon."

The comment of the photograph inclines us to think that Jean Deleuvre directly did the Solve
with the Ethiop and not with cinnabar as explained by Roger Caro. If it is so, he never published
the picture of the Ethiop in the balloon, but the one of the Solve in evolution.

Let's say without being unfair that Jean Deleuvre wasn't very "charitable" toward the brother in
the Art concerning the modus operandi, for his photographs reveal less than those of Kamala
Jnana, who has revealed much more to the Sons of the Art.

Jean Deleuvre has illustrated his book with wonderful coloured photographs about the cinnabar
way, but nevertheless there is none showing the finished Stone; Kamala Jnana shows us the
finished Stone as well as pictures about the transmutation.

Concerning the Stone, page 22 of his book, the Master says:

"The Philosopher Stone weighted, crystalline, being entirely red, has nothing to do with the
metallic tinctures. We shouldn't once again, forget that the word alchemy doesn't necessarily
mean transmutation as most people think."

We don't agree with Jean Deleuvre, because a true Alchemist knows that this transmutation is
not carried out in order to obtain gold, but to obtain the proof that he has obtained the
Philosopher Stone.

Pg18: "The author never had the intention to clear up any obligations, but to bring through
testimony and photographic evidence of some never written details of the work realised by an
alchemist in the Capital Phases of the Great work".

We truly respect the works of Jean Deleuvre and those of the great Master Kamala Jnana,
published by Roger Caro in the book "All the Great Work in Photographs". But it's a pity that
both of them haven't more explained the Modus Operandi in order to help the true children of the
Art. If this had been done, the work wouldn't be so difficult!

Is the use of Jean Deuleuvre as a pseudonym a coincidence? According to what we read in the
forewords of the "Philosophical Alchemical Dictionary", Jean Deleuvre died in an accident and
consequently it cannot be the same person.

And to finish, who really was Kamala Jnana? ROGER CARO!

KAMALA-JNANA ALCHEMIC WORK

By
KAMALA-JNANA F.A. de R+C

Kamala-Jnana is one of nom de plume of a contemporary alchemist Roger Caro that was a
Superior of the Temple of Ajunta of F.A.R + C in France. The Collegial Al-kimia to which we
also belonged some time ago. It is the External Circle of the Old Rosa + Cruz headquartered in
France. With Roger Caros death, the Collegial Al-kimia has fallen asleep.

Roger Caro was born in 1911 and died in January of 1992.

Reading the Introduction of his book Dictionaire de Philosophie Alchimique, the impression that
is in the attentive reader, is that Kamala-Jnana would be Jean and has died in an accident. His
brother Pierrot, also deceased some time later, will have kept with the goods of his writings, the
ones which, after his death, went to a friend's hands who, in turn, gave them to one such Pierre
Deleuvre to publish them. It looks as through this does not pass of a fiction such as of the
Fulcanelli.
Nevertheless, the Kamala-Jnanas work, under the alchemic point of view is of extraordinary
beauty. At the first view, for an expert alchemist, it seems to be of a great simplicity. But great
obstacles will show themselves for those who think like this.

Under that apparent simplicity hides a "key" (secret) of operative difficulty that makes one spend
years of his life studying this magnificent alchemic work without any advancement.

Roger Caro had several disciples such as Jacques Trielli and Pietro Ribuffo, being the most
known Jean de Clairefontaine author of the excellent book Apocalypse Revlation Alchimique.
He used several nom de plumes as Kamala Jnana and Pierre Phoebos.

Author of several alchemy books, the most important being Concordances Alchimiques,
Dicionnaire de Philosophie Alchimique, Tout le Grand Oeuvre Photographi and Bible Science
et Alchimie, this last one published the posthumous heading for his son Daniel Caro.

The Dicionnaire de Philosophie Alchimique, as the heading indicates, describes his whole work
in the dictionary form which also contains several of the best colour photographs of the main
steps of his Work.

In 1968 Roger Caro, with authorization of the Emperor of the Temple of Ajunta A.J.d'OSSA,
arranged the publishing of The Tout book la Grand Oeuvre Photografie. As the heading
indicates, this small book contains 43 colour pictures taken by Kamala-Jnana and assembled later
by Roger Caro by the sequence of the Work with the respective description.

Who doesnt live in France and is unaware of the history of this great contemporary alchemist,
Roger Caro, published the photographs taken for Kamala Jnana, (he himself, because his
photograph taken in his own laboratory it is in the first Plate), and whose authorization was given
by A.J.d'OSSA, at time Emperor of the F.A.R+C that was another Roger Caros nom de plume.
In our opinion Roger Caro, or be, Kamala Jnana he made and baptized too!

Who reads this magnificent booklet, will be certain with the idea that Roger Caro would not be
Kama-Jnana because this is in contradiction with what was written in the Foreword of the book
Tout La Gran Oeuvre Photographie.

It is a satisfaction for me to give my testimony to our great friend Roger Caro's

accomplishment.

A more arduous work was never executed with so much patience, tenacity, safety and
competence.

A puzzle constituted by forty quadricomias in bulk, dispersed and without legend was
reconstituted and commented with mastery.

These pictures that formerly were taken by our deceased and such longing son Kamala-Jnana in
the continuation of an alchemic experience in Ajunta, could not be published otherwise then by
you my dear great master
This seems so evident that Roger Caro never could have been Kamala-Jnana, but he was indeed!

The Kamala-Jnana's path is essentially a wet way the more noble of the entire alchemic path. The
several phases or work steps are the following, according to the Master's teachings and of Jean
de Clairefontaine:

1-Preparation. 2-Solve. 3-Coagula. 4-Multiplication.

The duration of the complete Work is 28 philosophical months, distributed like this:

Preparation-2. Solve-8. Coagula-16. Multiplication-2.Total: 28.

We want to draw your attention to this "time" as it is not real, but philosophical, just as the
Master in Dictionaire de Philosophie Alchimique explains it:

Philosophical months don't have anything in common with the ordinary months. The
philosophical months represent a conventional time. They are calculated so that the four quarters
in the cycle of the moon are reduced to a 24 hours time frame and they coincide with the four
stations of the Great Work, beginning in the winter.

We leave the deciphering of it to your discernment, which, in fact, is simple. The knowledge of
this time is of great importance in the course of the work, for which we recommend not to
continue without knowing exactly what time represents a philosophical month.

After you understood this, you will need to know the matter or mineral subject as well as the
agent or secret fire both represented symbolically by the figure in attachment.

Without the exact knowledge of the subject and of the secret fire, it will be totally impossible for
you to begin the works. Therefore, we will begin by the prime matter or mineral subject.

FIRST MATTER or SUBJECT

The subject of our work is the red Dragon, that you can observe in the image and that the
Cosmopolite identifies in Nouvelle Lumiere Chimique, Retz, Paris, page 233:

It is a stone and it isn't stone: it is called stone by its likeness, firstly, because its ore is truly
stone, in the beginning, when it was extracted of the caves of the earth. It is a hard and dry matter
that can be reduced in small parts and triturate as a stone. Secondly, because after the destruction
of its form and of the division of its parts, that was composed and united by nature, it is
necessary to reduce it to an only essence, to digest it sweetly according to Nature, in an
incombustible stone, resistant to the fire, and melting as the wax.

The Master was not very generous in the description of the characteristics of our mineral but he
makes a synthesis of the whole work from the subject to the philosophical stone.
What more can we tell you that would identify it without surpassing the limits allowed by the
tradition?

That it is a hard and heavy mineral that is abundant in China, in Spain and in other countries.
That is light sensitive and, for that, when exposed for a long time to the direct action of solar
light, turns black on the surface. Formerly, in a very fine powdered form, it was used anciently in
the oil painting.

It is best that you identify our mineral subject by its spirit spagyrical symbol, and for that,
implore to the goddess Venus and also waning Diana (horned) to help you and then, by
superposition of the two symbols, with the grace of God you will be rewarded.

By identifying its spirit spagyrical symbol, you will easily know the name of the mineral from
where it is extracted. This is all that we can tell you to help you identify our mineral subject or
red Dragon. There is not a point the more or a comma that lacks.

Seek a mineral exempt of silica and the more crystalline possible. If you don't get it, you will
have to purify it by floatation in the following way. In an iron mortar, reduce to powder small
pieces of our mineral. The subject is hard and, for that, you will have to crush it in small pieces,
before you reduce it to powder in the mortar. Then you sift it in a sieve of 60 lines per centimetre
or 120 for inch.

When you have sifted the powder, pour 500 g in a 1-litre large-mouth glass flask and pour
enough tap water to fill it. Move circularly with a glass rod and when the fine powder is still
floating in the water, spill it quickly in another flask.

Repeat the process again, until all of the minerals fine powder passes all together with the water
in the other vase, leaving at the bottom of the first flask the siliceous dregs.

By decantation, flow all of the water and let the mineral to dry in the shade to the shelter of the
direct solar light because, as we said, this mineral is light sensitive.

Keep it in a closed large-mouth glass flask sheltered from the light.

The SALT or SECRET FIRE

The salt or secret fire is the agent that provokes all the transformations in the matter or mineral
subject, being, for that, the key of the whole Work.

What can we say about the salt or secret fire, concerning its identification by the brothers in the
Art, without surpassing the permissible limits and without revealing it clearly?

That it is a true saline fire that is prepared by the artist starting from matters of the vegetable and
mineral kingdom.

To this respect, Basil Valentine, in Les Douze Clefs De La Philosophie, p 132, says:
If anything be reduced to ashes and treated according to the Art, you will extract your salt.

To be more charitable we will identify the provenance of one of the fires, just as the Master
describes it in Dictionaire De Philosophie Alchimique:

Acacia: the acacia, in alchemic terms, is a tree that contains much of the calories suitable to
feed one of the secret fires of the Sages.

Oak: As the acacia and the fern, this tree contains, in itself, many calories suitable to feed one
of the fires of the Sages.

In relationship to the second salt of mineral origin we will try to identify it as much as possible.

It is a very common stone that has in its interior a latent fire after having been subjected to the
action of the vulgar fire and as incredible as it may seem, the water wakes up this fire for some
time.

In Le Triomphe Hermtique, Limojon de St. Didier, p 43 says:

Consider, only, with application, that this natural fire is, however, a skilful invention of the
artist; that it is suitable to calcine, to dissolve and to sublimate the philosophers' stone, and that
there is no other fire species in the world, capable to produce a similar effect. Consider that this
fire is of the nature of the quick lime and that, it is no strange relatively to the philosophy
subject.

This was the best way that we found to describe you the characteristics of this double saline fire
that is extremely caustic and corrosive.

The Master in Dictionaire De Philosophie Alchimique identifies the matters of his Work through
three words inscribed in the Indian and Tibetan temples considered sacred whose translation a
brother transmitted charitably to us:

Kshra. Ogs. Hingula.

If you are sufficiently perspicacious you will identify in these three words (one letter of each) the
actual chemical formula of the secret fire.

Here it is brothers, the "key" that will allow you to identify and after to prepare as the Art
demands, the double saline fire that will open you the doors of the Work, if you know how to
understand it.

To help you, we made by photo assembly the image in attachment. We made possible to transmit
to you this key practically in clear language and we are sure that an Artist with some experience
will understand it. The other ones, pseudo-alchemists and blowers, will rest as always where they
are.
 ALCHEMIC GENESIS
For
KAMALA JNANA
(Extract)

FIRST DAY

Alchemic chronological manipulations

-The Philosophers mineral.

-The sulphur and the philosophers mercury (not the vulgar ones) are placed in a glass vessel.
These formless matters, not naturally amalgamable, are inert and cold, although they contain
inside their breast an internal fire. In this state no proportion is made by the man's hand.

-The salt or igneous Spirit, or element transformable at will of this trinity is placed then in
contact with the sulphurous earth and the mercurial water. In contact with this fire spirit, the
other two are awaken. A violent fight is develops among the three that will originate a fourth
one, more violent than the other ones, creating like this an unbalance in the forces of the mass.
This unbalance translates itself by a whirlwind movement. Under the effect of this fourth energy
an attraction is produced, amalgamating in a natural proportion, the salt, the sulphur and the
philosophers' mercury.

-From this rotating movement will be born a fifth fire that will have for effect the electrification
of the atomic corpuscle of the constituents.

-Attractive electricity will be born and of they're the name of Mineral Electro.

-In this state the granulation is effective. The Artist will choose therefore in nature and in the
mineral kingdom an earth likely proportionate, by which of it he will do its Prima Materia.

-Then, by a whole natural ingenious industry, the Artist will separate what nature united. He will
separate the pure from the impure, the subtle from the thick; he will pick up carefully the Light
or essence of this mineral, he will make saline, red-gold shining and brilliant crystals. Having
acted like this, the Sage will separate the light of the darkness.

SECOND DAY

Alchemic chronological manipulations

-The worlds being born (read granulation) as we saw, the fifth fire (generated by the permanent
movement) provokes the evaporation of a certain amount of divine water or fire of the spirit
of the salt. A vapour rises at the top of the vase, staying at a distance kept there by the heat of
the fourth fire, always maintained by the combat of the other three. The free space that separates
the vapour of the saline humidity of the granules is comparable in effect to that one that is calls
firmament.
-However, as the matter cools down, the vapours condense and fall in big drops onto the earth.
Shortly, under these waters that penetrate to the centre of the miniature worlds, the earth is
submerged, dissolved; the solid corpuscles become mud while the fire water (having absorbed
the quintessence of the terrestrial trinity) swims on top in the form of a red oil with a gold fringe.
The Artist will see that there are two kinds of liquids.

-At this moment, no more vapour appears in the vase. Only, the same emptiness that existed
persists. This emptiness can be called sky in contrast with the earth and the water that are in the
bottom of the vase.

THIRD DAY

Alchemic chronological manipulations

-First, notice that it is the calx under the sky, and not the waters. The plural is put to call the
attention to the two coloration of the liquid mass.

-The Artist will gather in one place, in one well-closed recipient, the precious liquid.

-Later, he has cut the head of the crow; he will see its adamic earth appear under form of very
black and foetid sand. Then, always causing the fifth fire to act, he will begin by drying the
earth...

-Keeping preciously its liquid quintessence.

-The green colour begins to appear. The whole earth is covered of green colour and of bubbles
containing mineral seeds. At this time, some Sages compare their matter to one frogs spawns.

FOURTH DAY

Alchemic chronological manipulations

-Always under the action of the fifth fire, the green granulation begins to clear up. The matter
washed by the fire passes from the green to the white colour. The philosophers call then this
matter Very Pure Moon, Very Fix.

-This colour is the indication that the operation went well, after having provoked the deluge in
Solve.

-The operation went well to begin Coagula, which is a true labyrinth.

-Always under the action of the fifth fire, the third temperature degree is reached. The heat
activated in the white colour gives the yellow colour. In this state the Sages symbolise their
matter by a Five-Branch star. This is the matter approach of the Work: The Star of the Morning.

FIFTH DAY
Alchemic chronological manipulations

-Here, the white matter forms fisheyes-like; the Sages say that they fish the Echneis fish; it is
for that reason that they also call Sea the waters that recover the matter. Now, that a part of
this white matter or fish eyes has the power to transform Ten Parts of vile metal into Moon, we
are forced to admit the vitality of this matter born in the slime and in the water.

-The verification of it is done by placing one part of the matter in the white colour state on a red
heated blade; if it melts without fuming, it is because the Stone in the white state is fixed; or else
it is necessary to continue the fifth fire.

SIXTH DAY

Alchemic chronological manipulations

-The Stone in the Yellow state is going therefore to continue to fix itself under the action of the
fifth fire, tempered by the progressive imbibio of the dyeing mercury. From yellow it will pass
to the orange and finally to the red state. In this state, the Stone or Projection Powder or
Sublimated Earth is capable of giving birth to the three kingdoms.

-Initially one of its parts can transmute ten of vile metals and this in very pure and very fine gold
(Mineral Kingdom).

-Then, if this powder is dissolved in alcohol, and one lay some of this liquor on common
calcined earth without fusion, one will see the birth of vegetables (mosses, fern, grassy
(Vegetable Kingdom).

-Finally if one takes the same common earth prepared as above, and grinds it in a mortar before
the introduction of a new amount of liqueur, will see the birth of the worm, the caterpillar, the fly
and the butterfly (Animal Kingdom).

-When the Sage knows how to accomplish all of these things, God made him similar to Himself.
The Man can create Universes to its stature and transmit life to all the kingdoms of nature. He is
the uncontested master of the microcosms, and as such a he is made well to the image of God.

KAMALA JNANA.
 KAMALA JNANA'S ALCHEMIC WORK
Jean de Clairefontaine
Apocalypse Alchemic Revelation
(Extract)
PREPARATION

The Preparation being the Father's Work, the Fabrication and the Multiplication are the Work of
our LORD and it is HIM who in fact will reveal to us the operative way in all its details for the
two phases of the Magistery.

The duration of the Great Work till the end of the First Multiplication is of 28 philosophical
months and broken down as follows: Preparation: 2 months. Solve: 8 months. Coagulate: 16
months. Total: 26 months. The result is that the duration of the First Multiplication is of 2
philosophical months as Kamala Jnana indicates it.

The total duration of Magistery is of 24 days, not including the 2 days of the Preparation and the
2 days of the Multiplication, in total: 24 + 2 + 2 = 28 ...We already knew that the total duration
of Solve is 10 days, including 2 days of the Preparation...The duration of Coagulate is equal to
24 - 8 = 16 months ...being that the time for Solve is half of Coagulate. The duration of Solve is
like this equal to a third of the total duration of the Magistery.

The difference between these 27,19 g and 11 g of the parchment for Solve represents the weight
of the Salt necessary to the phase of Coagulate - Albification and to the First Multiplication.
These 27,19 g of Salt are divided in 14 parts distributed like this:

Separation - 2 parts. Solve - 4 parts. Coagulate - Albificao - 6 parts. First Multiplication -

2 parts. Total: 14 parts.

The solution of the problem of the proportions is primordial, because it would be useless to try to
arrive to a positive conclusion if these were wrong.

We know already the three essential colours of Magistery: the Black, the White and the Red.

The seven Spirits of God correspond to the seven phases of the Magistery...suppose the Pre-
Preparation and the Preparation phases are finish (the Father's Work) these seven phases are the
following ones:

SOLVE COAGULATE

1 - Phase of Saturn. 2 - Oil of Saturn. 3 - Phase of Jupiter. 4 - Vegetation. 5 - Albification

(phase of the Moon). 6 - Phase of Venus. 7 - Phases of Mars and of the Sun.

The Preparation. In possession of his mineral, the Son of Light possesses the three matters that
are necessary to begin the Great Work, but the amount of the philosopher Salt being quite low,
he must join the philosophical Salt, that possesses the same qualities and characteristics except
for the colour in the proportions that are revealed by S. John in the Chap. VI. The obtaining of
the philosophical Salt of only one thing in all things constitutes a great secret, against which
many investigators stumbled.

Now that the Son of Light possesses the red-gold Philosophers Salt from the mineral and the
Philosophical Salt, he accomplishes the separation of the three philosophical matters by the
operation of the Preparation that should not be confused with the Separation of the elements that
he will obtain in the beginning of Solve.

We will emphasise that when the Philosophers speak about the different degrees of fire, they
don't mean to increase or decrease the fire, as do the vulgar chemists in their ovens. We should
not forget that their fire is the secret fire, the one that we know presently and on which we have
developed extensively in the Chap. IV.

The divine Spirit Fire reveals the latent fires of the Salt, the Sulphur and of the Mercury; first
Fire: the Salt, second Fire: the Sulphur, third Fire: the Mercury. The combination of these three
Fires creates the fourth Fire, under the action of the fifth Fire: the energetic Fire.

We will remember concerning this fifth fire of the Axiom of Rosa Cruz's True Alchemy: "the
fire and the heat cannot be produced except by the movement." By an ingenious industry,
the Son of Light in his operation of the Preparation separates by this way, at his level, the Light
(the Salt) of the darkness (the Sulphur and the Mercury). He accomplishes the mortification,
because he separates the body (the Sulphur) of the soul (the Mercury), and the spirit (the Salt),
and this operation is illustrated in colour pictures of Tout La Grand Oeuvre Photographi.

The Son of Light possesses then the three elements that will allow him to constitute his
Ethiopian, and we understand now why the Adepts say that the Pre-Preparation and the
Preparation are the Father's work, and that the Fabrication and the Multiplication, described in S.
John's revelation, are the Work of our LORD.

In the Mineral, the Philosophers red-gold Salt is in low amounts and this is why certain
Philosophers did not consider more than two constituents (the Sulphur and the Mercury)...But
this amount is enough to assure the cohesion of the Sulphur and of the Mercury...

SOLVE

In conclusion of this study, the proportions adopted by the Son of Light, to the accomplishment
of the whole of his operations are the following ones: Mercury: 70g. Sulphur: 30g. Salt: 30g.

It is naturally necessary to underline that the proportions mentioned above are theoretical and are
susceptible of modifications, according to the degree of purity of the three elements of the mix
and the Wiseman should make the necessary corrections.

Now, in summary will be described the different phases of Solve, with the opening of the sixth
seal. We know how our Ethiopian should be constituted; the phase of Solve can begin with the
Fifth fire. A strong reaction begins in Athanor.
Here, comes to mind the Salt that the Wiseman should put with judicious and careful dosage in
the Athanor and in the mass of it's Ethiopian, to begin the exothermic reaction with the Fifth
Fire.

The philosophers' salt, the one from the mineral matter is glittering or red-gold, the philosophical
Salt that plays a great role in the Magistery is white and under solid form, it presents the aspect
of white wool that, sometimes, is represented by the Eternal with a long white beard.

It is the beginning of the Fabrication's phase and it is the moment for being vigilant. In the
precedent phase, at the Separation, you separated the Salt, the Sulphur and the Mercury and
concluded the mortification of the mineral picking up the soul and the spirit for one part (the Salt
and the Mercury) and the Sulphur (the body) of another part. You constituted your Ethiopian
mineral, triturating the three matters that you mixed in the suitable proportions that will be
indicated to you...

At this time, in the inner centre of the Athanor, is produced a strong exothermic reaction, the Salt
and the Sulphur combines under the form of rust stains in the mass that you can see because of
the transparency and increasing progressively, the rust stains tending to the brown colour. It is
the leopard, of which it will be spoken further on, in the second philosophical month. At this
time, you should be particularly vigilant, because the rust stains colour appear at the end of a
time, more or less long, and as soon as you see their manifestation, you should revive the
remaining by activating the fifth fire. Or else, which you thought was alive is on the verge of
death. If you activate the fifth fire with delay or inconsiderately, it will be useless to continue,
because I don't find your works with merit before God, your Ethiopian lost all life because you
didn't proceed fully as the Creator foresaw it and ordered it.

If you followed the advises that I have just given to you, you will continue your cooking in the
Athanor and, in its womb, your eyes amazed will see fragile granules image of the creation of the
Worlds (Mundification) composed of the three constituent of your Electro, amalgamated in the
proportions of Nature. These granules in this ascension period didn't stain their coating; they
escaped momentarily from the impurity of the compost.

During the descent, as soon as the Athanor cools down, the granule falls in the compost...The
granule becomes trapped in the compost and will remain there for ten days.

The leprous and foetid magma in which the granules bath, covers them with a coating of
impurities and dirt, the impure film envelope the granule that falls down in the Athanor, binds to
it as if it wanted to become one with it, prostrated to its feet. The contact that is made like this
with the infinitely pure granulation constitutes for it the testimony of the most obvious love than
engendered the King Infant.

The operations of the beginning of Solve are very delicate, but you won't forget that you operate
in the sign of Aries, of the Sheep, caressed by the sweet rays of the first sun of spring, of which
certain philosophers expressed less poetically when they spoke about its horse manure.
The Son of Light, having prepared its Ethiopian and set aside the Philosophical Salt, the three
constituents of the philosophers' earth being dosed in the proportions indicated in Cap. VI will
throw the fire on the earth. An exothermic reaction is produced as soon as the fire is thrown on
the earth, from the application of the fifth fire and the ferocious fight between the two Dragons
begins...

The Wiseman that carefully observes the evolutionary phases of the reincrudation of the mixed
that are translated by the succession of the colours that he knows well knows that from the
beginning of the operations, when the translucent granules are in formation in the sky of the
Athanor, the first colour that appears is the citrine one, but it is fugitive and the matter tends to
gather and darkens to the end of the first philosophical month. During the second month, the
matter has a boiling effect and it darkens, the sky is starry of yellow stains as the ones that cover
the leopard skin.

If the operator increases the first fire too much, he will never obtain the colours of Solve that will
end with the very black. In the opposite, he will see the mixed take a red fire colour from where
he will never leave. We already developed this subject.

...This verse makes allusion to the fight of the two Dragons in the phase of Solve. Then, during
the violent reaction that will launch the volatilisation of the fixed, the translucent and gelatinous
granulation, images of the worlds in formation, formed in the high levels of the Athanor, carried
by the wind in its womb, falls after cooling down in the mass of the compost... It will suffer a
mortification of ten days. S. John gives us a precious indication about the duration of Solve: ten
days or ten philosophical months.

During the operations of Solve, a black film appears on the wall and inside the vase, the leprous
granules after the descent will take a bath in a red magma, that is nothing else than the Mineral
reconstituted with the sulphur and the mercury surplus that were not amalgamated in nature
proportions in the granules and the sludge's.

To the sound of the first trumpet, the fire of the divine Spirit provokes the appearance of the
worlds in the form of translucent granules in the sky of Athanor, that due to a temperature fall
take a gelatinous form and later they become solids.

As soon as the opaque clouds rise in the Athanor, when the furious combat of the two Dragons
begins, the worlds in formation separate under the form of translucent globes...

The brass is fine because the fire is subtle, vaporous, purified, and ethereal and we are now in the
first months of Solve. The fourth fire of the philosophical salt, combined with the fire of each
one of the three constituents and excited by the fifth fire, provokes the burning furnace in the
Athanor; the combat of the two Dragons reaches its culminating point. The Son of Light attends
to the ascension, the descent and the flood, that will mark the victory of the volatile over the
fixed.

For example, the inceration is the action by which we put the mercury little by little on the
philosophical sulphur. The distillation is made when the matter contained in the egg is sublimate
and ascends in the higher levels of the vase in a vapour form and, not finding any exit, is forced
down to the bottom of Athanor where it cohobate with the fixed part in the bottom.

All the operations can also be designated by the name of "digestion" or "cooking". But the fire
that you must use is the Philosophers spagyric fire, and not the vulgar fire but the natural fire that
heats up without burning.

Follow the advises that I give you faithfully so that you can assist to the death that marks the end
of Solve and that is characterised by the very black in the inside of the Athanor. And then, I will
give you the crown of life, the gold diadem that crowns Saturn's Oil, the Quintessence that float
on the compost....

At this time, the granulations are covered of leprous dregs and bathe in the magna of the compost
and the blood of the Lamb. It ascends progressively to the surface of the compost, and it is the
Philosopher's Saturn Oil. At the Albification phase, the seven baths of Nahaman's will wash
them and cover them of a white mantle (first phase of Coagulate), that with the Rubification
(second phase of Coagulate) will become a red mantle, red of the Lambs blood, which the
Apostle received in the Holy Grail.

The Saturn's Oil, on the other hand, can mortify the mercury...One drop of the quintessence will
allow the coagulation of the vulgar mercury, because by removing its vitality, it is to eliminate its
mobility and it is this the reason for which the transmutation at cold temperature is possible, just
as we saw in Cap. XX. Of one effect, the oil dyes and of another it coagulates.

Purposely, the different phases of Solve are not developed here in their chronological order. For
not showing ourselves to envious, we will reveal that the stars of the sky that fall to earth are
those that appear on the walls of the vase and that the Son of Light can contemplate with
admiration during the third philosophical month, as soon as the matter begins to darken. It is this
the admirable spectacle that the Philosophers call the star rain and that is reproduced in the
picture n.13 of Tout Le Grand Oeuvre Photographi of Kamala Jnana...Effectively the stars
appear on the walls of Athanor, over the mass of the compost as if they fall down from the
sky...The green illustrations that gathers to the surface of the compost evoke the end of Solve at
the end of the Eight philosophical month when the vase is open and the head of the crow is cut
off, the matter becomes green making like the frogs spawn.

The picture n. 20 of Tout Le Grand Oeuvre Photographi gives us the image of the compost, as
soon as the Wiseman cuts the head of the crow (6th philosophical month). The granules are
buried then in a pestilential and piled up magma, giving to the whole the aspect of caves and
mountains...This compost is constituted by the surplus of sulphur and of mercury not
amalgamated, with the dregs of the body not vivified by the spirit and it is in this magma that the
granules are prisoners...In reality, before cutting the head of the crow, the compost present itself
in a liquid form of blackness of the very black of which emerge the granules covered of its
leprous dregs giving the image of mountains and of islands.

When the Wiseman has cut the head of the crow, the Hermes Seal is picked up...In this operation
in fact part of the superfluous is dragged, so that nothing remains in the Athanor except the rest
of the superfluous and the leprous granulation. The 20th picture illustrates well this aspect of the
rest of the compost retaining the granules of which the islands disappeared...It is from this
moment that the Vase will stay open, except during the imbibitions that will follow.

We know that it is made allusion to the Saturn's Oil that begins to appear in the fifth
philosophical month and S. John gives us a warning here, only to confirm to us that the
proportions in volume that was revealed to us are the ones that should be respected, at the
constitution of the Ethiopian, if we want to see the Hermes' Seal.

At the emergence of the frogs' spawns (8th philosophical month), the phase of Solve reaches its
end and many marvels were offered to the eyes of the Son of Light. During the cohobation, the
volatile part ascends to the highs of the vase (the Sky of the Philosophers) and falling back, it
mixes and cohobates with the fixed part that is in the bottom. The phase of Solve characterises
itself by the volatilisation of the fixed. The mother engendered her son (the Philosophical
Sulphur) and kills it by drowning it in the darkness of the sepulchre that prevails in its womb (the
vase). The worlds in formation lie in the foetid mass of the compost, under the form of
granulation taking a gross spherical form, amalgamated in nature proportion. They take
consistency from the mass of the compost and appear on the surface under the form of islands
and mountains...

When the Artist has cut the head of the crow, at the end of the sixth month, the Vase remains
open. At the beginning of the seventh month, the phase of Jupiter appears and precedes the
vegetative phase of the frogs' spawns (end of the phase Solve, eighth month).

Let us remember that as soon as the head of the crow is cut off, the vase is opened and the
fermentation is produced in a wet environment.

Having taken the book off the Angel's hand, S. John devours it. In his mouth (the upper part of
the Hermes' Seal) it is sweet as honey, but after it was ingested, it caused suffering in the womb;
the tingeing Mercury is a violent poison. It constitutes a Theriak, and all the authors agree when
they say that it should not be absorbed except in homeopathic doses.

The phase of Solve reaches its end. As soon as the head of the crow is cut, the Vase is opened,
we are in a wet environment and a fermentation begins and manifest itself by the ash-grey colour
of the Jupiter's phase which is very short, and that precedes the green colour of the frog' spawns
(the phase of the Vegetation, eighth philosophical month), that marks the end of Solve...In other
terms, this ash-grey colour appears naturally during the fermentation, without the application of
another fire other than its own and without applying the external fire, that is, the fifth fire. This
colour appears under the aspect of a grey-ash sand, that justifies this phase of the end of the
chapter: It fix itself on the sand of the sea...The Dragon has finished its mission, since he doesn't
intervene anymore, it stops as soon as the phase of Jupiter has begun; the phase Solve-
Fabrication is practically over.

When the third seal is opened suddenly appears a black horse, this colour being that of the
compost at the end of Solve and being marked by the volatilisation of the fixed. The horseman
had a scale that will give us the proportions to respect for the constitution of the Ethiopian...
 COAGULATE

After the darkness of Solve, the Son of Light attends to the resurrection of the Infant King who
becomes the prince of the earth Kings...As soon as the mass of the compost, the earth dry out and
splits producing caves at the end of the fifth philosophical month.

Some reflection will allow the Wiseman to understand the reason of the great variety of colours
that appear between the black and the white. We will remind him that with the first bathing that
is necessary to administer with prudence and moderation...The saline fire acts on the coating that
covers the granulation that is red in its mass. He will understand like this the reason of the
appearance of the different colours before the white of the linen dress. Since the leprosy cannot
disappear totally after the seventh bathing, he will deduce that the First Stone still have the dregs
that renders the Stone inappropriate to all transmutation, from where the need of purifying it by
the Multiplications, as it will be described ahead.

It is here that the advice was given to the Sons of the Art, where one of the main quality is
patience, and not hurry to obtain Diana's Dove: this phase won't intervene until the mundification
is completely finished and that all the phases of Solve are finished.

This manna is hidden to the profane; it is reserved for the chosen of the Father and the definition
referring above to the manna that the grain gives us, the white granulation of soft scent, has the
sweet taste of honey that the Son of Light can contemplate at the end of Albification. The white
stone that will be given to him is really the white sulphur, Diana's Dove, the very pure Moon, the
day Light, the Star of the morning that marks the end of the first phase of "Coagulate" and shows
him that he is reaching the end of his works.

In corollary to what precedes, the investigator will understands why and in which conditions the
vulgar fire whose employment was strictly prohibited until then, can be used in this phase of
Albification.

We saw that the operations of Albification last from the ninth to the fifteenth philosophical
month, that is to say 7 months. For Rubification, the duration to obtain the citrine colour is from
the sixteenth to the seventeenth month, that is to say 2 months. To obtain the colour of saffron,
the duration is from the eighteenth to the twenty-first month, that is to say 4 months. To obtain
the red colour, the duration is from the twenty-second to the twenty-fourth month, that is to say,
3 months. Theoretically, the total duration of Coagulate is of 16 months of which 7 are for the
Albification and 9 for the Rubification.

The time is close: this short phase evokes the next matter of the work, the stone near the state of
Venus in Coagulate, like this called by the philosophers because the time is close for the
coronation of their work. After the reign of Venus, only remains the travels through the reign of
Mars, prelude to the one of the Sun, this is, of the Stone definitively fixed.

The granulation received in first place the virginal milk that allows it to corporify, then a
carnivorous feeding by the tingeing mercury that calmed its hunger and its thirst and as soon as it
received the definitive structure of the red Stone, it is fireproof...The stone is definitively fixed, it
is no more hungry nor thirsty, it has arrived to a perfect state of dryness.

The vapours of perfume rise before God. These perfumes remind us the soft scent of the white
Stone, when the granule is covered of its white coating that was then given to it...The Wiseman
must answer this question: Why does the white Stone has such a soft scent? The answer is very
simple: in the white Stone the sulphur is extinct and amalgamated to the mercury in natural
proportions in the granulation; on the other hand, the vase is opened and the granulation is very
dry. Finally, even if the internal sulphur conserved its bad scent, this last one could not exhale,
the stone being covered of its white mantle, of its saline envelope turning it totally impermeable.
On this subject, another question can be raised: Why is it that the red stone has a foetid odour?
The answer is equally very simple: from the very beginning of Solve, we know now that the
three components of the mixed are sublimated in the sky of the vase at the time of the
mundification, with the wind and the vapours, and within these vapours there is the one of the
sulphur in the form of sulphurous gas exhaling and characterised by its putrefaction scent. We
should remember that all odours are an indication of humidity, which happens in Solve, and as
soon as this humidity disappears, the scents disappear ipso facto. The same for the red stone, as
explains to us by Kamala Jnana, in his Dictionary at the word "odour"; from the first imbibition
with the tingeing mercury, that gives the yellow colour, to the last one that turns its colour to
burned blood-like, the stone still smells sepulchre-like, because the imbibitions are made with
the quintessence characterised by its bad scent. This odour persists until the stone is dry that is to
say until it is fixed. On the other hand, it doesn't have any scent when the fixation is complete,
that is to say, when the dryness is total, as it is explained to us in Pleiade Alchimique that
contains seven unpublished documents of the Masters of Ajunta.

In this text, we will focus on the phase of Coagulate, but we know that with the Cibation, it feeds
on the virginal milk from where it was formed. The infant, or Philosophical Sulphur, drinking
this virginal milk that is volatile, fixes it in himself, it seals its mother in its womb, by the
fixation of the volatile that is characterises by Coagulate.

In the phase Coagulate-Fabrication, the Albification recovers these dregs of a white linen mantle,
that by the corrosive action of the philosophical salt purifies the granulation, giving it a new life,
but the leprosy has not yet totally disappeared.

We are in the phase of Coagulate and the Albification is finished, the granulation represents the
worlds in miniatures, being covered with its white linen coating.

...We invoked the perpetual phosphorescence light of the Hermes' Swan arrived to the total
perfection, and that, kneeling down, we where allowed to contemplate. This wonderful
phosphorescence light is of the Philosopher Stone arrived at the white colour and to an extreme
degree of purity...

This won't be the end, because if the Son of Light arrived to the Red Stone and to the end of the
Fabrication, he still will have of accomplishing the Three Multiplications.
We started from the red-gold mineral, with the philosophers' red-gold salt and arrived to the Red
Stone; this analogy explains why the seventh phase is confused symbolically with the first, being
only limited to the aspect; the operation came to a full circle or close circuit and the same
operations continues in each one of the Multiplications following the same cycle just as
Ourobouros.

We saw that the seventh phase is similar to the first: the philosophers' Salt in the mineral is red-
gold as in the perfect Red Stone, ending of the Magistery, the beginning has the same appearance
as the end.

We explained that we where in the phase of Rubification, by the imbibitions of the tingeing
mercury on the white Stone, and that mark the end of the phase Coagulate-Fabrication. By this
repetition, we have the confirmation that this same operation must be made at the end of the First
Multiplication, and the Red Stone, the red tunic of Our Saviour, will allow the Son of Light his
first transmutations.

But we will add to this subject that the Adepts, worthy of this name, are in agreement by saying
that three Multiplications are enough to give to the white Stone or the red one, the power of
transmutation, and that it is then in the proportion of one part of projection powder for a
thousand parts of imperfect metal, which is what the good Flamel teaches us...

The stone, result of Coagulate of the Fabrication, is associated to the image of the millstone, to
teach us that before the beginning of the second Solve, the stone is grinned, as the Mineral is
grinned in the beginning of the Preparation, operation having for object the separation of the
three constituents of the mix, under action of the five fires.

As in the Multiplication, the amount of Sulphur is limited to what is included in the Stone, the
Wiseman doesnt have anymore, for its second Solve, the source of heat manifested in the first
Solve by the exceeding Sulphur, and therefore, will not have a second exothermic reaction.

The Multiplication puts in work the same three constituent elements of the Stone that guided the
Wiseman to the conquest of the golden seed. We found useless to remind that the devouring heat
is always activated by the fifth fire.

So, in the First Multiplication, we find again the philosophical Mercury, the fifth principal of the
mixed ones composed of what is the purest in the four elements and lets not forget that the false
prophet has enclose the sludge that justifies the new phase of Solve. The parallelism between the
Fabrication and the First Multiplication is confirmed like this in an unquestionable way.

The residue of the dregs and of the sludge's rises in the sky of the Athanor under the action of the
fifth fire, before reassembling in the bottom of the vase where it will constitute a new compost, is
notably reduced in relation to the one of the first Solve.

The phase of Solve is very short because the total duration of the First Multiplication including
Coagulate is of 2 philosophical months.
The problem is limited like this to the purification of the Stone, to the elimination of the sludge's
that stain it and this will be obtained by an addition of Salt to the Stone that was grinned
previously. The second Solve will be like this accomplished by this additional Salt, following the
same process as in the Fabrication, conjugated naturally with the fifth fire...We found that the
weight of the additional Salt for the First Multiplication was 3,884g, that is to say 4g for 100g of
matters that represent the last two parts of the original Salt. As we said in Cap.VI, this weight is
theoretical, because the amount of Salt to join to the stone depends in particular on the quality of
the Salt, the temperature of the room where the work is made and here also intervenes the Art of
Alchemy that allows the Chosen to conclude the Great Work.

The cooking, the wheel fire is renewed following the same cycles as in the Fabrication and in
each of the Multiplications.

As soon as the Red Stone, resulting of the First Multiplication is grinned, it is submitted again to
a new action of the fire of chaos, together activated by the fifth fire...

The operations of Second Solve are made in the same order as in the Solve of the Fabrication,
with the difference that the compost is practically non-existent, since it is constituted by the rest
of the sludge's that still stain the Stone.

The Dragon is thrown in the Abyss; the resulting Stone of the First Multiplication is introduced
in the Aludel. We are still in the phase of Solve in the Second Multiplication, and this phase last
1 Philosophical month, including the corresponding Coagulate as we seeing...when the Second
Multiplication is finished, it will be necessary to proceed to the Third Multiplication with a new
Solve that will last very little time.

But we owed on this subject to explain the reason for which certain philosophers and Flamel in
particular affirm that the Stone gains in amount and quality with the Multiplications. In regards
to the quality and virtues, no doubt can subsist in our mind, because the Multiplications have
purified the philosophical sulphur, and fasten it in the pure state that allows the transmutations.
But Flamel also told us that it increases in quantity. This point can seem fallacious. Effectively if
we obtain 100g of the Stone at the end of Coagulate-Fabrication, it is not conceivable that this
weight is transformed for example in 110g at the end of the Third Multiplication. But we should
consider our Stone, not only under the aspect of the solid philosophical Sulphur, but also under
its liquid aspect. The philosophical Sulphur should decrease in the weight corresponding to the
sludge's that was eliminated. On the other hand, it is natural that the Saturn's Oil of the Third
Multiplication is more abundant then at the end of the Fabrication due to the addition of the
chaos, of which we have determined the amount...at the First Multiplication, operation repeated
by the Second and the Third Multiplication, from there the increase in the amount of
Quintessence. So, the words: Medicine, Quintessence and Stone are understood for the two state,
solid and liquid, and it is like this that the Stone increases in quantity in its whole. We stated that
the Hermes' Seal is, as the Stone, a transmutation agent, as explains Cyliani, when he tells the
story of the transmutation done at cold temperature, flowing one part of Oil on one hundred parts
of mercury that coagulated in the most beautiful gold...
We know that at the end of the Third Multiplication, the Stone still contains a very small amount
of sludge's that can be eliminated in the posterior Multiplications if the Wise desire to, although
the Third multiplication already allowed him to do transmutations in the proportions of 1 to
1000.

This chapter brought us to the end of the Third Multiplication that allowed the Son of Light to
obtain the Projection Powder with which he can transmute a vile metal in live gold.

You will have lost all hope of seeing the phosphorescent glow emitted by the Hermes' Bird, as
soon as it has reach the limit of perfection. It is this perpetual glow of light that kneeling, we
where gratified with the contemplation of in the temple where our Great Master gave us the
illumination, brilliant lamp of the fire spirit of the Supreme Creator of the Universe and
surrounding its tablets of the Law by a divine halo.

When you have understood the whole theory, that all the operative phases are to you known
perfectly well and as you have approached the beginning of your works, don't try to burn any
steps, nor you think that with the whole of the knowledge that you have acquired the success will
crown your work obligatorily in spite of its simplicity. In reality, Alchemy is an Art that
demands many cares of attention, of dexterity and of patience.

THE KAMALA JNANA'S ALCHEMICAL WORK

(Extract)

HERMETIC COURSE
by
KAMALA JNANA
and
THE EASTER CROSS OF CHRIST, AND THE PHILOSOPHER'S STONE
by
TSEDEKAH
of
THE SOVEREIGN ORDER OF THE ANCIENT BROTHERS

OF THE ROSE + CROSS

PREPARATION

In effect, in the Great Work, the Salt will be used from the beginning of work - from the
Preparation of the matters - to the Multiplication. Without Salt, there is no Granules; without
Salt, no Quintessence; without Salt, the Spirit of God, there is no Great Work. The Salt is the key
which will enable us to open the gate of the Temple, it is the perfect and pure, protean matter:
water, crystal, dew, renewed water, and vapour, and sperm binding Mercury to the Sulphur,
which from beginning to end will lead the Work, regulate it, stimulate it, purify it, and make of
this formless and ground, the Philosophers' Stone.
This fourth lesson will suppose that the neophyte has found the Vase, the Fire, the Art of
Separating the three components.

The prudent and astute neophyte will thus start by the separation of the 3 bodies through a
Natural way, in order to be able to study and to treat them each separately according to their
kind.

From the mineral point of view, the astute neophyte will proceed in the same manner. He will
place in his double vase well closed his sifted and ground stone, and he will sublimate the
mercurial and saline parts, leaving the rough Sulphur in its terrestriality. Naturally, to operate
this double sublimation, which will result in the separation of the 3 bodies, the Artist should but
only use ways that are natural. He will have above all to take care not to employ any fire against-
nature to cause the aforesaid sublimation.

...Indeed, in the first scene, that of the Point, what can we see, if not the Mercury and the Salt,
such as they appear, at the end of the Preparation, in the balloon attached to the retort where the
Separation of the bodies was done, thanks to the power of Salt...

SOLVE

The advised neophyte will join together in one vase only the 3 constituents which it will have
separated in the precedent phase; then he will cleanse them with the igneous Salt or sacred fire of
the Wise. He will control his fire with prudence, and with energy in order to avoid killing the
germ of his stone.

When the Sage has dosed his vessel: Sulphur, Mercury and Salt (not the vulgar ones), there will
be produced a chemical and a caloric reaction which purpose is to unite the 3 elements in
natures proportions. However, the sage starts from a proportion given by the analysis, of the
Sulphur and Mercury, it results that there remains a none amalgamate at the bottom in its
vessel.

What occurs in the Athanor at the time when Sulphur and Mercury is being mixed, the Salt
will start the initial reaction of the Solve: tearing off itself from the bubbling compote, here that
vapour rises in the top of the balloon: the Salt is sublimated, followed by Mercury and finally by
Sulphur; and there, in the "sky", the union of the three bodies will be made. Female Mercury will
be united with the male force of Sulphur, thanks to the divine spirit - the alchemical Salt. These
Granules being born represent in truth the primitive androgyny, having at the same time the
whole male and female characteristics, and whose purity was all divine.

...It is the Granule, which is born in the top of the balloon. These Granules, at its beginning, is
covered only with a thin material filmlater, when the granules take weight and falls down in
the compote it will be more material.

...The Granulation, born in the Light, will bury itself in the compote, which will protect it and
enable it to absorb the nourishment which it needs to arrive at maturity, but this granulation will
remain, for the moment, hidden to all our glances.
...The Granulation, even though hidden in the black of the Earth, is quite alive in spite of
appearances. This residue, which will undergo the corruption and the putrefaction, will stain the
Granulations, from the very moment of their birth. These dregs that one calls Superfluidities will
have to be removed in order to be able to Whiten our born Stone.

Having acted according to art, and lead the movement of its fire with more and more energy,
the neophyte will see that a new body has been created and that it bathes in blackness and a most
putrid vase; he will see floating his running Mercury below its black earth. Then we will be able
to say that we are at the Putrefaction stage.

We can interpret this passage while thinking of the Granulation, born in the top of the balloon,
and which falls back down, being more heavy, in the compote where it will have to undergo the
attacks by the Salt. As of this moment, the Oil of Saturn or Quintessence is promised to the
Stone: one day, this Oil will become its nourishment, and will communicate to it its force. For
the Stone also, the Oil of Saturn is the Universal Medicine.

How can we not here remember that the Quintessence, or Hermes' Seal, will appear on the
surface of the compote without any human intervention - it is the Stone itself which makes the
Universal Medicine.

...The Putrefaction, in the Athanor, allows to rise initially an impalpable oil, and which, while
going up along the walls of the balloon, produced there, with a little movement, the most
beautiful iridisations...time is close where the Quintessence, the only true richness of Wise, will
be given to him, in reward of his work. We know it, the Quintessence is red: but, spread out on
the walls of the vase, or on any glass blade, it becomes yellow by transparency.

On the mineral level, the astute neophyte knows that he will have to Cut off the Crows Head, if
he wants to see appear the reign of the Vegetable realm.

When the invaluable Quintessence was collected by the artist, when the compote was seen
loosened, here it is that begins the Vegetative stage, where the matter becomes Green...

He will Separate thus with art and understanding, with prudence and slowness, the 2 elements
which are in his vase; then the Greening will appear, and he will be on the point of treating his
Granules...

...And we know that, in the Athanor, the Granules hidden in the compote have needed to be
awakened and vivified by the Salt. This will be thus poured with care on the earth...and to make
it penetrate "to a great depth" the artist will have to use the Fifth fire.

...And insists on the fact that the Vegetation is immediately followed by the harvest of the Oil
of Saturn - the Athanor stays open.

COAGULATE
The Fifth Fire made, a last time, circulate the white Salt around of the Granules - and the
superfluity, definitively, can be abandoned and reject by the artist.

...The Vegetation is terminated, and it is here that the Granulation, coated with the Salt of lime,
has taken the white colour of Venus.

These waters represents the seven Salt baths, which will purify the Stone, clean it of its
leprosy by the force of the potash and gradually bring it to the pure white, thanks to the lime
contained in the Salt, which gradually, little by little will settle on the Granulation, to coat it and
to isolate it completely - five complete baths, plus a bath with half the amount at the beginning
and another at the end - the Stone will thus arrive at Whiteness...

Having been left with the white Granule. We will now have to remove the Granulation from
the balloon - protected by its hardened Salt carapace, it is not likely any more to be deteriorated
by the air, and is retouched, very gently by the Quintessence, to dye it. We know it, the
Quintessence is red...but as the layer deposited on the Stone' surface is very thin, it will give but,
in the first tincture, a yellow colour.

...We have thus arrived here at the first tincture of the Quintessence .

In effect, for the dying, the artist will have first of all to remove the Stone from the balloon,
then, turning it in all directions in his own hand, retouch it with the Mercury's Oil.

Thus, at this stage of the Coagulate, the Granule coated with the lime, will, thanks to the very
light touches of the Quintessence, see its colour pass from the White to the Yellow, then to
Orange. One day, finally, the Granule will have acquired this beautiful dark Red colour, which
characterizes the Stone at the end of its cycle.

The Artist applied the two last touches of the Quintessence on the Stone, by letting it well dry
between each application: from dark Yellow, it passed to the Orange, and now here the Rouge,
perfect and pure, and ready to operate the miracle of the transmutation.

MULTIPLICATION

...Is identified here as the Red Stone: with its death, a new cycle will start, we are at the
Multiplication and all the alchemical operations henceforth, from the Solve, will be repeated...

In this context, which we can alchemically all place at the beginning of the Multiplication, the
Red Stone, having been regrind and reduced in dust, becomes again symbolically the primitive
cinnabar, and will have to be treated exactly in the same way.

In Athanor, the ground Red Stone will be able to transform but by the grace of the conjoint
action of the Salt and the Fifth Fire, which will allow a new sublimation Solve to be started.

The first Red Stone, in effect, if it is fixed, did not yet acquire the sufficient force to transmute.
To acquire this force, it is necessary to restart again the entire primitive cycle: reground and
placed in the Athanor as the Prima materia had been, the stone will be sprinkled with Salt - one
part of the two last rations which remain with the artist on the fourteen doses prepared at the
beginning ("in principle" - since it is often necessary for more - the Alchemist prepares 14% of
Salt, in reference with the total cinnabar weight used: for a stone of one kilo, it thus will foresee
140 grams of Salt, which it will divide, for more convenience, into fourteen times ten grams, and
it is thus to multiply, it will use all the two last rations which remain, or 20 grams for one kilo of
prima matter at the beginning). This Salt sprinkling, joined with the force of the Fifth fire, will
produce the same reaction as the first time: the Salt will sublimate first, followed by Mercury,
then by one part of Sulphur only - the remainder, mixed with the impurities, forming the
compote. The Granules are born, in the turbulence of the vapours, of the marriage of Sulphur and
of Mercury, tied by the Salt, fall down gradually in the compote where they are buried...and the
remainder of the Work continues with the path, until the new Stone has a transmutation value
like ten times its weight (because such is the coefficient of the force which it will acquire with
each Multiplication) the Quintessence produced - more abundant each time- will not be altered
Only the quantity increases: the quality was perfect as of the first Stone...

Once again, here the great adventure recommences. In the "heaven" of the Athanor, the Red
Stone, multiplied once already, ground again, sprinkled with the Salt, will give birth to another
Granulation.

TRANSMUTATION

In the earth matrass (crucible) at the ends of the molten metal, some grains of the projection
powder will be thrown, coated with pure beeswax (the passage of the Stone through the fumes of
the fusion is enough to hinder the Transmutation, and it is for this that the Alchemist must take
this precaution). In an instance, the vile metal is transformed into gold, with the simple contact of
the Philosophers' Stone
Authors observations on the works of Philalethes

Preparation of Philosophical Mercury

By
Eirenaeus Philalethes

When I translated this small treatise from English to Portuguese, I came across a Chapter that I
had read already but not gave at that time the due attention.

I saw this when I checked the text in the Word corrector.

12. The extraction of the Sulphur of living Mercury by Separation

Take the mixed corporal and spiritual compound, the body of which is coagulated of the volatile
by digestion, and separate the Mercury from its Sulphur by a glass still, and thou shalt have a
white Luna fixed and resisting Aqua fortis, and more ponderous than common silver".

Probably you read the text and, like me, did not observe a chemical and spagyrical meaning that
is of an extraordinary importance.

Pay attention: "separate the Mercury from its Sulphur by a glass still and thou shalt be have a
white Luna fixed and resisting Aqua fortis (nitric acid), and more ponderous than common
silver."

For those who do not have laboratory experience and never had prepared the Moon and the Sun's
calx or Mercury nitrate, the text will tell nothing. But for an experienced alchemist the text is
clear and it reveals an extraordinary thing that comes to prove the Albert Cau' statement, that I
read in your Web.

All the alchemists with laboratory experience know that the Moon solvent for excellence is the
spirit of nitre. The one for the Sun is the royal water and the one for the Mercury can be the two
spirits.

Philalethes tells us that: "resisting to the nitric acid, and more ponderous than common
silver".

It means that the white Moon, fixed, and resistant to the Aqua Fortis (does not dissolve it), that is
the spirit of nitre or nitric acid, and it is ponderous (heavier) than the vulgar silver (Moon).

With these characteristics certainly that is not silver because it, as we saw, is dissolved in the
spirit of nitre or nitric acid. Therefore, it can only be the other white noble metal like the silver
but with great density: the Platinum that anciently would not yet be known!
 Eirenaeus Philalethes
Amalgams Way, Wet Way Or Both?
All experts alchemists know that the Philalethes way just as the one of Flamel are an amalgams
way, but if you read carefully An Open Entrance to the Closed Palace of the King and The
Marrow of Alchemy of same author perhaps you will have a completely different idea.

The Marrow of the Alchemy.

Some in order to prepare their Water, use the Doves of Diana, which is a most tedious labour,
that even for an Artist to hit once right, he may twice unfortunately miss: But the other Way,
(which is the most secret), we recommend to all that mean to be true Artists.

... But strange it seemed to them, that as soon as this Dragon came near the Spring the Waters,
as though afraid did straight way retire, nor Vulcans help ought avail, to reconcile them; then
appeared Dianas Doves in bright shining attire, with whose Silver Wings the Air was calmed,
wherein the infolded Dragon lost his sting.

An Open Entrance to the Closed Palace of the King.

Chapter IV.

This thief is armed with all the malignity of arsenic, and is feared and eschewed by the winged
youth. Though the Central Water be his Spouse, yet the youth cannot come her, until Diana with
the wings of her doves purge the poisonous air, and opens a passage to the bridal chamber. Then
the youth enters easily through the pores, presently shaking the water above, and stirring up a
rude and ruddy cloud. Do thou, Diana, bring in the water over him, even unto the brightness of
the Moon! So the darkness on the face of the abyss will be dispersed by the spirit moving in the
water.

Chapter X.

The two (the passive and the active principle) combined we call our Hermaphrodite. When
joined to the Sun, if softens, liquefies, and dissolves it with gentle heat. By means of same fire it
coagulates itself and by its coagulation produces the Sun. Our pure homogeneous Mercury,
having conceived inward Sulphur (trough our Art), coagulates itself under the influence of gentle
outward heat, like the cream or milk - a subtle earth floating on the water.

When it is united to the Sun, it is not only coagulated, but the composite substance becomes
softer day by day; the bodies are almost dissolved; and the spirits begin to be coagulated, with a
black colour and most fetid smell.

Chapter XI.
They sought active sulphur in a pure state, and found it cunningly concealed in House of Ram.
This sulphur mingled most eagerly with the offspring of Saturn, and the desired effect was
speedily produced - after the malignant venom of the "air" of Mercury had been tempered (as
already set forth at some length) by the Doves of Venus. Then life was joined to life by means of
liquid; the dry was moistened; the passive was stirred into action by the active; the dead was
revived by the living. The heavens were indeed temporarily clouded over, but after a copious
downpour of rain, serenity was restored. Then they placed it in the fire; in no long time they
succeeded in coagulating it, and in its coagulation they found the Sun and the Moon in a most
pure state.

Then they considered that, before its coagulations, this Mercury was not a metal, since, on being
volatilised, it left no residue al bottom of distilling vessel; hence they called it immature gold and
their living (or quick) silver

For this reason they wedded these two to each other, put them in a still (alembic) over the fire
and for many days regulated the heat in accordance with requirements of Nature. Thus the dead
was revived, the body decayed, and a glorified spirit rose from the grave; the soul was exalted
into the Quintessence, - the Universal Medicine for animals, vegetables, and minerals.

In our opinion the secret of this Philalethes' wet version are the Diana's doves. What are then,
these famous Diana's doves?

In the amalgam way, they are the Kaput of the distillation (Moon and Venus) for the animation
of the Philosophical Mercury but here, it is not! But why?

They are the "key" (secret) of the wet version of this way the most difficult as the Master says.

Pay attention in the text extract: The heavens were indeed temporarily clouded over, but
after a copious downpour of rain, serenity was restored.

In the amalgam way there are no clouds, nor abundant rains. That is characteristic of a wet
path. If the Solar regulus amalgamated with the Mercury be placed in a closed glass matrass with
two salts (the two Doves), very well known by the ancient alchemists and which are described in
the Basil Valentine's Second Key, in an oven in a sand bath, there is a violent chemical reaction
that dissolves the composition, and that provokes clouds (therefore the sky will be temporarily
cloudy) and rain.

This violent chemical reaction after it began, there is no way of stopping it and to whom would
try to do this operation after knowing the matters and the modus operandi, and we recommend
much prudence. If the matrass isnt sufficiently strong and large, it can explode.

Thus, this mercury will become Hermaphrodite because it has in its belly the Mars and the Sun's
Sulphur but is not for that matter a metal. It can be coagulated "per se" and continue like this the
whole work or then distilled and afterwards, cooked with the Sun. Because as Philalethes says:
where the gold can be sowed.
All of this brings us to conclude that this alchemic operation by its characteristics also
corresponds to the wet Artfius' way.

THE EAGLES
In the symbolic alchemy, Eagle or Eagles is the sublimation synonym. Eirenaeus Philalethes in
an Open Entrance to the Closed Palace of the King, does not use this term to mean sublimation
but a distillation.

Take care and seek an original text because, if it is the opposite, you can be induced in error if
you don't know the modus operandi.

Therefore, some time, confrontations of opinions appear because the people have not read the
same books.

EXPERIENCES by Eirenaeus Philalethes.

V- Each preparation of Mercury with your arsenic is an eagle; as soon as the feathers of the
eagle is purged of the blackness of the crow, do so that the eagle flies up to seven times; It means
to say, that the sublimation is made so many times; then the eagle or the sublimation, is well
prepared and disposed to rise naturally to the tenth time. (Portuguese edition).

V- Chaque preparation du Mercure avec son Arsenic est une aigle et pour purger les plumes de
l'aigle de la noiceur du corbeau, fais que le volatile s'envole sept a dix fois, et tout sera prpar.
(French edition).

V-The secret of the just preparation of the Sophic Mercury: every single preparation of the
Mercury with its arsenic is one Eagle; the feathers of the Eagle purged of its Crow like
blackness, make it fly to the seven flight and even until the ten flight and then it is prepared.
(English edition)

As you can see, only the Portuguese text makes reference to the sublimation and in the English
text, to fly is synonymous of sublimation or distillation. For us, the more credible translation will
be the English text.

VI- I took the requested Mercury and mixed it with the true arsenic. The amount of Mercury
was of four ounces more or less and I lighten the consistence of the mixture; I purged it in a
convenient way then, I distilled it, which gave me the body of the Moon; then I knew that I had
made my preparation very well and according to the Art.

The same French text doesn't mention the distillation but the English one refers to it.

We know very well for having read Flamel's Testament, that the lunar or solar regulus amalgam
with the mercury is distilled in a stainless steel dismountable retort.
What is the purpose of this distillation? Flamel in the Testament, tells us what is the purpose of
this distillation:

You can believe that this mercury ate a little of the King's body and that this will have force
much more of dissolving the other, that it will be, further on, much more open for the Saturnia
body.

You will have, like this, gone up a step in the stairway of the Art. Takes the faeces of the retort,
melting it in a crucible with strong fire, for makes to leave of them all the saturnine smog and
when the Sun in fusion be purified, it infuses inside, as of the first time, two parts of Saturnia.

He who is not acquainted with this symbolic terminology certainly won't understand anything
that was described here, and for that, we will give some light so that the text is understood
correctly.

Philalethes refers to the Arsenic. That is misleading because what he is referring to is the lunar or
solar regulus. Flamel also misleads us with the term Saturnia that, here, means the martial
regulus.

Why this distillation? It is to prepare the philosophical or live mercury by reiterating the
distillations of the amalgam, which will transport in each distillation, a little of the soul of the
Sun that in this work represents the alchemic Sulphur.

Some modern Iberian authors transposed this terminology for the work in the sublimation sense,
taking to the letter what the Portuguese edition says and probably the Spanish edition also.

We have two Spanish editions but none of them contains the Experiences for us to confront
them.

Let us say that the term Eagles is better adapted to the sublimation than to the distillation. But
Philalethes uses it as the distillation synonym.

Like this to make the Eagle fly, it means one distillation of the amalgam of the philosophical
mercury.

The majority of the alchemists accept this interpretation. We can say this with self-knowledge
because we are almost daily in contact with them.

This comparison isnt possible with the first operation or sublimation of the Way referred to by
an Iberian alchemist. While in the Philalethes' work a solar or lunar amalgam of regulus with the
quicksilver is distilled, in another way, it is made a sublimation of the red Dragon for the
acquisition of such Azoth or Philosophical mercury.

And speaking of this sublimation, we wanted here to underline some small operative details that
some of the artists that did or that are about to proceed with this work, probably ignore.
As we know, there are two antagonistic salts that are used as secret fire in this operation.

The author just designates the secret fire as one of the salts, but in our opinion, as it is obvious,
the group of the two salts is the secret fire because it is the agent that will provoke the
sublimation, and one of them is effloresced and the other decrepited.

The agent that is effloresced can also be calcinated; it is just partially dehydrated. Then, in the
sublimation done in a vase that, in my opinion is not the most appropriate, it will, before the
sublimation, distil a liquid called Spirit (?) that is lightly acid, or at the least, not arriving to 1
Baume.

Evidently, the author can call it what he wants because he very well understands it but that
designation is not conform to the spagyrical terminology that designates a spirit.

If the compost didn't have the red Dragon inside, then yes, it would distil a spirit of salt of great
graduation that could be rectified up to 30 Baum, according to the distilled amount.

But this distilled spirit is different from your essence and, for incredible that it may seem; it
doesn't have any action on the mineral subject. The solvent spirit of this Dragon is the royal
water that it gives, as a product of that dissolution, the same Azoth but under a different aspect.

This will serve you to verify the amount of silica that your mineral subject contains.

Unhappily, in a mineral of reasonable quality, we verified that it had almost 50% of silica.

That is just a curiosity because in the philosophical way to prepare such Azoth it is by the
sublimation way.

But as the essence of the secret fire (group of the two salts) is activated in the red Dragon by
transforming it in such Azoth, the water remaining is under the spagyrical point of view a spirit
of a light mixture of acidified water with some Azoth. You can easily confirm what we say.

THE OPEN ENTRANCE TO THE

Closed-Palace of the King

1669

Cap. XI

When therefore they observed a little Sulphur in the mercury and that only passive, they
found now in this Child of Saturn no actual sulphur, but only potential; and therefore it entered in
friendship with a burning Arsenical Sulphur, and foolish as it is, it cannot subsist in a coagulated
form without this Sulphur; and yet notwithstanding it is so stupid, that it had rather dwell with
the Enemy, by whom it is so exceeding straightly imprisoned, and commit Fornication, than
renounce him and appear under a Mercurial form. Therefore they sought further for active
sulphur, and that most thoroughly, and at length the said Magi (alchemists) sought it, and found
it hidden in the house of Aries. This sulphur is most greedily received by the son of Saturn;
which Metallic matter is most pure, most tender, and most near to the first Metallic Ens, void of
all actual Sulphur, but yet in power or capacity to receive the sulphur. It doth therefore draw this
to it self like a Magnet, and swallows it up in its own belly, and hides it; and the Omnipotent,
that he might most highly adorn this Work, hath imprinted his Royal Seal thereon

Here is a text extracted from a well-known Philalethes book as related above, where he describes
allegorically the two matters to start his Work.

There is a correlation with the description that Fulcanelli does of the said matters in The
Dwellings of Philosophers. Philalethes still does it with more mastery and subtlety than
Fulcanelli who is a little more difficult to understand being less instructed in our Art.

In CAP VIII, it says that the common mercury has very little sulphur and that it is passive (not
actual) but that the Magi (alchemists) also had not found actual sulphur (alchemic) but only
potential sulphur (chemical) in the Child of Saturn as we already know from other books like the
Breviary of Flamel.

Now, look well in the Master style where it says that the (matter) has entered in friendship with a
burning Arsenical Sulphur, and foolish as it is, it cannot subsist in a coagulated form without this
Sulphur; and yet notwithstanding it is so stupid, that it had rather dwell with the Enemy, by
whom it is so exceeding straightly imprisoned, and commit Fornication, than renounce him and
appear under a Mercurial form.

It is such a subtle allegorical language that it is necessary to be understood by the children of the
Art because it describes perfectly not only the first matter as also its identification.

He says to us, in first place, that our matter is the Child of Saturn and after, to complete its
identification, says that it entered in friendship with a burning Arsenical Sulphur and foolish as it
is, it cannot subsist in a coagulated form without this Sulphur than renounce him and appear
under a Mercurial form.

Indeed it is like this. The matter, as you will be able to notice, is a sulphide ore that, if known,
has a burning Arsenical Sulphur that imprisons the mercury and of which it does not want itself
to be free (hypothetically). Effectively, in a sulphide mineral without the presence of a burning
hot sulphur (chemical) we would have a pure metal without having the necessity of its physical
Separation.

Evidently, this does not correspond to the reality but is a descriptive subtlety because, as it is
obvious, the matter (a sulphide) " per se " never if could be exempt of its sulphur without the
intervention of the Artist.

As he relates in CAP IX, the magi (alchemists) knowing that his matter had no alchemic sulphur
but a burning hot sulphur (chemical) it was necessary to introduce an exterior (alchemic) sulphur
to it which was found hidden deeply in the house of Aries (the metallic correspondence of Aries
is the same one of Mars). The son of Saturn most greedily receives this sulphur because to make
the Work it needs to have the alchemic sulphur that is lacking in it.

It doth therefore draw this to it self like a Magnet, and swallows it up in its own belly, and hides
it; and the Omnipotent, that he might most highly adorn this Work, hath imprinted his Royal
Seal.

In this operation, Mars will be placed first into crucible and warmed to red orange and it is
absorbed (dissolved) almost immediately by the son of Saturn provoking an intense reaction for
what it is necessary to place the cover immediately on the crucible.

We want, however, to remind you that the " absorption " will be in such a way faster how much
it will be the antiquity of Mars.

Philalethes in this text describe parabolicaly the matters but in other parts of the book gives
complete details on the modus operandi.

Here it is in a very subtle language the description of the two matters and, the sign of the happy
result of that operation, is the " star " this is, the martial starring regulus.

Some will think that in this operation the Mars purpose is only to make the Separation snatching
the chemical sulphur from the matter and after combining with it in an iron sulphide, called
Caput. Pure deceit. As Filaleto says, Mars supplied them to our matter the alchemic sulphur of
that it needed to be able to make his Work.

And in part, it is like this. The starring martial regulus in the antimony dry way until the
mercurial Purifications contains iron particles in the mass that will only show later in Vitriol or
Green Lion.

If the mercury (regulus) did not have Mars in its " womb " it would not be possible to get
philosophical Vitriol later necessary to make the Sublimations or Eagles.

This text not agrees in all with the following English edition translated from Musaeum
Hermeticum, 1678.

CHAPTER XI

They found that that which should be active in the Mercury was passive; and that its infirmity
could not be remedied by any means, except the introduction of some kindred principle from
without. Such a principle they discovered in metallic sulphur, which stirred up the passive
sulphur in the Mercury, and by allying itself with it, expelled the aforesaid impurities. But in
seeking to accomplish this practically, they were met by another great difficulty. In order that
this sulphur might be effectual in purifying the Mercury, it was indispensable that it should itself
be pure. All their efforts to purify it, however, were doomed to failure. At length they bethought
them that it might possibly be found somewhere in Nature in a purified condition - and their
search was crowned with success. They sought active sulphur in a pure state, and found it
cunningly concealed in the House of the Ram. This sulphur mingled most eagerly with the
offspring of Saturn, and the desired effect was speedily produced-

It is never excessive to tell you to be careful with the some translations that does not always
correspond to the originals ones.

And to finish and confirm our assertion, one day, some years ago, but we still remember them
perfectly, when we visited the Solazaref Filiation in France, we saw the Master touch with the tip
of the tongue a piece of martial regulus recently made in our presence for one disciple and to say:
this regulus has too much Mars!

The Sublimation of the Mercury

The sublimation of the mercury made by the Alberto the Great's Work described in "Le Compos
des Composs", Arch, Milano, pages 51 to 93 and for the one of Artephius in "Le Livre Secret
Du Trs ancien Philosophe Artephius", traitante of l'Arte ocuclte & de la pierre Philosofale:

In a mud or stainless steel porringer, mix intimately with a stainless steel spoon 400 g of
canonical Mars or Venus effloresced at the sun and reduced to thin powder in a mortar, 200 g of
common salt common crackle under heat and reduced to thin powder also and 200 g of native
cinnabar sulphide, well grinded and sieved through a 60 lines per centimetre or 120 lines per
inch sieve.

The proportions are not critical and you can vary them until you obtain the best result depending
on the quality of the mineral used..

If you cant get a good quality native cinnabar, like the one coming from the Almaden mines in
Spain, for experimental purpose, you can make an Ethiope mineral.

Ethiopian Mineral can be made in the following way: Pour, first, in a Pyrex glass or porcelain
mortar, 60g of sulphur and over this, 100g of common quicksilver. Mix and grind very well until
the sulphur absorbs the mercury completely. The composition turns black and you don't see any
mercury vestiges.

Put that quicksilver and sulphur amalgam and an aqueous potash caustic solution in a 500ml or 1
litre matrass and heat up to a temperature of 60 C during some hours. You will obtain, thus, an
artificial cinnabar of a beautiful red colour, called vermilion and that was formerly used in the oil
painting. Empty the liquid by decantation, wash it well with water and dry it in a porcelain
container to a temperature of 40 or 50 C.

After everything is very well mixed, by a large mouth funnel, pour the matter in a 2 or 3 litres
conic cucurbit and place it in a bath of sand using a porringer or pot sitting on a gas stove. Place
on a helm and a 500ml recipient with an air hole, applying silicon on all the joints.

At the beginning, regulate the fire so that the composition begins to sweat, and then, increase it
slowly, so that it distils drop by drop.
When it doesn't distil anything anymore, increase the fire to about 300 C, so that the matter
begins to sublimate. You can remove the helm and place a rubber stopper on the cucurbit mouth
without closing it completely, regulating like this the entrance of air. You will see then, floating
inside the cucurbit, teeny flakes of sublimate that an Iberian alchemist, named in "his" said work,
"Diana's Doves", and they will deposit themselves on the surface of the composition, forming a
white layer as the snow.

Continue non-stop, with the same heat regime, until you don't see any increase in the thickness
of the sublimate layer. Then stop and turn off the fire. If the mercury begins to sublimate on the
cucurbit walls, decrease the heat intensity.

You should not breathe the vapours exhaled by the recipient air hole or by the cucurbit mouth,
because it is extremely toxic. Therefore, this operation should be executed outside or in a well-
ventilated place.

In the recipient, you will find water that is mix with a spirit of salt of weak graduation and a
vestige of sublimated mercury. Reject it.

Remove the helm when the alembic is still lukewarm if you didn't remove it in the previous
phase. Take the cool cucurbit by the neck and rotate the base sidelong on the palm of the hand,
shaking it slowly, so that the sublimate layer can been removed from the kaput. Then, incline the
cucrbita and pour the sublimate in a porringer. Keep it in a large mouth glass flask, closed and
identified.

Carefully, so not to break the cucurbit, with a long handle wooden spoon, remove the caput,
rejecting it also. Repeat the operation, until you obtain the entire sublimate that you need.

If the sublimate still has some kaput sludge, sublimate it again in the same way, with the same
amount of vitriol and salt. Remove it with care by the same process.
Keep it together with the other, in a large mouth glass flask well closed and identified, because it
is a very violent poison, well known by the old alchemists and spagyrist as: corrosive sublimate
or mercury dichloride.

Concerning this operation, we don't want to leave without telling you something about this
mercury sublimate, under the alchemic point of view.

We had the opportunity to contact personally a very well-known alchemist in his country, for
having written several books about alchemy and "its" work, where he describes it allegorically
without giving any practical spagyrical reference (chemistry) to the matters and the modus
operandi, hindering, like this, its understanding even to those that have much knowledge of the
Art. Let us say that this artist, at least in the books that we read, was not much "charitable".

This operation, under the chemical point of view, has nothing special, because it is a distillation
and sublimation, where the vitriol (sulphate), used for the caloric action, reacts with the common
salt (chloride), freeing chlorine that, in its time, act on the sulphide (cinnabar) forming a mercury
dichloride that, for being volatile at that temperature, is sublimated and deposits itself inside the
cucurbit above the kaput.

After this first sublimation, and based on what Philalethes says about the purification of the
philosophical mercury in his book The Open Entrance to the Closed Palace of the King, this
artist, recommends to sublimate the "Azoth" seven times, to the likeness that Philalethes
describes in his work.

Unlike the reasons invoked by Philalethes and Flamel concerning the purification and
sublimations or distillations (at least seven) of the philosophical mercury, we didn't understand
the practical reason of the seven sublimations of such "Azoth". The mercury dichloride, with the
ulterior recommended sublimations, in our opinion, doesn't purify anymore nor does it improve
in quality, but on the contrary, at each sublimation, there is always a loss of material, work, time
and expense.

With this, we just wanted to demonstrate to you that, in our Art, it is also necessary to know
chemistry (spagyrics) so not to confuse anything.
Authors research on the works of Valentine

The Vitriol Way

Basil Valentine

This way is described in Le Dernier Testament Bibliotheca, Hermetica ditions Retz, 114,
Champs-lyses, 75008, Paris, 1978.

Page 212. Truth is that in my precedent writings of the Twelve Keys I already gave to know my
design of a point to the other, to my successors and descending to the practice of my 5th Key, I
demonstrated parabolically and I made to see how it can make the great philosophers stone
extracting of the sulphur and of the salt of the gold the best and the purest and this by the help of
the mercury which is particularly necessary and above all, to extract it of a raw mineral and not
melted one.

Page 238. When you have found a mineral of such and so beautiful graduation that is clean and
pure, which is called, as I told you, vitriol, beg then to God, that he gives you intelligence and
wisdom to continue your design. And, after its calcination, put it in a strong and tightly closed
retort.

Distil it, firstly, to a moderate fire, then, to a strong one. The white spirit will distil as the snow
that leaves in the form of a horrible and frightful exhalation or wind until it doesn't come
anymore and that everything has come out. Observe that in this wind or white spirit, all the three
beginnings are occult and contained...And, that, it is not absolutely necessary to seek these three
beginnings in the precious things...

Page 239. Now, if you take this white spirit extracted by distillation and that you disentangle it
of its terrestrial humidity, you will find and will perceive in the glass vase bottom the treasure
and foundation of all the philosophers of the world before your eyes and in your hands, that is
ignored of the masses; it is a red oil that weigh as much as gold or lead, as thick as blood, and of
a burning fire property.

It is the philosophers' true liquid gold, whose composition is made by the nature of three
beginnings that consist of a soul, a spirit and a body...
Here it is brothers a summary description of the vitriolo distillation with view to the extraction of
the three fundamental beginnings for the Great Alchemic Work: Sulphur, Mercury and Salt.

Before you make this distillation just as the Master tells us, you will need a special mud
refractory retort called Glauber's retort. In the best Pyrex glass alembic you will never make it.

Besides, so much as we know, this distillation is not easy to execute because if you don't know
nor have the "hand work" or the special touch of the practice, well instead of the white spirit and
of the red oil, it will just leave you with sulphurous acid.

We never made this distillation for lack of the referred retort but we have knowledge that other
brothers attempted it and they didn't get it.

The "prima" (first) matter, it will be a Mars and Venus vitriol as what was showed to you in the
image. It won't be easy to get in its natural state just as the Master tells us in his writings, that is
to say the Hungary vitriol.

Happily in Portugal, our country, it is relatively easy to find in Alentejo and the Aljustrel' mines
and others, a native Mars and Venus vitriol.

Retrogradation
The word retrogradation means to return behind or to the origin. In the alchemy terminology, it
means to return to the primordial state.

It is this symbology type that hinders the neophytes in the understanding of the texts as it also
complicated our own research in the past.

There are at the least two great classic alchemists that used in their texts the term "to retrograde".
It is Eirenaeus Philalethes and Basil Valentine.

Let us see where Eirenaeus Philalethes uses this term and, therefore, where it confuses many
students that ignore the "modus operandi" of the path that he refers to.

Eirenaeus Philalethes in the Marrow of the Alchemy, referring to the power of the Subject of the
Art on its metallic acolyte (Mars) in the antimony dry way he says the following:

It seemed strange indeed, that a metal so stout and fixed as to withstand the thundering blast of
Vulcan, which will not relent in any heat, nor mix in flux with any metal, yet by our Art it will in
this piercing Mineral Liquor be retrograde.

For whom doesn't know something about metallurgy, it will seem strange that this metal "so
stout and fixed" that is Mars with all the referred characteristics, can be retrograded, that is to
return to its primitive form of mineral.
Effectively it is like this. The metallic acolyte or Mars in the antimony dry way, melted together
with our subject and the flux, takes possession of the chemical antimony sulphur being
transformed later in an iron sulphide which is one of the minerals from where the metallic iron
is extracted that is to say the pyrite. As it is known, the pyrite is an iron sulphide.

Only that in this case, the Kaput being an iron sulphide made artificially it has the flux together
in the form of a potassium carbonate. Summarising so that no doubts remain, as to the
understanding of the time, Mars was retrograded artificially to its primordial state that is to say to
an iron sulphide.

But we did not find it only here. Basil Valentine in the Le Dernier Testament also in relation to
Vitriol, tells us the following:

For now at this time, it is necessary that learn that such soul or golden sulphur, such salt and
spirit meets stronger and virtuous in Mars and Venus and, well like this, in the vitriol, as well as
Mars and Venus if can reconduct for retrogradation in very virtuous and effective vitriol, in
which metallic vitriol meets now under a sky all the three beginnings, to know, mercury, sulphur
and salt and, each one of them particularly it can extract and to obtain with little work and time,
as you will understand, when he does you, presently, a brief narration of a mineral vitriol that
meets in Hungary, beautiful and of high degree.

However, a such great dignity didn't never go granted to any other metal or mineral as
advantageously as to the vitriol that is the philosophers' stone of which were made so much
mentionsAnd for that the old ones had this mineral hidden to the last point and they hid it to
its own children, what did with much precaution.

This text will be very confusing for an alchemist non-expert. Because it is that Mars and Venus
that is to say, the iron and the copper, that can be conducted by retrogradation to a Vitriol that in
those days was considered a mineral as the Master refers?
Effectively, in the pyrite or calcopirite mines exists a natural vitriol that by the action of the
pluvial waters infiltrated in the soil, dissolves the sulphated pyrites and forms great crystals that
hang off the mines nipple as stalactites.

We have some kilograms of that wonderful and rare vitriol. In those days, the vitriol was also
considered a mineral.

We know today that it is not like this. The vitriol is an iron or copper sulphate or naturally made
of both as in the case of Hungary Vitriol.

But as the vitriol was considered a mineral, it is from there that the Masters said that of Mars and
Venus one can obtain by retrogradation a vitriol dissolving the iron or the copper or both in
vitriol oil (sulphuric acid).

It is this that hinders the understanding of the texts by the less-experts and for that they will have
only one alternative. The study of the old chemistry treatises like Trait de Chymie of Glaser,
Paris, 1663.

Basil Valentine in the Paradigm of its Work says: Visita Interiora Terrae Rectificando
Invernies Occultum Lapidem.

That is just a paradigm that gave place to many groundless speculations, because what he really
wants to transmit to us, as he made it in Le Dernier Testanment, it is that the first matter to make
his work and described in this treatise is the VITRIOL. And, as we said, the vitriol does not only
appear in the mines inside the earth under the rare conditions that we referred to, but also in very
larger amounts outside the mines, in small lakes formed by the rainwater that drags the
accumulated pyrites sulphate in dissolution outside of the mines and leaves it exposed to the
weather.
Observation on the work of Cyliani

Unveiled Hermes
The text of this magnificent work Herms Devoil, Ddi a la Postrit, Paris, Imprimerie of
Flix Locquin, 16, Rue Notre-Dame-Des-Victroites, Paris, 1832, has always fascinated us by the
difficulty of the interpretation of its symbolism that for any alchemist is a challenge.

After we have read it several times, the First Operation (Making of Azoth or the philosophers'
mercury) was not achieved until today in order to lift the veil of the allegory.

Few are the artists that make reference to this operation because it is not comprehensible to those
that, like us, already have some knowledge in the interpretation of the alchemic texts.

In the first part, the symbolism seems easy to interpret. This path, in our opinion, in the first part,
is made by the dry way and the last, the most difficult, by the wet way.

The author was inspired of a beautiful allegory to describe the first operation where he makes
certain considerations that, in our opinion, are still of the contemporary symbolism.

We have referred to, in previous writings, "To Follow Nature", to Natures subtle forces that are
necessary to know and have the knowledge of their application in the Great Work.

It is not easy for an alchemist to understand how to apply these subtle forces. In this small but
beautiful book the author refer to these subtle forces which without the knowledge of, it will be
totally impossible for you to understand the whole work, mainly the important part in respects to
the wet way.
But lets move on to the text in its more essential parts. The Nymph that appeared in dream to our
alchemist said this:

You told me that you were educated in chemistry: See which way your knowledge can offer to
open only the locks of the door of this temple in order to penetrate into the sanctuary.

You cannot combat the dragon that defends the entrance of this temple inwardly, except with
this lance that is necessary for you to heat to heat till red with the help of the vulgar fire, in order
to pierce the body of the monster that you should combat, and penetrate to its heart: dragon that
was well described by the old ones, and of which they have spoken so much of.

Thinks in the May dew; it becomes indispensable as vehicle, and as being the beginning or the
principal of all things.

Finally I decided to the combat. Having gathered dry wood branches disperses on the place
where I was, and started the fire with the help of a lens that I had and heated my lance to the
bright white.

During this operation, I sought a way by which I could best destroy the temple door lock. Then, I
realised that the nymph had placed in my pocket without my knowledge a large mouth glass flak,
closed and filled of the substance that was necessary.

Determined to win or lose, I held with fury my lance in one hand and the substance in the other,
and put of the last one, the necessary amount on the lock. In a short time, it disappeared entirely,
and the two knockers of the temple door opened up with a crash. I perceived a terrible dragon
that had an enormous dart with three points, and that was trying to throw at me its mortal breath.
I threw myself on him and screaming:

When all is lost, that no more hope is expected, life is a dishonour and death a duty.

It opened its mouth to devour me; I drove strongly my lance inside it and penetrate to its bowels
and dilacerate the heart; and for that he cannot reach me, I made great efforts at the same time
with the help of my lance to deviate the direction of its head. The monster bends on itself for
several times, it vomits flows of blood and ceases to exist.

I saw two superb crystal vases, each resting on a pedestal of the most beautiful Carrara marble.
One of these vases was in an urn form having on top a gold crown with four fleuron's; somebody
had written in engrave letters underneath: matter containing the two metallic natures.

The other crystal vase was a large bowl shut by emery polishing, and of a strong thickness;
somebody had also engraved underneath the following:

Astral spirit or burning spirit that is the polar star dejection.

This vase had at the top a silver crown, adorned with nine brilliant stars.
My strength and my courage began to fall: I thought that I should obey the orders of the nymph. I
noticed beside the two sacred vases, several, clean empty crystal flasks, wheeled polish. I took
two; I opened with precipitation, the first vase in urn form that contained the androgynous
matter, or the two metallic natures and filled my vase. Having shut it, after having closed the
crystal urn, I opened the second and the largest vase. I flowed tremulously in my second flask the
substance that it contained: as I didn't have a funnel, time was of the essence and my strength
was vanishing. I closed the large vase and mine quickly with its crystal lid and go out of temple
hastily. Passing near the monster that I had overcome, I saw that nothing more remained of him
than his mortal spoils of null value.

One of your flasks has more androgynous matter than you need; but you didnt take enough
of the astral spirit! You need infinitely more; as Arnold of Villanueva says, it needs plenty of
water, or distilled spirit

Considers well the nature works: it formed the metals in earth core; but you need something
more: its quintessence. See where it takes the quintessence from things: it is on the surface of the
earth only within the kingdoms that live and vegetate: therefore, follow nature step by step.

After a short time, I recommence my work and, with the help of the Hercules' works, I got the
matter containing the two metallic natures, as well as the astral spirit

FIRST OPERATION

Making the Azoth and of the Philosophers' Mercury

I took the matter containing the two metallic natures; I began to soak it with the astral spirit
little by little, in order to awaken these two inner fires that were extinct, and drying lightly and
grinding the whole circularly to the heat of the sun; then reiterating like this frequently, wetting it
more and more, drying and grinding until the matter took the aspect of a lightly thick paste

**

For an expert alchemist the symbolism of the combat with the dragon with the lance to the white
heat is easy to understand. Thus, the first part of this work begins with the dry way or, to be
clearer, by the obtaining of the martial regulus. Why?

Cyliani's fight with the dragon overstepping it with a lance heated to the white symbolises the
Separation in the antimony dry way. Mars will have to be heated to the bright white before being
thrown in the crucible with the mineral subject's mixture and the melting salts.

After having killed the dragon, he saw inside the temple on two marble columns, an urn
containing the two metallic natures and another recipient with astral spirit which he picks up
hastily one in a large mouth flask and the another in a flask polish cover, of which he didn't pick
up enough of, for not having a funnel.
There is not doubt that if we faced Alchemicaly the androgynous matter that is the martial
regulus, it contains effectively the two metallic natures that is the antimony and the iron.

Cyliani after having killed the dragon and when he leaves the temple passes by him and notice
that there are no spoils of any value. This is to say that the caput of the Separation doesn't have
any use in this work because if it had, he would have picked it up also.

We will see further on in elapsing of the work that the sulphur is not coming of the iron but yes
of the gold extracted by the philosophical mercury itself.

If the author is very clear in what he refers to the androgynous matter it is not so with
relationship to the astral spirit. He refers symbolically to the dew of May as vehicle of the astral
spirit and after refers to Arnold of Villanueva with relationship to the distillation of the spirit.

An experienced alchemist knows perfectly that the dew doesn't have any solvent action on the
martial regulus and this can just be interpreted as symbolism of a distillation.

We read Arnold of Villanueva in Le Chemin Du Chemin, Arch Milano, 1974, but we didn't get
to understand the provenance of the solvent water that he refers to.

The author is ambiguous and as many of the writings of the time, they are obscure and we dont
get "to extract" anything.

For the Cyliani's description in the "Preparation of the Philosophical Mercury", he soaks of astral
spirit the matter that contains the "two metallic natures" little by little as it absorbs it and drying
it to the heat of the sun until it becomes like a soft paste.

There is not doubt that the "astral spirit" will be a solvent that acts slowly on the thin powdered
martial regulus and will dissolve it.

We know that one of the solvents of the martial regulus is the royal water but it doesn't seem to
be the case here, in our opinion.

The solvent acts slowly and dissolves the matter. He picks up the liquid that contains the matter
in dissolution until there is nothing else to dissolve. This liquid that contains the matter in
dissolution will be fermented and will precipitate a black matter. He picks up by distillation
without fire the precious liquid that is over the matter containing its inner fire and keeps it in a
glass flask very closed with emery polished cover.

He then picks up the matter and leaves it drying to the heat of the sun reiterating the soaking with
the astral spirit, etc.

It won't be easy to know which is the matter's solvent because the author doesn't give us the
necessary elements to identify it or perhaps we don't get to discern it.

However, he makes a very interesting observation, but it does not explain too much:
Don't forget also that the mysterious matter dissolution, or the magic marriage of Venus with
Mars, is done in the temple that I told you before, in a beautiful night, a calm and cloudless sky,
and the sun being in the sign of Gemini, the moon being at its first quarter to full moon, with the
help of the magnet that attracts the astral spirit of the sky, which is seven times rectified until that
it can calcinate the gold.

The author describes minutely the several subsequent work operations to the end but it doesn't
serve any purpose to continue if we don't know previously what is the matter solvent, the one
that he calls "astral spirit".

The Artephius Work

This great Master's main Work is described in Le Secret Livre Du Trs Ancien Philosophe
Artephius traitant de L'Arte occulte& de la pierre Philosophale, translated into French by Pierre
Arnault, Sieur de la Chevalarie, and printed in Trois Traitez de la Philosophie Naturelle: chez
Guillaume Marete, 1612.

What are the matters that he uses in his Work? He describes them like this:

And because our vinegar is a double quicksilver substance, one of antimony and the another of
sublimated mercury

a water saturnine antimonial should be mercurial and white, so that it whitens the gold
without burning, but only dissolving it and later coagulating it as white cream...

And following:

...when it feels the common fire, it makes to melt the gold and the silver if they put them into...

If you place in this water any metal that is, filed or attenuated and if you leave it for some time
in sweet and slow heat, it dissolves everything and it will becomes viscous water and in white oil
just as it was already said.

These elements are enough for us to deduce which will be the matters and the result of its
chemical reaction in view to obtaining the solvent of the gold and of the silver.

If the water has a double mercury substance, which is one of antimony and another of sublimated
mercury, what in spagyrical terms can it mean?

Distil in a good glass Pyrex retort sublimated mercury that can be obtained by the wet way just
as already explained to you in our writing of the "Eagles" with an antimony regulus very thinly
powdered. What will you obtain? Chemically, it is an antimony dichloride that is to say
antimony butter that melts at about 70C.

It is not necessary to tell you that you will have to have some knowledge of the antimony dry
way so you can prepare its regulus.
This distillation is not easy and it requires a special "hand work" in respects to the heat otherwise
its butter coagulates in the retort throat impeding like this the distillation.

If, you prefer to do just as I already I told you in the version of Philalethes wet way, then you
place in a vase a regulus amalgam of solar or lunar made with the common quicksilver, together
with nitre and ammonium salt, the result will be the same, because in this amalgam is already
incorporate the gold or the silver that Artephius joins later into the antimony butter. Of the nitre
and ammonium salts chemical reaction, will result royal water that will dissolve the mercury
sublimated, which will then? Act on the amalgam of the Solar or Lunar regulus, and will form
the composition that, in our opinion is to cook in a closed vase.

Artephius in his treatise explains the whole phase of the cooking until the end. As in almost all
the alchemic Works the most difficult is to begin.

This is our opinion concerning the Artphius wet way described in a treatise that we have in
facsimile, Le Secret Livre Du Trs Ancien Philosophe Artphius, Paris, 1612.
Author Theory and Attempts on the works of Fulcanelli

The Matters of the Great Alchemical Work

Throughout the passing of time, a lot has been written about the matters used in the Great Work.
In accordance with what we have read in the great works of classical and contemporary Masters
in each of the alchemical ways, a different and specific matter is used.

There are artists that affirm that the matter of the Great Work is one and universal without
specifying what the matter is, nor do they give us the least of indications that would permit the
investigators of the Art to recognize this matter. For that reason, we find these statements cloudy.

The reading of the alchemical texts of the great Masters written in symbolic language allows for
diverse types of interpretations according with ones knowledge. Unfortunately, in many cases,
not always corresponding to what the Masters wanted to express in their writings. On the
contrary, some very well known alchemical books from time to time were written in a clear
language. It is only ignorance of the most elementary principles that governed the different
alchemical operations written about at the time that allowed one to make such rude errors of
interpretation.

Those who read that interpretation without the necessary knowledge in order to evaluate it, such
as beginners who are in their first steps in the study of the alchemy, unavoidably keep
misunderstanding the idea of what the matters are that are used in the different alchemical works
as well as of the Modus operandi.

Not only do we refer to the matters, which are a very important part in an alchemical work, but
also to the related ways of most well known alchemists.

We are not in the XVII or XVIII centuries when writing books on alchemy was in fashion, and
when the authors were hidden under a motto that few knew. Example of this is the vast amount
of attractive books written at that time. Their content is lacking of teachings, being for that
reason money spent out.

Nowadays, to write a book on alchemy under a well-known motto, imply responsibility by the
author, because a reader can compare with original works and easily perceive any inaccuracies.
However the beginner in the study of the Art will not much hesitate to believe what they read
because they trust that one who writes a book on alchemy knows precisely what he is speaking
of.

However this is not always so, for at times we find in the writings of certain modern authors,
texts lacking in their essence and doubtful descriptions without basing them on the original texts.

Following this short introduction we are going to point out which are the main alchemical ways
practiced by our classical and contemporary Masters as well as the matters employed in them.
Dry way. The matter of the dry way is, par excellence, the antimony or stibnite. The old
alchemists in order to distinguish the mineral from the metallic antimony called the latter
regulus. For that reason, when we talk about the antimony we want to designate their mineral,
that is to say, the stibnite.

Some artists affirm that the dry way is done from the glass of antimony. We are not of the same
opinion because this statement doesn't have consistency and only those who don't know the
magisterial work of Basil Valentine, "Le Char Triomphal de l'Antimoine", Retz, Paris, 1977, will
make such statement.

The glass of antimony whose preparation is minutely described in the page 163 of this book,
besides being used to make the stone of fire, is used also for the preparation of the tincture of
antimony. The preparation of the stone of fire has nothing in relation, neither comes close to,
with the dry way of the antimony and it is hardly considered as being the "matter".

Lets see the cause of our disagreement. From the glass of this mineral, the mercury of the
antimony is not extracted because the mercury of this mineral is the martial starry regulus highly
purified.

The preparation of the glass of antimony is not so simple as to place the antimony powdered in a
hearth, fuse it and so convert it in glass.

The preparation of the glass of antimony requires much experience and one will not arrive at a
canonical glass if one isn't observing and practicing. And, so that you are not left to hesitation as
to how much is our disagreement we are going to describe its canonical preparation.

In first place, grind the stibnite powdered very fine and pass it through a sieve of 60 lines for
centimeter. The very fine powdered mineral is calcined with very strong fire in an iron recipient
or clay refractory in order to extract from it all the chemical sulphur. Only after this operation is
the oxide fused in a hearth with the respective cover, in a gas oven with very strong fire.

After it is well liquefied it is poured over a copper sheet or over a marble stone. If the glass was
well prepared, and this operation is not within everyones reach, we will have a red colour very
alive looking and transparent in front of a very strong light like the solar light. We have already
prepared kilograms of this glass of antimony, for this reason we are able to describe with total
knowledge their preparation.
 Glass of antimony.

The glass of antimony is soluble in spirit of vinegar with which one could extract their tincture.

For that reason it is not the matter of the dry way but this is the matter for the preparation of the
stone of fire with which, on the contrary of what some artists affirm, one could make some
transmutations as the Master says in the page 237 of the same book:

Considering the proposed point that with the antimony, the stone of fire could be prepared, and
it is said that this healthy stone cures some particular infections not only in man but as well in
metals.

And in the page 238:

The tincture of this stone of fire is not universal like that of the philosophers, which is prepared
of the essence of the sun, and is still less universal as to all the other stones.

And in order to conclude in the page 249:

In a word, this stone, as a particular tincture, transmutes all the metals into very pure gold and
better than that of the mines of the Peru. It is a medicine for all the illnesses which man could
suffer.

In short, the stone of fire, is a transmuting "stone" resulting from a "particular" made through the
dry and humid path, and is not the dry way of the antimony.

For that reason, where it is said that the dry way from the antimony is done with their glass,
alchemically it doesn't have any consistency, by which they who don't know the Art will be
compelled to complete error.

The dry way properly said is done it with the stibnite as it is described in all detail by Eugene
Canseliet in his "L'Alchimie Expliquee Sur Ses Textes Classiques", Jean-Jacques Pauvert, Paris,
1972.
But then, who was Eugne Canseliet? Canseliet was Fulcanellis disciple. Fulcanelli was the
nom de plume of the painter Jean-Julien Champagne.

Jean-Julien Champagne

"The Dwellings of the Philosophers" was written by Jean-Julien Champagne with elements taken
from Pierre Dujols'files who was a bookseller. He was a big alchemist and had a disciple that
worked with him in the laboratory.

Pierre Dujols was an erudite and the author of the first ever comments to the "Hypotypose" (a
comment of "Mutus Liber") under the Magophon nom de plume.

Eugne Canseliet published the book "Les Demeures Philosophales" as a disciple of Fulcanelli.
If Canseliet followed the dry way of the antimony and was at the same time a Fulcanellis
disciple to whom he would work then his Masters path was obviously also a dry way.
"Fulcanelli devoil" Genevire Dubois, Editions Dervy, Paris, 1992.

Concerning this way, in "The Dwellings of the Philosophers", the authors (Champagne and
Dujols) describe other ways of such an amalgam, that are almost impossible to distinguish when
they refer to the dry way or to the wet way. This has resulted because the descriptions given do
not have a sequence. Even an expert artist will have difficulty in making the distinction.

There are artists that say that Fulcanelli doesn't refer to the dry way from the antimony and that
he neither describes it.

Lets see, then, the detailed description that Fulcanelli makes of the mineral related to the dry
way in "The Dwellings of the Philosophers", Square & Janes, Corp. editors, 1973:

All ores, through the hermetic voice, rendered homage to it with their name. It is also called
Black Dragon, covered with scales, venomous serpent, daughter of Saturn and the most beloved
of its children. This primal substance has seen its evolution interrupted by the interposition and
penetration of filthy combustible sulphur, which coats its pure mercury, holds it back, and
coagulates it. And, though it is entirely volatile, this primitive mercury, materialized by the
drying action of the arsenical sulphur, takes the shape of a solid, black dense, fibrous, brittle,
crushable mass rendered, by its lack of utility, vile, abject, and despicable in the eyes of man. Yet
in this subject - poor relative of the metal family - the enlightened artist finds everything that he
needs to begin and perfect his Great Work.

For this reason they symbolically depicted their matter in its first being as the image of the
world that contained in itself the materials of our hermetic globe, or microcosm, assembled
without order, without form, without rhythm or measure.

Let us see, then, the meaning of this description:

All ores, through the hermetic voice, rendered homage to it with their name.

Those who know well "Le Char Triomphal de LAntimoine" of Basil Valentine, will remember
the picture on page 64 Frontispiece du "Char Triomphal de LAntimoine", where the alchemical
planets (metals or minerals) symbolically represented, Saturn, Mars, Venus, Mercury and the
Moon, pull a wagon lead by Vulcan. This wagon is used to carry the antimony, pictured by a
lady that bears on her womb the antimonys spagyrical symbol, i.e., a cruciferous globe, thus
paying it and homage.

It is also called Black Dragon, covered with scales, venomous serpent, daughter of Saturn

Some of the names by which antimony is known are Black Dragon, Grey Wolf, and most
commonly offspring of Saturn.

In the "Tabla Redonda de los Alquimistas" by Manuel Algora Corbi, Luiz Carcamo, editor,
Madrid, 1980, "La Medula de La Alquimia", Eirenaeus Philalethes, page 307, one could read:

The substance that we took first is a mineral, familiar to the mercury, that cooks a raw sulphur
in the earth; vile visible, but glorious inwardly, the son of Saturn. What more do you need?
Conceive it correctly because this is our first matter.

It is colour of sable, with silver veins that appears mingled in the body, whose sparkling shade
stains the connate sulphur. It is completely volatile and nothing fixed, but taken in their native
crudeness purges all superfluity of the sun.

The Fulcanelli attributed characteristics to the antimony are confirmed in this text.
 Black dragon

Our mineral, being son of Saturn, has characteristics very similar to those of its ancestor. It is
colour of sable (sable in heraldry, corresponds to the black) with silver veins and their shine is
stained connate sulphur. It is all volatile and purges every superfluity of the Sun. It is fibrous,
brittle, and at that time was of little utility beyond its medicinal use.

This means in current language that it is a mineral of black colour with silver veins, volatile,
friable, whose shine is stained chemical connate for sulphur and that purges all the superfluities
from the Sun or gold.

These physiochemical characteristics correspond to those of antimony that is, as we know, a

sulphide. It was with the antimony, that the old alchemists purified the Sun or gold as one can
see in the First Key of Basil Valentine.

For this reason they symbolically depicted their matter in its first being as the image of
the world that contained in itself the materials of our hermetic globe

In the First Image of the book "Speculum Veritatis", which means in English "Mirror of the
Truth", Philalethes describes symbolically the First Work of his way, that is, the preparation of
the martial starry regulus that we explained in detail in our website at Terravista, Planeta (with
links to the matters) and in our book "La Gran Obra Alqumica", Mirach Editorial, S.L.,
Villaviciosa de Odn, Madrid, 1999, page 15. You will see there a lame man with a tick leg
representing Vulcan, giving to two old men (alchemists) a cruciferous globe that is the
spagyrical symbol for antimony like any expert alchemist knows. But like this globe has a star in
its center, it represents, for that reason, the martial starry regulus.
If any analogy exists with the word "mirror", cut or break the martial starry regulus traversely
after the mercurial purification's and you will verify that it crystallizes in similar layers like those
of the mica, as brilliant as the more refined silver and like a mirror. For that reason many artists
call it "mirror of the Art".

But we won't limit ourselves hardly to these texts in order to demonstrate to you that Fulcanelli
describes unmistakably the antimony.

In the "Oeuvres" book- Nicholas Flamel, Courier Livre du, Paris, 1989, page 196, says:

Try, in the first place, to take the first-born of Saturn that has nothing to do with the vulgar,
nine parts, of the sable of steel of the warrior God, 4 parts.

Philalethes in the "Open Entrance to the Closed Palace of the King", section XI, "Of the
Invention of the Perfect Magistery", nr. VII, says:

Afterwards, they were interested in an offspring of Saturn, and they tested its action over gold;
it having the power to free the gold from its impurities...

Flamel is talking about the antimony that, together with the warrior god Mars and the suitable
salts will make the martial regulus, required to begin his work as in the Philalethes' amalgam
path.

What is Fulcanelli talking about anyway? From what weve described, youll be able to see that
the Master talks about the antimony.

The preparation of the antimony regulus is not as simple as melting it with a proper heat and
moulding it, as some artist's claim.

This, alchemically speaking, would be as claiming that a car is built with four wheels and little
else!

Statements like these denote a lack of knowledge of the writings of the XVII century, as the
"Trait de la Chymie", Christophle Glaser, Paris, 1663, page 174, where the preparation of the
antimonys martial regulus is described in detail. Also Lemery, in his "Cours de Chymie", Paris,
MDCCLVI, on page 272, describes the same operation!

The starry martial regulus is not made simply after the fusion of antimony and moulding on a
stainless steel mould.

In order to make a good canonical martial regulus one needs a suitable gas oven, where one can
reach a temperature near 1000 centigrade, a good mineral ore and his metallic acolyte Mars, as
also the indispensable melting salts. These and the "hand work" required that only an expert
artist has, are the requirements to proceed with the work.
The first preparatory operation of the dry path is called Assation. It is ignored by most and is
only done when preparing a canonical work. Next comes the Purge, which consists in the
purification of the mineral of its siliceous refuse in a refractory clay crucible, in the aforesaid
oven. Then follows the Separation which, as its name explains, consists in separating the regulus
from the antimony by use of its acolyte Mars and the suitable salts. When the metal reaches a
proper temperature and is melted, it is poured into a stainless steel conic mould. After slowly
cooling, the Caput is separated according to Art. From this Caput the philosophical sulphur will
be extracted.

Then follows the Mercurial Purification's in order to purify the regulus with the suitable salts
until the star shows up, and also to extract the vitriol or Green lion. We then proceed to the
Eagles, i.e., and the sublimation of the alchemical sulphur and mercury that will have as result
the Remora. Finally, the latter will be cooked with the respective salt or secret fire and as a result
of this operation we will at last have the Philosophical Stone. It was at this point that Canseliet
failed, due to the poor "external" conditions.

Martial regulus

This path takes more than just a few days to accomplish. Only a greatly expert alchemist will
succeed, at least until the Eagles, corresponding to the Second Work. We have gone this far
ourselves, so we may speak based on personal experience.

This is the time when the Artist needs the knowledge to make use of the cosmic radiation
depicted on the fourth tablet of the Mutus Liber, as well of the polarized light emissions from the
moon since its first quarter until the full moon.

The Amalgam path. This was the path followed by Philalethes and Flamel. One can find its
description both on "An Open Entrance to the Closed Palace of the King" by Philalethes, as well
as on Flamels "Brevire"or "Testament".
A summary of Philalethes' path can be found on "Concerning the Discovery of the Perfect
Magistery", chapter XI, which I highly recommend you to read attentively.

On nr. X, XI and XII is said:

The heavens were indeed temporarily clouded over, but after a copious downpour of rain,
serenity was restored.

Mercury emerged in a hermaphroditic state. Then they placed it in the fire; in a short time they
succeeded in coagulating it, and in its coagulation they found the Sun and the Moon in a most
pure state.

...And when they placed gold therein, the fixed was volatilized, the hard softened, the
coagulated dissolved, to the amazement of Nature herself.

In our opinion, this excerpt describes Philalethes' other path which is a wet path, nevertheless
requiring the martial regulus in order to prepare the philosophical mercury.

This mercury, when cooked in a closed vessel per se becomes Sun or Moon, i.e., philosophical
Sulphur that by adding up of new mercury will enable you to proceed with your work.

But instead of cooking the mercury per se in order to transform it in sulphur, one can add to it
metallic gold and continue the work as explained by the Master.

This is our understanding of Philalethes' nr. X-XIII.

On "The Marrow of Alchemy", the Master allegorically describes the preparation of the
philosophical mercury and the way to his complete path. It is also described on a little treatise
called "Experiments".

The preparation of this philosophical mercury is done through the amalgamation of the martial
regulus turned into Solar or Lunar regulus by melting it with one of these noble metals. Only this
way one will be able to amalgamate it with the common mercury. This amalgam is then distilled
on a steel retort up to seven times. Philalethes calls each one of these distillations an "Eagle".
One should take care as not to confuse these with the ones described in our other text titled "The
Eagles".

This little treatise called "Experiments" can be found in the aforesaid book "La Tabla Redonda
de Los Alquimistas", page 299, as well as in our Website at Terravista, in a portuguese
translation.

We have a facsimile of these two little treatises written in ancient English that serve as a
complement to Philalethes' main book "An Open Entrance to the Closed Palace of the King".
These are a precious aid in order to understand the Masters work. In our Website at Terravista
you will find a portuguese translation of the original of the aforesaid treatise "Experiments" as
well as a text about Philalethes' work.
The Albertus Magnus' Work "El Compuesto de los Compuestos" (The Composite of
Composites), described in the book"Siete Textos de Alquimia", anonymous author, Editorial
Kier, Buenos Aires, 1978, pages 18-45 as also as in "Le Compos des Composs", Arch,
Milano, has a different beginning despite being also an amalgam path. It starts with the
sublimation of Mercury as you can also see in our website Terravista, under the texts titled
"Mercury Sublimation", "The Eagles", "Our Gold" and "O Composto dos Compostos". It has
been translated into portuguese.

Wet Path. The wet path, considered by the Masters as being the noblest of them all, employs as
first matter the cinnabar and the vitriol. The majority of the wet paths are usually lengthy in
time, but Kamala Jnanas way, as incredible it might seem, takes only 28 days.

Red Dragon

These two paths are completely distinct. The cinnabar path is described with great detail in the
book "Dictionaire de Philosophie Alchimique", Kamala Jnana, ditions G. Charlet, Argentire
(H.S) France, 1961. In our Websites at Terravista and Geocities, you can find some writings on
this path with links to the actual matters, not only the first matter but the secret fire as well.

Because of this, some artists have accused us of being excessively charitable, due to the
uniqueness of a clear representation of these matters on the international network and in many
languages. We do not agree. Kamala Jnanas path will at first sight seem extremely simple but
isn't so. In practice, we have found unsurpassable difficulties, despite our lengthy experience in
Alchemy. Not only us, but also other expert artists have found the same difficulties. We will
continue without weakening to strive with our brothers for the resolution of this problem.

Another wet path commonly known is the Vitriol Path. This is described in Basil Valentines
"Le Dernier Testament" Retz, Paris, Troisme Livre.
 Natural Vitriol

In our book "A Grande Obra Alqumica" we describe this path with great detail. But as not to
leave any doubt let us now quote some passages from the Masters text, on page 234, referring to
the matter:

Now, you must know that such soul or golden sulphur, like salt and spirit, is found stronger and
most virtuous in Mars and Venus, and in Vitriol as well, as also Mars and Venus by
retrogressions can be taken back to a most virtuous and effective vitriol. On such a metallic
vitriol one finds all the three principles under heaven, which are mercury, sulphur and salt, and
each one of them can be particularly extracted with little work and time, as you will see when I
proceed to narrate a short story of a mineral vitriol, beautiful and of a high degree, that can be
found in Hungary.

And on page 238:

When you have found such a high grade mineral that is clean and pure, called vitriol, pray then
to God to give you intelligence and wisdom to proceed with your work. And after its calcination,
put it in a strong closed retort. Have it distilled, firstly under a moderate fire and then a strong
one. Have the white spirit distil like snow that comes in the form of a terrible exhalation or wind,
until it comes no more and everything has been spit out. Observe that in this wind or white spirit
all the three principles are contained... And because of this there is no need at all to look for these
principles in the precious things.

At the end of the Troisme Livre, on page 262, Basil Valentine, when talking to the blowers,
says: Oh, eternal God! What do these people think, being so much blind and foolish? Ah! Its
an easy task, even for a child. One thing springs from another, as one can easily cook good bread
from good wheat. But the world is blind and it will remain so until the end of times. Being so, I
refrain from writing any further and commend you to the Sovereign.

Philosophical Assation in dry way

Here, the physics must help chemistry, in an action that is intimate and reciprocal and that justify
that, live-to-live the one and other, the alchemy benefits from all preeminence.
That one only, that does not have test, cannot know, either same evaluate, the all-powerful virtue,
of an igneous sustenance, equal or soft, by a long time exempted. In narrow report with this
repeated observation to the laboratory, add that our metallic sulphide, pulverized with a lot of
care and put in a glass balloon of some two litres, constitute there nevertheless a mass that is too
dense again, so that his volume and its parts artificially must not be relaxed and aired. The artist
knows then the service that the sieve is fit to him to return, so that it obtains by him, the
necessary gravel then that it separates this one, after it at length will have assured his office.

If this is only we returned ourselves guilty of a notorious disclosure, at least test the feeling for
us, that we committed a real distortion has the traditional discipline, in this beginning of the
philosophical process. Do we regret our insubordination? We do not think it, in front of the
current fort of not involved curiosity that, to the profit of the Hermes science, develops since
several years and do not stop increasing itself.

The operation itself not remainder less elementary, although very delicate and claiming a lot of
care and attention. This is with her, we said it, that the alchemist between already in the Great
Work, in a sort of assation. That requires the degree, enough low of the said heat of the manure
or hen brooding his eggs, as well as the constant help of the thermometer.

Inestimable instrument of which do not doubt us that the alchimistes did not have it at their
disposal and that, jealous, they not in have has just skimmed the arcane

Previously, the artist had laborious prepared his mineral matter, giving some to him, not the
ordinary procedure, a bigger wealth than she did not possess, which than is been his quality with
leaving the mine.

In Alchimie Explique Sur Ses Texts Classiques, Eugne Canseliet, pages 148 - 150

***

One will have therefore understood the difference between the archemy and the Alchemy. In the
archemic domain, that is to say chemical arts, an assation has little of direction. Since the
operator does not imply itself himself that to the level of a Master' work - but of which
illusion itself does it act then? The manipulation consists of return the shapeless Subject on the
chemical level.

Each one knows, for little that it is curious of the modern stammering in mineralogy by which
means one can commonly make a sulphide amorphous. Let us describe the vulgar process that,
underline it immediately and without turning, is not of any philosophical value.

Two procedures are usage in the contemporary laboratories, dry the one and the humid other.

The dry one concerns the contractions of sulphur vapours to the help of the cold one, as well as
the referred sublimation in sufficient volumetric conditions. The humid one find as interpret the
spirits, and principally the sulphuric acid. Chemistry seizes itself de antimony trisulphide and, to
the help of H2 S04 concentrated to 60%, causes the hydrogen liberation sulphurous, essential
reducer of the sulphur.

The archemy, more evolved, will use the father Basil Valentine Mountains' vinegar has who is
well more close to alchemical reality, and will work the subject in closed vase, as the laboratory
assistants would do it. In these wet cases, the reaction would be connected with:

2 Sb2S3 + 6 HCl ------> 3 3h2s2 + 2 Sb2Cl3

Partly while using of hydrochloric acid. The separations to iron are then so much more facilitated
than sulphide it is transformed in protochlorine but nothing is not here Art.

***

The essential question is the following one: why to meet the Alchemy does it induce inevitably
interior will and manipulative of the assation and why, to the furnace, the operation translates
itself by the reduction of the Subject, that is to say by the capacity to return it shapeless, clothed
of his crimson's coat?

Let us examine, if you want it well, which is the situation of the applicant in front of the work.
The assessment is simple: it is enough for you to listen to your heart with attention and mental
silence, with the threshold of the Philosopher's stone, to observe how much you are stripped,
exiled. In this situation, one also knows that any will to appear in front of Science is swept a such
wisp of straw, like if, at the bottom of its infinite mercy, the Lady required initially the
detachment of us, i.e. the amorphous state.

Examine, if you want it well, which is the position of the postulant in front of the work. The
report is simple: it suffices you to listen your heart with attention and mental silence, to the
threshold of the Great Work, to observe how much you are stripped, exiled. In this position, one
knows also as all will to appear in front of the Science is swept such a trifle, as if, at the far end
of his infinite mercy, the Lady required first the detachment for us, that is to say the amorphous
state.

With the image of the metal reign, in which the rough subject is already singular, we must
accompany its first degradation in any raw material by ours: depersonalization of the ego. When
well even we would like the opposite, I say to you that the assation can be carried out only by
this examination which, to be philosophical, requires a deep interior adhesion. It is to repeat how
much the pangs ego, upon the departure, is put at hard test, and the subtlest selfishness made
amorphous, inoperative. Indispensable condition of the entry, the latter does not put up with
compromise. In clear terms, it is not even useful to be exerted with the chitchat to know what is
the ego and what is the call. I make whole confidence with the one and the other in you to inform
you about their identity.

To the picture of the metallic reign, in which one the crude subject is already singular, we must
accompany his first degradation in all first matter of the ours: the depersonalisation of the ego.
When very even would want the opposite for us, I say you that the assation can be taken only by
this, examination which to be philosophical, demand a deep inner adhesion. This is to repeat how
much the afflictions of the me, as early as the departure, are put to rough test, and the most subtle
egoism amorphous, inoperatives. Condition sine qua non of the entry, this last one does not
suit itself any compromise. In clear terms, it is not even useful to exercise itself to the small
talk to know what is the ego and what is the call. I do entire confidence to the one and to the
other in you to inform you on their identity.

That notifies, implicitly, that the assation is kingdom of called. That which is withdrawn by pure
scorn from this command will be, at best, archemist. Our matter is not in this relative art.

***

Adopt therefore the sacred clause of your unconditional membership to the filiation and, by this
postulant of sovereign importance, presume of your place to the threshold of the assation, that of
which you carry the effective responsibility

The day of Carnival, to return the Subject in the state of its any raw material, favourable with the
union of March and double salt, it is to propose what Nature intimates to him within its prolixity,
of its generation. The plan, on which our sulphide reproduces, by its menstrue solvent, is reached
by offering the requirements to him, which frees it from its metal aspect. To reassign the red
dark, or lilac, or the brown bright one, is to dispose the crystalline arrangement of the matter in
another manner. It remains always the Subject, but its crystalline identity, by the new orientation
of its internal layout of its sulphur, carries it on the level of a primitive semi-metal. It becomes
hydrated compost whose initial state is characterized by its dry solution. Indeed, sulphur,
otherwise glossy, frees metal while coming out like a bad eruptive fever and, then, March the
warrior, also prepared to him but with stings, links with it with a perfect propensity. Vulcan then
operates separation by restoring innate fixed Sulphur and with the germinative destiny in the
caput mortem for, later, if God wants it, you gratifier of Remore.

It goes without saying that the mercurial purifications are, at the proper time, happy and
beneficial; the salt glass, completely freed from rough sulphur, becomes the vital staging of the
forces of in top, with the place, as that is the case without assation, to optionally block the
Universal Spirit the random one, which often enamels the stochastic appearances of star of magi,
is considerably reduced. Those, which suffered with the purifications, know now that this very
first initiatory phase is the backbone of the philosophical Epiphany. In that, the question of
double salt is also canonical, but we will have perhaps the leisure to return there in other places.

***

The hesitant results in title qualifier are it, often, because of the haste, which leads to the
insanity, hastens which almost always merges with the heat of the first working years. The
postulant, more bolder than wise, more exalted than obeying, projects itself and him only, in his
gestures, the disordered states resulting from the clean will which will make sterile its attempts.
Far, the perspicacity of the free will of the initial call.
Upon the departure, the dry assation, short or wet, carries a terrible and quasi-final blow to it
through, which meets at all. This is why the envious ones occur from there conceitedly. On their
premises, the fever burns more at the laboratory than external fire for, sometimes, leaving the
neighbourhoods of the athanor encumbered of a terrible cafarnaum. One remembers that it is
necessary to practise an assation, because it was heard and, feverishly, here that agitation
neuropath gains, a few evenings per week, the alchemist .

Others, which is placed readily under obedience and which already lived what is previously
depicts, call with the charity of the Master to show them how to implement this preliminary
philosophical exercise. On a side like this one, the intimate contact with the matter remains
absent. Consequently, only authentic teaching consists in training the disciple in the single
direction of the communion with the Subject.

The assation, in addition to some technical details, is the vital meeting. From this union, the artist
cannot wound any more nor to force the purged mine of his gangue, because the least blow
carried to the latter is felt by him like a tear carried to itself. And, if God, by his infinite mercy,
wanted thus in the advance of the Philosopher's stone, it is without any doubt to save the
frightening tomb of the illusions to us or well, according to the gasoline of the desire, to direct us
towards the plays of the small science, towards the foolish one.

The only councils that I then to lavish to you, by my Fathers, which is those resemble more to
reveal you conditions, which to lose you in technical mixtures. Indeed, just like our sulphide, if
you show to good provisions to be opposite the call to the assation the latter will be allowed. In
the contrary case, if you render yourselves to want to make a success of this operation, you
will lock up your being in a whole of fixed particularisms, which will be opposed to the saint
exercise.

However, there is no doubt that the best of the conditions than it is wise to teach to you is that,
firstly, to go down to the mines.

In the so marvellous galleries where saw the mother of metals, which is held there? What
operates Nature within the ground?

The water streams, the vein is often hot, the atmosphere is sour with the sense of smell; one
palpates, by all fibres his being; the mineral life is propagated at the slow rate/rhythm of the
fabulous clock of this reign

In this place, you collect. Close the eyes and open your spirit. There are no more gallery, more
woodwork, more light, more yourself. You here reduced, by love, dissolution of the fixities of
ego, with a tiny animal of a negligible dimension, such an ant; as by enchantment, you see, you
hear are friendlymineral life.

Did you never think initatiquement of the kind? It is the first sign which exemption Providence,
that which informs you that the hour of the assation approaches for you.
Nothing then separates you from metals, of this world strange and attractive, forgets men;
reverentially your premiums not are impressed of admiration, astonishment, abandonment. You
see as sees the mine; you listen to his breath, you test his soft heat, you surprise the mischievous
spirit, which runs, furtive. You receive. Alchemy is your nature. It remote is not abstracted, of
another world, to seek. It is in you, around, palpitating beautiful, splendid, and luminous. The
rhythm of its life two, regular, powerful, erudite, is balanced and pure

Far, identification, imagination, the fable. This is why it is so delicate to report these remarks, for
that which is not challenged comprises as a imitator, a plagiarist, in sterile monkey, precisely in
these places from which the kind comes out of question how one makes a assation? On the
contrary, when you are invited by the Lady to the awakening of the crowned compost, you are
the solution even, for this listening to dissolve you, you reduces.

***

The little seams of underground water, in the black, under a light pressure, infiltrate in the mesh
of the Subject, of which they express the vinegar of the mountains. This last is born from itself,
hydrogen, furtive and very volatile, by circulation. It transforms little by little sulphide, not in its
chemical formulation, but in its major heart: crystal.

Closed will be obviously your balloons, for a time, that of the decomposition of water resulting
from the hydration of washings of the powder, itself finely crushed, bequeathed by the purged
mine. Water becomes sharp, borrowing from the Subject a tiny share of its coarse sulphur to
generate of it the spirit, itself inviting the sulphurous vapour, that the modern one would name
hydrogen sulphurous , to reduce the initial air, to extend the any raw material under the
conditions favourable to its transformation.

This digestion depends in its duration on the size on your grains and of the quality of haste
dedicates; many reactions can be blocked by a presence arsenical, siliceous, leaden or different.
After the precondition treatment to the dew it is with crushing that you lay out the cosmic clock
responsible for the period during which you supervise attentively. Do not wait that we look
further into this chapter, where the sieve determines almost all. It would be illusory it would be
you to draw aside from the direct intervention. All then I only to precisely advise you; I will not
seize you the handles to carry out the operation in your place.

You will examine with enthusiasm and will await patiently the appearance of this hydrogenated
savour which feels, for little that you already breathe this gas. The calcination of iron in a tube,
on which passes a vaporous water heavy shower, informs very exactly. It is necessary that the
odour be marked. You will maintain it a few days, during which I engage you with the chant and
the humiliating tasks.

***

The digestion carried out, here that it is advisable to drain out the celestial water that the Subject
refuses, but without supporting the winds that would destroy your effort. At this point in time
you will replace your stoppers ground with emery by absorbent cotton, and at the same
temperature, which also depends in its rank on qualities previously stated - between 45 and
65C-, you will let these spongy obstructions carry out their task, until what you do not observe
any more, with the small manual lamp, moisture on the walls of your vessels, but of the crystals.
However, pay attention for not to completely dehydrate your powder, which must keep its
powdery form, earthy. Especially that heat does not drop at all on the contrary, to increase
Vulcan very slightly - what is facilitated by some tubes being able to stop itself as it will be
suitable -, is the gesture which saves. But prudence, not more than ten degrees. That the patience
is your virtue.

Here now the sulphide in its very perfect balance. Seal using lute with emery, and you will be
elucidated. Several indices make it possible to recognize, in addition to the colour, the validity of
a philosophical assation. Odour of compost, marked; but, especially, per hour of separations, the
moon beating its full, our ground becomes alive: in the presence of its male and proportion saline
required, here which warms up to more be able the fingers on it... When plunged in + (crucible),
with the Vulcan help the combat between natures is a ballet which shows what is Science,
already.

L'Assation Philosophique en Voie Sche, Solazaref, pages 6 - 11.

Jean-Julien Champagne

THE FULCANELLI
In the topic "Fulcanelli - Dry Way " we described in detail who Fulcanelli was, as described by
Genevive Dubois in the excellent book " Fulcanelli Dvoil ", Editions Dervy, 91, bd Saint-
Germain, 75006 Paris. Fulcanelli is the pseudonym of Jean-Julien Champagne. At that time, he
frequented the Wonderful Bookstore, property of Pierre Dujols, where a famous alchemists
group congregated that included Ren Schwaller de Lubicz, Henry Coton Alvart, Jean-Julien
Champagne, Celli and still others. Pierre Dujols was Coton's master and friend of Champagne. It
was after the Pierre Dujols' death, that Jean-Julien Champagne took possession of his alchemical
manuscripts and cut off his relationship with Dujols' wife.
Jean-Julien Champagne delivered the manuscripts of "Les Demeures Philosophales" to his
disciple Eugne Canseliet to publish them under pseudonym of Fulcanelli, without telling him
that they originated with Pierre Dujols. Eugne Canseliet always called Champagne " my Master
". To summarize: Jean-Julien Champagne comes to be known as Fulcanelli to Canseliets and
Bouchers eyes, but it was always Pierre Dujols that was behind everything.

In the Fulcanelli texts there is writing by Schwaller, Coton and Champagne. There was also
much more of Pierre Dujols, because without any doubt, he was the center of whole Schwaller
group. There was a "cabal" made with the purpose of passing off Jean-Julien Champagne for
Fulcanelli.

Everything this was confirmed for us in " Fulcanelli Devoil ", a book authored by Mme.
Genevive Dubois, to whom we are thankful.

With this small introduction, we will discuss of one of most famous Fulcanelli's book The
Dwellings of The Philosophers.

There is no doubt that this book (the French edition is actually two books) is the better known
and the most appreciated by the students of alchemy worldwide. It was there that we started as
many others did before us, and as things inevitably will happen, we lost years trying to unveil
what those alchemists (mainly Pierre Dujols) had written in symbolic language.

Pierre Dujols was a scholar with great knowledge of Greek, Latin, mythology, and both symbolic
and operative alchemy. His writings are practically based in the alchemical symbology leaving
practical laboratory work in second place.

Eugne Canseliet, who acquired the writings of Dujols from Jean-Julien Champagne, also
became a good scholar of Latin and Greek in later years, although at that time he was the "boy "
of the Fulcanelli group.

His knowledge is obvious in his books, especially in " L'Alchimie Explique Sur Ses Textes
Clasiques " (which we consider his best book). In this work the Master describes symbolically,
and with unusual charity, the modus operandi of the antimony dry way for who have already
some knowledge of and experience in the Art.

The Dwellings of The Philosophers is the opposite in tone, being a book where several alchemic
paths (the wet way and the way of amalgams) are described in a mixed up fashion such that for
the beginner it is a true labyrinth without exit.

But even so, it is cited frequently by the students of the Art in the several lists of alchemy.
Everyone seems to be accepting the interpretation that seems the most adequate, because they
taking text literally, but these interpretations really have no value in the practice of the
operations.

The Dwellings of The Philosophers, as already we have implied, is an amalgam of the several
alchemic paths; sometimes intentionally contradictory, dispersed throughout the whole book
without sequence. It arranges everything around the symbolic descriptions that had been made of
the sculptures or images found in the Dwellings visited by the authors.

We know that Pierre Dujols, Champagne and Canseliet had worked in the antimony dry way.
The Dwellings of The Philosophers is predominantly a symbolic description of this alchemical
path.

Understanding this book is far from easy for those who don't know the symbolism. It is almost
impossible for those who do not know the dry way modus operandi to find the sequence of that
Work in the book.

As in many other books about alchemy where the symbolism overlaps the practice, the authors of
this text have not been very charitable. The books greatest virtue is the erudition of main author
Pierre Dujols in giving the many invaluable symbolic descriptions. The bibliography is also a
precious compass that points us to several excellent books of other classic alchemists that are
essential for further studies of the Art.

The authors don't hide this difficulty in the interpretation of alchemy books, as we see in the
following texts of the English edition of The Dwellings of The Philosophers, Archive Press and
Communications, Boulder.

The Alchemy

Pg.65. Alchemy is obscure only because it is hidden. The philosophers who wanted to transmit
the exposition of their doctrine and the fruit of their labours to posterity took great care not to
divulge the art by presenting it under a common form so that the layman could not misuse it.
Thus, because of the difficulty one has of understanding it, because of the mystery of its enigmas
and of the opacity of its parables, the science has come to be shut up among reveries, illusions,
and chimeras.

In fact these sepia-toned old books are not easily penetrated. To try to read them the way we read
ours would be a mistake. Nevertheless, the first impression we receive from them, as strange and
confusing, as it may seem, remains vibrant and persuasive. Beyond the allegorical language and
the abundance of ambiguous nomenclature, we fathom in them this ray of truth, this profound
conviction born from certain facts, duly observed, and which owe nothing to the whimsical
speculations of pure imagination.

Pg.103. In summary, alchemical science, of an extreme simplicity in its materials and its
formula, nevertheless remains the most unrewarding, the most obscure of all, by reason of the
exact knowledge of the required conditions and the required influences. There is its mysterious
side, and it is towards the solution of this most difficult problem that the efforts of all the sons of
Hermes converge. -

The methods of veiling the science have remained, to this day, effective. All the efforts of the
alchemy students who read Fulcanelli converge in this way but, unhappily, in most cases, aren't
enough to get through the interpretation of the symbolism in the texts and to the matter of
adapting the interpretations to the practice. This is often because of having preconceived ideas
that make understanding more difficult, and taking the "said philosophical speculations " as the
true (albeit incorrect) interpretation of the texts.

The previous reading of other alchemy books and the consequent false confidence in incorrect
alchemical knowledge will contribute to error, as is related in the following text:

Pg.141-142. And so beware of introducing, in your observations, that which you think you
know, for you would be forced to conclude that it would have been better to learn nothing rather
than to have to unlearn everything.

This is perhaps superfluous advice, since putting it into practice demands the application of an
unyielding will, of which mediocre people are incapable. We know how costly it is to exchange
diplomas, seals, and parchments for the humble mantle of the philosopher. At age twenty-four
we had to drain this chalice filled with a bitter beverage. Heart-wounded, ashamed of the errors
of our young years, we had to burn the books and the notebooks, we had to confess our
ignorance, and as a modest neophyte, decipher another science on the benches of another school.
And so, it is for those who had the courage to forget everything that we take the trouble to study
the symbol and to strip its esoteric veil.

As you will see from the page numbering in The Dwellings of The Philosophers nothing follows
a logical sequence that it allows you to study it easily. That was exactly the research work we
proposed to do. Rereading the texts, we realized we have more than thirty years worth of
familiarity with the French edition and still needed to place them in the dry way sequence that
was the one that Fulcanelli and his disciple Canseliet practiced. Even so many less instructed
students in the Art have not admitted the necessity of this painstaking work, because they don't
really understand the texts.

The only reason this undertaking was possible for us was that several years ago, we had
successfully completed the dry way up to the stage of "the Eagles" or sublimation. Like most
who attempt it, at this point we took the wrong path at this point, due to our mistakes in
speculation as to the texts meaning.

At this point, we will start by describing the Secret Fire salt description, according to the dry
way. This description was done in one of Canseliet's forewords, and it was the most sincere and
charitable writing that we found in the whole book. The Dwellings of The Philosophers' author
(or authors) includes descriptions of the so-called secret fire that refers to other alchemical paths,
but in an obscure way. Apparently the practical aspect of the path described, or the salt itself,
was not clearly understood by them.

In the beginning of our studies in alchemy, we thought that the secret fire would be universal;
common to all alchemical paths. After many years of practical experience, we have found that
this is a grave misconception. In practical alchemy, the secret fire is the agent that catalyses
separation or dissolution (dry or wet) of the substances involved, therefore, it will be different in
each path.
Canseliet's foreword, French edition, pg.32-33 (English edition, pg. 538-539)

Among the salts which prove capable of entering into the composition of the philosophical and
secret fire, saltpetre would seem to hold an important place. At least its etymology seems to
make it presumable. For the Greek word nitron - which designates potassium nitrate,
commonly called nitre, comes from - nipto - or - nizo -to wash; we know that
philosophers recommend that we wash with fire. All their purifications, all their sublimations are
made with the aid of fiery washings, "laveures" as Nicholas Flamel writes it. Furthermore,
saltpetre, when acting in contact with matters in fusion, while "fusing" is partially transformed
into potassium carbonate; it "alkalizes". The carbonate used to be called salt of tartar and tartar
translates into the Greek as - trux -meaning wine lees, scoria, sediment. The root of his
noun is the verb - trugo - to dessicate, to dry, which expresses the very action of fire and
could furthermore be compared, in a very suggestive fashion, to the popular French "truc" which
has the meaning of a hidden process, of subtle or adroit means, a trick. The trick of the work
would then reside in the application of the salt of tartar resulting from the attack on niter,
regarded as the substance or one of the composing elements of the secret fire which alchemists
so rigorously guarded in their treatises.

Certainly this is a charitable description of the secret fire of the dry way, as written by Canseliet
in one of the forewords to "Les Demeures Philophales".

For those who have some knowledge of Spagyrics, and know how to prepare these two canonical
salts, understanding this text will be extremely easy. In being charitable to those who dont have
the knowledge or experience to understand this text, we can explain that this secret fire is
composed of two different salts, one of which is nitre and the other being the vegetal salt of wine
- these two are combined in equal parts. These two salts will have to be spagyricaly treated and
crystallized with dew to become canonical and suitable for the Work as the Art of the dry way
demands.

Having gained knowledge of the dry way secret fire, we will need to know what will be the
mineral subject of this path. We have often seen and verified many polemics in the alchemy lists
about the identification of the mineral subject of the dry way.

As with the secret fire, earlier in our studies we thought that there would be a universal matter in
alchemy, common to all methods. This mistake was also due to reading the Fulcanelli works. In
reality it is not like this: each alchemy path implies a suitable matter. In the wet way the matter
or subject is different than in the dry way and there are various wet ways that use different
subject materials.

Now we will explore the dry way prima material or subject mineral, as it is described in The
Dwellings of The Philosophers, for the purpose of its identification for neophytes in the Art.

Pg.120-121. Its traditional name, the stone of the philosophers, is descriptive enough of the
body to serve as a useful basis for its identification. It is, indeed, genuinely a stone, for, out of the
mine, it shows the external characteristics common to all ores. It is the chaos of the sages, in
which the four elements are contained, but in a confused, disorganized manner. It is our old man
and the father of metals, which owe their origin to it, as it represents the first earthly metallic
manifestation. It is our arsenic, cadmia, antimony, blende, galena, cinnabar, colcothar,
aurichalcum, realgar, orpiment, calamine, tutia, tartar, etc. All ores, through the hermetic voice,
rendered homage to it with their name. It is still called black dragon covered with scales,
venomous serpent, daughter of Saturn, and "the most beloved of its children." This primal
substance has seen its evolution interrupted by the interposition and penetration of a filthy
combustible sulphur, which coats its pure mercury, holds it back, and coagulates it. And, though
it is entirely volatile, this primitive mercury, materialized by the drying action of the arsenical
sulphur, takes the shape of a solid, black, dense, fibrous, brittle, crushable mass rendered, by its
lack of utility, vile, abject, and despicable in the eyes of man. Yet, in this subject - poor relative
of the metal family - the enlightened artist finds everything that he needs to begin and perfect his
Great Work, since it is present, say the authors, at the beginning, the middle, and the end of the
Work. Therefore the Ancients have compared it to the Chaos of Creation, where elements and
principles, the darkness and the light, were one and the other confounded, intermixed, and unable
to mutually interact. For this reason they symbolically depicted their matter in its first being as
the image of the world which contained in itself the materials of our hermetic globe or
microcosm, assembled without order, without form, without rhythm or measure.

Our globe, reflection and mirror of the macrocosm, is therefore nothing but a small part of the
primordial Chaos, destined by divine will for elementary renewal in the three kingdoms, but
which sets of mysterious circumstances has oriented and directed toward the mineral kingdom.
Thus given form and specified, subjected to the laws ruling the evolution and the progression of
minerals, this chaos, which has become a body, contains in a confused manner the purest seed
and the closest substance there is to minerals and metals. The philosopher's matter is therefore of
mineral and metallic origin.

For those who have some knowledge of mineralogy, identifying the subject mineral is very easy,
because its physio-chemical characteristics have been described here. These characteristics are
confirmed by the allegory and symbology but, for that, you will need to have knowledge of
alchemical symbology, acquired from other books.

Fulcanelli says that our subject is a mineral parent, a "poor cousin" in the family of metals, that
saw its evolution interrupted by the interposition and penetration of infectious and combustible
sulphur that imposes upon its pure mercury, holding and coagulating it. That it is Saturn's son,
volatile, solid, black, fibrous, fragile, friable, whose lack of utility makes it vile, abject and
worthless to the eyes of the men.

This description of the mineral subject would be more than enough for some of you to identify
the dry way mineral subject.

However, we will go to a very suggestive Philalethes' text: The Marrow of the Alchemy for help
with its identification:

The Marrow of the Alchemy

 The Substance which we first take in hand is a mineral similar to Mercury, which a crude
Sulphur doth bake in the Earth; it is called Saturns Child, which indeed appeared vile to sight,
but is glorious within; It is sable coloured, with Argent Veins appearing intermixed in the body,
whose sparkling line stains the connate Sulphur; It is wholly volatile and unfixed, yet taken in its
native crudity, it purged all superfluity of Sol; it is of a venomous nature, and abused by many in
a medicinal way; If its Elements by Art be loosed, the inside appears very resplendent, which
then flowed in the Fire like a metal, although there is nothing of a Metalline king more brittle.

Also Philalethes in The Marrow of the Alchemy says that our mineral subject is Saturn's Son, that
is sable in colour (sable in heraldry is the black colour) with silver-plated veins, whose sparkling
body is spotted by an innate sulphur, volatile and that in its native crudity it purges the Sun of its
superfluities.

But, still let us see what Canseliet says of it in "Les Demeures Philosophales" foreword, so that
we can identify, with precision and without doubts, our subject:

Pg. 21. (English edition, pg. 531) We shall meditate on the startling cabalistic relationship,
established by our Master, between the hare and the raw matter of the Great Work, "scaly, black,
hard and dry," of which the cruciferous ball, proliferating in the midst of the revealing foliage
and restored to its linear diagram, provides the graphic symbol characteristic of ancient treatises.
It is the mark of the Earth, be it, as we have said, the primordial Chaos of the alchemical
Creation or the macrocosmic globe which is part of the seven planets of the astrologers Sky.

Canseliet, beyond confirming for us that our matter is black, scaly and dry, as we already knew,
he referred to the "cruciferous ball" or "macrocosmic globe" such as Fulcanelli does in the
description of the subject mineral in pages 120 - 122. "For this reason they symbolically depicted
their matter in its first being as the image of the world which contained in itself the materials of
our hermetic globe, or microcosm, assembled without order, without form, without rhythm or
measure".

For the attentive student and those who are moderately well versed in metallurgy and alchemical
symbology, our subject mineral imposes knowledge of itself with so much evidence that it is
practically impossible not to know what that mineral is.

Beyond the mineral subjects physio-chemical characteristics that are evident, we have been
shown clearly that it is a mineral sulphide, black, fragile, friable, and fibrous, whose brightness is
spotted by a combustible sulphur. We have also been shown that it has the properties to purge (to
clean) the Sun (gold) of its superficialities such as it was taught in ancient spagyrics treatises, as
well as in Basil Valentine's Twelve Keys of Philosophy. In the FirstKey, this author also says us
that it is represented by a cruciferous globe that represents the world.

Any alchemy student that has consulted a simple table of the spagyrical symbols (see in our
URL) will verify that the symbol cruciferous globe corresponds to antimony. Our mineral subject
in this path, we shall say with the utmost honesty and charity, without the desire to hide anything
or lead anyone astray, is antimony, in its mineral form, stibnite.
Pg.204. It suffices to point out that the dragon is chosen as the hieroglyphic representative of
the crude mineral matter with which we must begin the Work. That is to indicate its significance,
the care that we must bring to the study of the outer signs and of the qualities likely to make its
identification possible, to help us recognize and distinguish the hermetic subject among the many
minerals which nature places at our disposal.

The evidence, as we already said, is imposed in such a way that it leaves no room for doubt.
Some alchemy students, however, say that Fulcanelli affirms peremptorily, as we will see in the
following texts, that antimony is not the subject of our Art but in the end, relates that Philalethes
teaches us that is not properly a mineral, etc. but a substance with the mineral characteristics
described above.

Pg.235. If Basil Valentine gives philosophical mercury the nickname of pilgrim or traveller
() because it must, says he, go through six celestial cities before fixing its residence in
the seventh; if Philalethes affirms it is our only path ( stibia), this is not sufficient to
invoke that these masters claimed to designate common antimony as the generator of
philosophical mercury. This substance is too far from the perfection, from purity, and the
acquired spirituality of the humid root or metallic seed - which one could anyway not find on
earth - to be genuinely useful to us. The antimony of the sages, raw matter directly extracted
from the mine, "is not properly mineral, and even less metallic" as Philalethes teaches us, but
without partaking of these two substances it is something between one and the other. It is not
corporeal however, because it is entirely volatile, it is not spirit because it liquifies like metal in
fire. It is therefore a chaos which stands instead of mother to all metals.

The analogy that Fulcanelli uses is the pilgrim or traveller "because it has" says Valentine, "to
cross six celestial cities before fixing residence in seventh". In our opinion, and in the face of
overwhelming evidence, and as described in the First Keyof the Twelve Keys of Philosophy,
Valentine notes that Saturn is the seventh alchemical planet, and that it has as a goal to purify the
gold in a Cupel with Saturn (lead) after having been purified by antimony or cinereous Wolf.

Pg.233. These considerations, based upon an exact correspondence of words have not escaped
the old masters or modern philosophers, who, backing them up with their authority, have
contributed to spread this unfortunate error, that common antimony was the mysterious subject
of the art. Unfortunate misunderstanding, invincible obstacle against which hundreds of seekers
have run.

We saw that Philalethes in The Marrow of the alchemy identifies our mineral as being antimony
ore (stibnite) and therefore, these Fulcanelli comments no make sense here.

They are affirmations that Fulcanelli does contradict the descriptions of the mineral subject and
its characteristics as clearly stated before. This appears to be a way of intentionally leaving many
students in doubt, inducing in them error that makes the texts difficult to understand. As
Canseliet says:

Canseliet's Foreword, p22, "Les Demeures Philosophales" (English edition, pg. 532).
 Let us say it straightforwardly: The matter of the alchemical work offers itself, even imposes
itself, with so much evidence that there is no author, be he the most sincere, who has not become
"envious," who has not silenced, veiled or falsified the choice, going as far as writing the
common name of this truly predestined subject and finally declaring that it is not it.

Reading these pertinent comments, no doubt should remain that in some alchemy books, from
classic or contemporary authors, the behaviour is very similar to this: to give only a symbolic
name to the matters, a name that is difficult to understand, or to described it using its true name
and tell us later that it is wrong. This was what happened here.

We know already what the dry way mineral subject is, but we still lack the knowledge of the
second matter that will allow to perform the Separation. By that, we mean the separation of the
mercury or starred regulus (little king) of the raw mineral or black Dragon. After the Separation,
then it is possible to extract the Sulphur or Adamic earth.

The Sulphur

Pg.125-126. This spiritual fire, given form and materialized in salt, is the hidden sulphur, since
during its operation it is never made manifest or perceptible to our eyes. And yet this sulphur, as
invisible as it may be, is not an ingenious abstraction or a doctrine stratagem. We know how to
isolate it, how to extract if from the body that conceals it, by an occult means and in the
appearance of a dry powder which, when it is in that state, becomes improper and without effect
for the philosopher's art. This pure fire, of the same essence as the specific sulphur of gold but
less digested, is, on the other hand, more abundant than that of the precious metal. This is why it
easily unites with the mercury of minerals and imperfect metals. Philalethes affirms that it is
found hidden in the belly of Aries, or the Ram, constellation which the sun crosses in the month
of April. Finally, to even better designate it, we will add that this Ram, "which hides within itself
the magical steel," ostensibly bears on its shield the image of the hermetic seal, the star with six
rays. So it is in this very common matter, which may seem merely useful to us, that we must look
for the mysterious solar fire, a subtle salt and spiritual sulphur, a celestial light diffused in the
darkness of the body, without which nothing can be done and which nothing could replace.

Fulcanelli, in this text, isn't charitable enough for alchemy students in his description of the
second matter. But for those who already have some knowledge of our Art, it is enough. It
becomes clear when he says: "So it is in this very common matter, which may seem merely
useful to us, that we must look for the mysterious solar fire"

In the following pages, Fulcanelli was more charitable and relates, in almost plain language, the
common name of the second matter.

Pg.273. Here he no longer describes the physical appearance, but rather the preparation of the
same subject. To reveal a secret of this magnitude and this significance would be to overstep the
limits which are imposed on us. Therefore, we shall not attempt to comment in clear language, as
we have done up to now, on the ambiguous and rather allegorical sentence of Flamel. We will
merely attract your attention on this iron stiletto, whose secret property changes the intimate
nature of our Magnesia, separates, orders, purifies and assembles the elements of the mineral
chaos. To successfully perform this operation, one must know the affinities of things, have a lot
of skill, and perform a lot of work, as the Adept leaves us to understand

Among metallic bodies, the one containing the highest proportion of fire, or latent light, is iron.
The ease with which internal fire, through shock or friction, can fly out in the form of brilliant
sparks is well known. It is important to communicate this active fire to the passive subject: only
it has the power to modify its cold and sterile complexion by rendering it fiery and prolific.

The attentive and sagacious investigator will easily gain knowledge of the second matter, which
united to our mineral by the secret fire will allow the separation, from the mineral subject, the
Mercury or starred regulus that will be purified later.

After Separation, the matter is transformed into Caput and later into Adamic earth, from which
will be extracted alchemical Sulphur.

We could explain in this operation detail (that will have to be made in a refractory mud crucible,
using a gas oven with temperatures between 800 and 1000 C) because we performed it several
times. This, however, in not our goal here: our goal is only to demonstrate to Fulcanelli "lovers"
that frequently they erroneously interpret The Dwellings of The Philosophers, and that Fulcanelli
describes mainly the dry way, which was performed without success by his disciple Canseliet.

The Separation

Pg. 152-153. If you want to possess the griffin - which is our astral stone - by tearing it from
its arsenical gangue, take two parts of virgin earth, our scaly dragon, and one part of the igneous
agent, which is that valiant knight armed with the lance and the shield. , (Ares), more
vigorous than Aries, must be in a lesser quantity. Pulverize and add the fifteenth part of this pure,
white, admirable salt, washed and crystallized several times, which you must necessarily know.
Intimately mix it; and then, following the example of the painful Passion of Our Lord, crucify it
with three iron nails, so that the body dies and can then be resurrected. This done, drive away the
coarsest sediments from the corpse, crush and triturate the bones; mix the whole thing on a slow
heat with a steel rod. Then throw into this mixture half of this second salt, extracted from the
dew that fertilizes the earth in the month of May, and you will obtain a body clearer than the
preceding one. Repeat the same technique three times; you will reach the matrix of our mercury,
and you will have climbed the first rung of the ladder of the sages. When Jesus resurrected the
third day after his death, a luminous angel clothed in white alone occupied the empty
sepulchre

However, if it suffices to know the secret substance represented by the dragon in order to
discover its antagonist, it is essential to know the means that sages employ in order to limit, to
temper the excessive ardour of the belligerents. For want of a necessary mediator - for which we
have never found a symbolic interpretation - the ignorant experimenter would be exposed to
grave dangers. Anxious spectator of the drama which he would have imprudently unleashed, he
could neither control its phases nor regulate its fury.
Pg. 153-154. When perceive a noise resembling that of boiling water in the vessel - a hollow
rumbling of the earth, whose entrails fire is tearing out - be ready to fight and maintain your
composure. You will notice smoke and blue, green and violet flames accompanying a series of
quick detonations

Once the effervescence has passed and calm has been restored, you will be able to enjoin a
magnificent spectacle. On a sea of fire, solid islands form, float on the surface, moving slowly,
taking and leaving an infinity of vivid colours, their surface puffs up, bursts in the centre,
causing them to resemble tiny volcanoes. Then they disappear, being replaced by pretty green
transparent balls revolving quickly, rolling, hitting one another, and seeming to chase one
another, in the midst of multicoloured flames and the iridescent reflection of the incandescent
bath.

In describing the difficult and critical preparation of our stone, we have neglected to speak of the
effective cooperation which certain external influences must provide.

In the Separation, ratio of the different matters referred to by Philalethes and Flamel are a little
different than those described by Fulcanelli, being nine parts of our Dragon or Saturn's Son and
four parts of the valiant noble-man armed with spear and shield, or to be charitable, of Mars and
the fifteenth part of the secret fire or double salt.

Flamel's Le Brviaire

You will seek, first, to take the first-born child of Saturn that is not the vulgar, 9 parts, of the
steel sabre of the warring God, 4 parts. Makes these to rubify in a crucible. When it is red and
melted, pour inside the 9 parts of Saturn, as I told you. This will eat the other quickly: clean very
well the faecal dregs that arise to the top of Saturnia with nitre and tartar, for four or five times. It
will be good when you see an astral sign like a star over the regulus.

As you can see, Flamel was much more charitable that Fulcanelli in the description of the ratios
of the matters and the molten compound composed of the two salts (one being nitre and the other
tartar or vegetable salt of wine).

Pg.220. And our two principles one of which bears the cross and the other the lance which will
pierce his flank are an image, a reflection of the Passion of Christ. Just like Him, if they must
resuscitate into a new clear, glorious, and spiritualised body, they must together climb their
Calvary, suffer martyrdom, endure the torments of fire, and die of a slow agony at the end of a
long hard fight

In this text, Fulcanelli describes summarily the matters or the two principles, one of which has
the cross (the cruciferous globe) and the other the spear (the armed noble-man of spear and
shield) that can penetrate flank. In the battle between these two principles, and under the
torments of the fire will be reborn a new glorious and spiritualised body that is the starred
regulus, or our mercury, that will be purified later at least three times.

The Star
Pg.320. We have previously stated that the outer mark allowing the certain identification of
this water is a starred and radiant shape which coagulation caused to appear on its surface.
Furthermore the astral signature of the mercury, as it was common to call the mark in question,
asserts itself with even more clarity and vigour as the animation progresses and becomes more
complete.

Pg.154. And the earthly star, occult torch of our nativity, will be the proving mark of the
blessed union of heaven and earth, or as Philalethes writes, of "the union of superior virtues in
inferior things".

Pg.259. By using the dry path, represented by the earthly road followed at first by our
traveller, one can successfully but progressively exalt the diffuse and latent virtue, transforming
into activity that which was only potential. The operation is completed when, on the surface,
appears a shining star, formed of rays emanating from a single centre, prototype of great roses of
our gothic cathedrals.

The text is very clear: it needs no explanation. Fulcanelli referred clearly to the star that appears
on the surface of the Starred regulus or Mercury after the Purifications.

For an expect alchemist who has worked this path, at least to the Eagles, it can easily be
perceived that the Master omits the Purifications modus operandi. It is from these purifications
that the philosophical Vitriol or Green Lion arises that enables the process of the Eagles or
Sublimations.

We looked in vain through the whole book, in the hope of finding a text that symbolically
describes this operation, but we did not find it. It could possibly have escaped our scrutiny. Be
that as it may, you should know that after the Separation one must engage in mercurial
Purifications with the purpose of making the mercury or martial regulus even purer, and to get
the precious philosophical Vitriol. In this operation the Star will clearly appear, signifying, as
Fulcanelli says, the success of this operation.

After the mercurial Purifications will followthe Eagles or Sublimations, considered the Second
Work, with the goal of the attainment of the stage called the Remora which is the Third Work of
the antimony dry way.

The Eagles

Pg.405. The long operation which permits completion, the progressive turning into a paste, and
the final fixing of the mercury offers a great analogy with sea crossings, and the tempests which
greet them. This rather rough and swelling sea represents, on a smaller scale, the constant and
regular boiling of the hermetic compost. The bubbles burst on the surface and constantly succeed
each other; heavy vapours fill the atmosphere of the vase; turbid, opaque and blackish blue
clouds darken the sides of the vessel, and condense into droplets trickling down on the
effervescent mass.
Pg. 405-406. This phenomenon of absorption and coagulation of the mercury by a much
smaller proportion of sulphur seems to be the first cause for the fable of the remora, the little fish
to which popular imagination and hermetic tradition attributed the capability of stopping the
largest of ships in their progress.

The Sublimations or Eagles is a very refined operation made at a stable temperature of about
500 C that requires much dexterity and ability from the artist. Fulcanelli approaches this
operation very synthetically but, however, he says that the ratio of sulphur is less than mercury
one, but he omits which salt is used in this operation. Canseliet in his book L'Alchimie Explique
Sur Ses Textes Classiques is more charitable and tells us that the salt used in this operation is the
Vitriol or Green Lion extracted from the Mercurial Purifications.

Advancing more in this explanation would raise the veil of this complex operation that detained
us for some years due to the lack of suitable laboratory conditions for the work.

The Remora

Pg.182. It is also, according to the version of The Cosmopolite, the fish without bones,
echeneis, or remora, "which swims in our philosophical sea," and about which Jean-Joachim
d'Estinguel d'Ingrofont affirms that "once you possess the small fish named Remora, which is
very rare if not unique in this great sea, you will no longer need to fish but only to ponder about
the preparation, the seasoning, and the cooking of this small fish." Although it is preferable not
to extract it from the environment in which it lives - leaving it, if need be, enough water to
maintain its vitality - those who had the curiosity of isolating it could verify the accuracy, the
veracity of the philosophical assertions. It is a very tiny body - in relation to the volume and the
mass from which it comes - with the external appearance of an often circular, sometimes
elliptical, double-convex lens. Of an earthy rather than metallic appearance, this light button, not
fusible but very soluble, hard, breakable, friable, black on one side, whitish on the other, violet at
its breaking point, has received several names relative to its form, its coloration, or to certain of
its chemical idiosyncrasies.

Fulcanelli here describes the Remora that is the end part of the Third Work. Many artists have
failed the final cooking stage, Canseliet included.

As we stopped at the Eagles, we will not be able to make an honest and informed comment
resulting from our experience.

Finally, Fulcanelli describes for us the physical-chemical characteristics of the Philosophers

Stone. We cannot honestly confirm that he has described these characteristics because he made
the Stone and is speaking from experience, or if he is retelling the description contained in other
alchemy books.

Philosophers Stone

Pg.137-138. Let us leave aside these processes and tinctures. Above all, it is important to
remember that the philosopher's stone appears in the shape of a crystalline, diaphanous body, red
in the mass, yellow after pulverization, dense and very fusible, although fixed at any
temperature, and which its inner qualities render incisive, fiery, penetrating, irreducible, and
incalculable. In addition, it is soluble in molten glass, but instantaneously volatilizes when it is
projected onto molten metal. Here, in one single object, are gathered physiochemical properties
which singularly separates it from a possible metallic nature and render its origin rather
nebulous. A little reflection will get us out of our difficulty. The masters of the art teach us that
the goal of their labours is triple. What they seek to realize first is the universal Medicine or the
actual philosopher's stone. Obtained in a saline form, whether multiplied or not, it can only be
used for the healing of human illnesses, preservation of health, and growth of plants. Soluble in
any alcoholic liquid, its solution takes the name of Aurum Potabile (although it does not even
contain the least atom of gold) because it assumes a magnificent yellow colour. Its healing value
and the diversity of its use in therapeutics makes it a precious auxiliary in the treatment of grave
and incurable ailments. It has no action on metals, except on gold and silver, on which it fixes
itself and to which it bestows its own properties, which, consequently, becomes of no use for
transmutation. However, if the maximum number of its multiplications is exceeded, it changes
form and instead of resuming its solid crystalline state when cooling down, it remains fluid like
quicksilver and definitely non-coagulable. It then shines in darkness, with a soft, red,
phosphorescent light, of a weaker brightness than that of a common night light. The universal
Medicine has become the inextinguishable Light, the light giving product of those perpetual
lamps, which certain authors have mentioned as having been found in some ancient sepulchres.
Thus radiant and liquid, the philosopher's stone is not likely, in our opinion, to be pushed farther;
desiring to amplify its igneous quality would seem dangerous to us; the least that could be feared
would be to volatilize it and to lose the benefit of a considerable labour. Finally, if we ferment
the solid, universal Medicine with very pure gold or silver, through direct fusion, we obtain the
Powder of Projection, third form of the stone. It is a translucent mass, red or white according to
the chosen metal, pulverizable, and appropriate only to metallic transmutation. Oriented,
determined, and specific to the mineral realm, it is useless and without action in the two other
kingdoms.

Already we saw a Philosophers Stone's photograph in the Kamala Jnana'sDictionaire de

Philosophie Alchimique which has physical characteristics like those described by Fulcanelli in
this text.

In this text, he speaks of suitable "external influences" for the execution of the antimony dry way
as well as other alchemic paths. In the following text Fulcanelli and his disciple Canseliet
describe briefly what we can understand to be external conditions or influences on alchemical
operations. The unusual nature of the heading causes us to wonder if it could have been these
adverse external influences that contributed to Canseliets failure to achieve the Great Work
during the Remora coking or the end of the Third Work

External Influences

Pg.88. For the alchemists, the spirits are real influences, although they are physically almost
immaterial or imponderable. They act in a mysterious, inexplicable, unknowable but efficacious
manner on substances submitted to their action and prepared to receive them. Lunar radiation is
one of these hermetic spirits
Pg.154. In describing the difficult and critical preparation of our stone, we have neglected to
speak of the effective cooperation which certain external influences must provide

Nevertheless, so as to satisfy as far as possible the legitimate curiosity of seekers, we shall say
that, without the absolute harmony of the higher with the lower elements, our matter, lacking
astral virtues, can be of no use. Before it is put to work, the body on which we operate, is more
earthly than heavenly.

Canseliet's Foreword, French edition, pg. 50. (English edition, pg. 549) What apparatuses,
what complicated techniques, infinitely, apart from chemical receivers, solely to detect ultra-
violet radiations, under the auspices of electricity! Thus in physico-chemical laboratories, one
was able to recognize, that among the sidereal sources of both the invisible and chemical
radiance, the nightly firmament is formed, which, by clear and serene weather, powerfully
irradiates in the midst of the violet ray. Probably it remains to imagine the extent to which the
nature and conduct of the ray can change, which fringes the spectrum at its dark and cold
extremity, when, issued from the sun, it arrives on earth, after having been subjected to the
effects of the moon. Yes, then, nonwithstanding the ability it requires, the "knacks" of alchemy
seem of this great and astounding simplicity, always proper to the operations of nature

Some of Fulcanelli's students have questioned if the Master (Jean-Julien Champagne) had
achieved the Great Work. Genevive Dubois, in her book Fulcanelli Dvoil, tells us that
Champagne would not have died without materializing the dream of a lifetime; the Philosophers
Stone. The same is true of Pierre Dujols.

However, in the Patrick Rivire's book Fulcanelli, Editions de Vecchi, he tells us that Canseliet
made a transmutation in the Sarcelles Gas plant of lead into gold, following the instructions of
his Master, proceeding from a particular work of Vigenre and not with the Philosophers Stone.

In the same book he says that in that time Fulcanelli he had still not acquired the Philosophers
Stone, and that he finally materialized it in absolute secret, having finished the last Multiplication
and the Great cooking in the year of 1922. He consequently decided to perform the transmutation
of base metal into gold as the tradition demands. He says that the success was undisputed and
therefore he decided to repeat the experiment in the presence of privileged witnesses such as
Eugne Canseliet, Jean-Julien Champagne and a friend alchemist Gaston Sauvage. The
projection was also made in the Sarcelles Gas plant.

Fulcanelli, Patrick Rivire, pg.39 and 40:

During year 1920, Eugne Canseliet was employed in accounting at the Sarcelles Gas plant.
The Georgi Company gave him a small space on the floor where he was installed. He installed
there a modest laboratory, where he could dedicate his leisure to all the sorts of alchemical
operations. Its in there that it carried out the following year, obviously by recommendation of
his master, the achievement of a more archimique than alchemic process, considered by Blaise
de Vigenre ancient author of "the Trait du feu et du sel", and based on the over melting of the
common lead.
He achieved this "small particular" and obtained a real success which delighted and filled of
satisfaction Fulcanelli.

It cannot be conceived (wrote the young disciple), before having tried it, the deep change that
slow digestion and the permanent melting provoke, in the composition of the apparently simple
bodies. Although its internal structure and its appearance seem not to have significantly changed,
it can be perceive rapidly, during subsequent operations, how much indeed, they have been
chemically changed. A very simple method, but in agreement with the example given by Nature,
as well as the rules of the Great Art, which makes particularly easy the extraction of the specific
Saturn's mercury... (Achimie, Eugne Canseliet, editions J. J Pauvert, Paris.)....

During this time, Fulcanelli, which still did had the Philosophers Stone yet, finished the Great
Work in the most absolute secret in his Parisian residence. Having achieved during the year of
1922 the last consecutive multiplication of the great cooking he decides to make the famous and
final transmutation of vile metal into gold as demanded by the tradition. The success leaved no
doubt and he decides to renew the experience in the presence of privileged witnesses: its disciple
Eugne Canseliet, Jean-Julien Champagne and chemist friend, Gaston Sauvage which was
working for the Rhne-Poulenc group. The projection occurred at Sarcelles gas plant, in the
room where his young disciple had installed his modest laboratory. It is somewhere in this last
place that it went to be made the accomplishment, under of the master management. The small
chimney providing of an excellent exhaust in the middle of this small-improvised laboratory.
Fulcanelli took out of a tube three small reddish coloured fragments that Eugne Canseliet coated
with wax and project into fusing lead inside the crucible. After some time, he poured out into the
mould to seen the effect: the gold was of the most beautiful brightness! The transmutation was
perfectly achieved, in the most intense emotion felt for the young disciple as if it could imagine...

After this, the master left. He chose to disappear, in that way respecting the tradition followed
before him by numerous Adepts of the hermetic science.

This story, as told by Patrick Rivire in his book Fulcanelli, seems very strange - he is admitting
that Fulcanelli wasn't Jean-Julien Champagne. And if Canseliet was "the beloved" disciple of
Fulcanelli, why did he not achieve the Great Work? Certainly a Master would not hide from his
preferred disciple the secret of the Great Work, only possibly some little details for its final
manifestation.

In summary, we will say that in Fulcanelli, there have been omitted some very important
operations of the antimony dry way, such as the first one that it is the Purge followed by the
Assation. Only after these preliminary operations can the Separation be made.

Here it is brothers and friends in Art - the symbolic antimony dry way description made by
Fulcanelli in The Dwellings of The Philosophers. Only a few alchemists will be do it in its proper
sequence, and that would require that they already have experience at least to the Second Work.
As we said in the beginning, Fulcanelli, in The Dwellings of The Philosophers,expands upon the
symbolism to the detriment of the practice, and therefore, it is propitious for the so-called
"philosophical speculations" of those who intend to give to these texts interpretations that have
nothing to do with alchemical reality.
Who Was Fulcanelli this Article leads us to this way

FULCANELLI
(Dry Way)

The dry way, so much as we know, was symbolically described in the two volumes of
Fulcanelli's books Le Mystre des Cathdrales and Les Demeures Philosophales, also in
Atorne's Laboratoire Alchimique and Introitus Ad Philosophorum Lapide

Without a doubt there is more acquaintance with Fulcanelli's Les Demeures Philosophales, A
Paris, chez Jean-Jacques Pauvert, 8, rue de Nesle, Paris VI, 1965 andthe Englishtranslation The
Dwellings of the Philosophers, Archive Press and Communications, Inc, PO Box 11218,
Boulder, CO 80301 USA.

It is the book through which practically all alchemy students begin and, some, say that is its a
"reference book".

Also, for us there were many years when there were still no translations in Portuguese or in
Spanish. So, we acquired the French edition in two volumes of Jean-Jacques Pauvert, diteur,
1965, printed in Switzerland.

We spent years of our already long life to study this magnificent work whose symbolism, so
difficult of interpreting for a beginner left us in state of despair, because for all the attempts that
we made practically, we didn't get to lift the veil of the symbology.

Why? Because these books were written by two erudite alchemists and are therefore, difficult,
being the symbolic descriptions of the matters and the same rare references to the modus
operandi dispersed for the whole work without sequence, in agreement with the explanations of
several images and the sculptures of the dwellings of the philosophers. We have frequently been
reading in the alchemy forum lists comments to Fulcanelli's work. Some of the more improper
ones - in our opinion - giving "explanations" of the text without any alchemical foundation based
more on the literal interpretation. This, from our point of view is a mistake.

To comment on Fulcanelli it is necessary, essentially to know the dry way and what "they" did,
as well as what his disciple Eugne Canseliet did.

Many of the descriptions of philosophical charisma are not within reach of most of the
alchemists because they were done in the "language of the birds" in which one of the
protagonistic authors was specialized.

But worth it to us, at least, at the end of the volume II of Les Demeures Philosophales of the
French edition, is a wide ranging bibliography that allowed us to know the classic alchemists'
work and, liking this, to acquire his books mainly of French editors. We always preferred the
books translated directly from Latin because, according to our experience, second and per times
third translations are full of imprecision's for the practical processes have not been done by
alchemists and there are often translation mistakes.
But we will speak a bit of Fulcanelli and of his history. Who was, after all, the mysterious
Fulcanelli? For a brief time we had knowledge of a very interesting book that described in detail
Fulcanelli's history: Fulcanelli Devoil, Genivire Dubois, ditions Dervy, 91, db Saint-
Germain, 75006 Paris.

The author of Fulcanelli Devoil investigated deeply Fulcanelli and he illustrated the book with a
lot of documentation and pictures. We suggest the reading of this book, as it magnifies all of
Fulcanellis work and not just one of his texts. However, to help you to understand Fulcanelli we
will describe for you some excerpts of the referred book that illustrate well those great
alchemists.

After you read them certainly you will have a different idea regarding Fulcanelli.

We will refer first, to the main protagonist: Jean-Julien Champagne.

Impassioned by the study of old alchemy texts, the youth Jean-Julien Champagne, was just 16
years old, when he obtained of his mother the installation of a laboratory in the house of the
family of Villers-le-Bel. There he is devoted to his favourite "hobby" and here he acquires the
"hand work" that will be very useful in his experiences and that will allow to turn him into an
operative alchemist of the first quality.

He continues to study with ardour in the stuffed Parisian libraries of precious manuscripts.

Paralleling this research, he registers in the School of Fine Arts of Paris. In 1900 he goes out of
the National Institute and Special School of Fine Arts at the age of 23 years old. He is a
seductive man, of medium height of 1.7 metres and with a striking moustache. He was well taken
to women and it will be like this for all his life.

Champagne portrait
Always impassioned by the alchemic work Champagne travels the bookstores tirelessly. The
time is fertile. Numerous personalities met there attracted by the common desire of studying,
they met in specialized bookstores.

Thus, one of them in particular located at nr.76 Rue de Rennes of Paris "La Librairie du
Merveilleux" was founded by Chamuel and re-staked by Pierre Dujols and A. Thomaz and was
transferred for this local one that is the meeting centre in the erudite' years 1910-1911, for
Hellenistic and of respected cabalistic studies.

They circulate in this sphere ideas concerning a forgotten but not lost famous language, the
"green language" or "language of the birds". The master was Pierre Dujols, an erudite in Greek
literature and a great defender of the Hellenic language that he guarantees to be the origin of the
French language and that he follows for the etymology since it gives alchemic words to apply
private rules, called hermetic cabala and to still find a precise sense, favourable to the laboratory
work.

He possesses a file of occult sciences, the only one of its kind and one that his friend Jean-Julien
Champagne will use later.

His disciple in the hermetic sciences, L. Faugeron, then an agent dealer, resident in the nr.6 of
the street of Sabots, was Pierre Dujols' laboratory assistant who eventually got sick, and he could
no longer work. After the death of Dujols, Faugeron continues the investigations (experiments)
sacrificing everything to buy the coal needed for alchemic works. Consists that he died from
hunger, in total poverty without which he could probably have obtained the conclusion of his
efforts.

Pierre Dujols, contrarily as one can read, considered the laboratory work as essential. He
answered one day to his friend Paul Le Cour that saw alchemy as an interior ascese: "That he
was entirely wrong and that one cannot understand the intellectual hermetism without working
on the material bodies, that the hermetic terminology cannot be substituted by scientific
terminology."
 Pierre Dujols

Pierre Dujols' nom de plume was Magophon. He dedicated to us, happily his nom de plume of
Magophon (the magician's voice) an explicatory of Mutus Liber, preceded by a Hypotypose
(1914) of his authorship. It developed very interesting ideas that we found but late in the
attributed Fulcanelli works, Kermes, celestial Agriculture, the Composition of the "Egg", Nostoc,
etc.

Jean-Julien Champagne and Ren Schwaller de Lubicz.

In the year of 1910 arrives at Paris the young Ren Schwaller at 33 years of age. Disposed to
studying painting with Matisse and very attracted by metaphysics he does make contact with the
Theosophical Society in its apogee.

He still joins the numerous occultists and passionate spiritualistic groups and he frequents also
the "Librairie du Merveilleux" where himself is admired with his great knowledge of this whole
group on the phonetic cabala.

In the year 1913 he will have a meeting that will be decisive for the group Jean-Julien
Champagne and the alchemic reappearance (resurgence) that we know.

In 1907 Champagne links through his driver with the wealthy family Lesseps that inhabits a
superb private mansion in the avenue Montaigne in Paris.

The Lesseps' sons, above all Bertrand and Ferdinand Jules, they are interested and they do fall in
love with the science of Hermes. They propose Champagne to inhabit in the laboratory that
possesses Ferdinand in the street Vernier, Paris, where Champagne settles and he can work like
this in the elaboration of the Great Work. It was the Lesseps that employed Champagne and as
industrial draughtsmen assured his material life.

All these people are in charge of the alchemy that is a true fashion. Several groupings give
hermetic courses.

The brothers Chacornac, friends of Dujols, also employ Champagne in his bookstore, in Paris.
His work consists of receiving coming works from private libraries of the county, evaluating and
classifying them. This didn't always displease this erudite in search of old books about alchemy.

One day, in his work of classifying the books, a rare copy of Newton's writings goes by the
dealers hands. He opens it and he discovers a six-page manuscript that esteems to be of 1830
notes taken from an expert in the course of his experiences and relating his success.

Champagne subtracts the precious leaves and he takes them to his house for studying. It is, for
his great satisfaction and it pleases him to at last obtain a result similar to alchemic
manipulations allowing the accomplishment of the famous blue and red colours used in the of
Chartres' glass window (Lead Glass).
He begins at once to study the manuscript and to try to decipher it, numerous hours passing in
the laboratory, but in vain.

It is then, in 1913, while he stays in La Closerie-des-Lilas, as his habit, that he meets the
distinguished Ren Schwaller, of which he knows the great interest he has for alchemy and
chemistry knowledge. He approaches him to propose the reading of the manuscript and an
eventual collaboration.

Ren Schwaller

If he could for himself have solved the subject he would not have, without a doubt, ever shown
these pages to the future Egyptologist. Ren Schwaller was interested immediately.

Besides the alchemy, Ren Schwaller showed great curiosity for the theories concerning the
constitution of matter; as he disapproved completely the work on the atom that were proven later
to be great dangers for humanity, a position that he maintained all his life.

His work on numbers took him to study architectonic forms, mainly of the cathedrals. As it
resided in Paris he went many times to Notre Dame in order to observe its lines and its
sculptures. It was as soon as he studied the cathedrals' symbolism that he formulated its
connection with the alchemic art.

Therefore some leaves of that little text that he presents to Jean-Julien Champagne motivated
him strongly. They made an agreement; Schwaller would give a monthly fee to the painter
allowing living expenses, in exchange for this he would work in the operative aspect. Schwaller
would try to explain the theory and Champagne as the excellent laboratory manipulator he would
make the experiments.

In the contract a clause was specified: whether to arrive at success or failure, nobody should
know the existence of this agreement, or the terms, when they would separate without ever
broaching the subject. The non-observance of this pact would have fatal consequences for
Champagne.

Champagne also meets regularly at his friend Dujols' house. He prepares his introduction to
Mutus Liber they discuss alchemy symbolism and hermetic cabala.

Eugne Canseliet

In 1915, Eugne Canseliet is presented to Champagne. He was 16 years old and the painter 38,
Dujols 43 and Schwaller 28. Eugne Canseliet doesn't delay to become his master's assiduous
disciple, that he so much admires, and which he will serve his whole life. In the first years he
will serve, above all, as a young man of messages. He will be the "pivot" of a manipulation he
won't be aware of.

Young Canseliet

In fact, thanks to Champagne, Eugne Canseliet will be introduced into the whole mundane Paris
and occultist side of Parisian life. He will frequent the Lesseps, the symbolist group with Andr
Breton and Pierre Dujols's small circle that he will know somewhere.

If Canseliet was of a capital importance in the diffusion of the Fulcanelli's work he also went
with him in the elaboration of its legend. He will be an assiduous one in the libraries where for
his good calligraphy he will make an effort in handwriting the old manuscripts.

In the quality of curiosity I cannot leave out the reference of an extract of a "post" done in the
forumalq on January 12, 1999 for a Fulcanelli's "specialist" commenting Les Demeures
Philosophales regarding Eugne Canseliet:

"Before even so of entering in the subject, watchful are those that still didn't still read the book so
that they ignore, initially, Eugne Canseliet's forewords. In that it weighs it the honour of having
known Fulcanelli personally, Canseliet gives us the impression never to have been his disciple.
Its forewords and its posterior books seem to walk in a direction opposed to its Master's
teachings. Some of its deliriums, are, of our point of view, a disfavour to Alchemy and his
attempts at demonstrating his Master's same erudition trips in its ignorance than he taught".

The author of this writing, as we will see soon after, is completely mistaken regarding Canseliet.
For we knew, Canseliet, as a disciple of Jean-Julien Champagne, who knew his Master's work
perfectly. Besides, all his books that today demonstrate erudition, because besides being a great
alchemist he had high academic formation inclusively in languages of both Latin and Greek.

I don't refer to this with the intention of denigrating anybody but just to demonstrate to you how
varied they are in opinions about Fulcanelli, above all of those that ignore the essential way that
he describes what is the dry way although, as we already said, sometimes he refers to the wet
way.

Further on we will mention other interpretations done by Fulcanelli in respect to the matters and,
inclusively to the modus operandi.

It is in this same year of 1922, in the month of September, that Eugne Canseliet at 25 years
attends the famous transmutation. Canseliet himself executes the projection under the directive
of Fulcanelli. The scene happens in a small habitation that he occupies in manufacturing of gas
business of Sarcelles, in the presence of Champagne and of chemist Gaston Sauvage. This
transmutation was not the facto of the success of the Great Work but yes a simple "particular".

In 1922, Ren Schwaller leaves Paris, he breaks all contact with the occult groups, namely the
alchemists' group gathered to support Dujols and Champagne, but he continues to give the
agreed monthly fee to Champagne. During the years of war, past in Paris, Schwaller wrote a
manuscript on the subject that had at the heart: the Gothic cathedrals and the alchemic
symbolism. He shows it to Champagne who seems interested and he intends to submit his work
to an editor. Champagne is very interested in the book, looks for a publisher as middleman, and
takes charge of that work.

Schwaller, very confident, gives his document and Champagne voluntarily promises to return it
quickly. However, he keeps it several days well beyond the end of the promised time. Schwaller
knows that its study reveals many secrets and that it should not, consequently, be made available
to the public. Champagne finally returns him the book manuscript.

Champagne consecrated over many years to maintain the idea of the adeptship of Fulcanelli; he
had developed it and it was maintained by the whole group that surrounded him and that should
promote the myth: Gaston Sauvage, Les Charcornc, Pierre Dujols, Canseliet, Julles Boucher.
They formed this mysterious Fraternity of Hliopolis ( F.H.C.).

Pierre Dujols becomes victim of arthritis, and because of a delicate financial situation his wife is
forced to work to sustain the needs of the family and she sells the bookstore.

Champagne surrenders to the drink. Pierre Dujols along these long years of immobility
consecrates his time to the redaction of numerous notes about alchemic symbolism. Champagne
and Dujols have in common Basil Valentine's veneration and also Flamel.
Champagne travels and in the course of his travels he reproduces the sculptures that seem to
proceed of an alchemic intention as: Amiens, Limoux and Notre Dame de Marceille. But it is
above all on the notes of Schwaller regarding with Notre-Dame de Paris, his references to the
hermetism of Dujols and thanks to his notable erudition and of Champagnes talent as draftsman
and brilliant operator that it will work.

They remodel it, they argue, they expose his knowledge, that was, let us say, prodigious in this
domain, and Champagne entrusts everything to Eugne Canseliet alike of believing the
mysterious adept's thesis. It is like this, that Jean Shmit in Paris publishes the Le Mystery des
Cathedrales under the nom de plume of Fulcanelli, with great amazement of Schwaller that is
then in Switzerland, in Suhalia. He recognizes his work that was lent to Champagne in the years
1920-22.

With relationship to Pierre Dujols is not right that he had been informed of the provenience of
the notes that Champagne presented him. He was a very religious man and seemingly of a great
honesty.

Even so, Schwaller continued to give the promised monthly fee while Champagne maintained
work in his laboratory in the resolution of the problem of the colours of the glass window of
Chartres, but he didn't get any result.

In 1926, on April 19 Pierre Dujols died in Paris. His wife will leave for his children's house and
she will separate definitively from Champagne, that she won't also have any more contact with
Faugerons disciple of her husband. Lucien Faugeron died in 1947.

However, she had given the whole alchemic files and notes regarding the monuments of
hermetic charisma. Pierre Dujols had written long pages on this subject and Canseliet he would
have for his task to gather them and submit them to his master Champagne for finality, to present
everything to the publisher Schmit that will present to the public the first edition in 1930 of Les
Demeures Philosophales.

It is in the year 1930 that Ren Schwaller and Jean-Julien Champagne are going, finally, to
resolve that which they sought for 19 years. The problem of the production of the blue and red of
the glass window, such as the ones that we can observe in the cathedral of Chartres.

It is also in this year 1930 on September 15 that there appeared in public the second work of
Fulcanelli-Champagne Les Demeures Philosophales with foreword of Eugne Canseliet F.C.H.
The work is illustrated with 40 tablets according to the drawings of Champagne.

This book is Pierre Dujols's work before his death and of Champagne. Eugne Canseliet will
have for his task to gather the notes without practically modifying them. Later after master
Champagnes death he will allow the publisher to increase the re-editions.

Jean-Julien Champagne is seriously sick, he drags the leg, he drinks absinthe, and he breathes
galbanum to obtain visions. His health is altered.
 Champagne old

Also in 1931 he asks in a letter for Ren Schwaller to come to Paris where he has a very
important declaration to communicate to him. Therefore they meet in a small restaurant and
Champagne announces his intention to reveal everything of his works, but Ren Schwaller
reminds him of the pact and proposes a warning against his silence to continue to help him
financially.

In August of 1932, very weak, Champagne sends a new letter to Schwaller confirming with him
the fixed date for the meeting with his disciples. Schwaller returns to Paris, and going directly to
the alchemist's mansard, 59 bis of the street Rochechouart. He finds him with black skin:
gangrene extended for his leg.

This last one had reflected well, and full of remorse shows a paper pile to Schwaller and he asks
him to take the manuscript, which had been the origin of their long collaboration.

This was their last reunion, because the following day August 26, 1932 at 06.40 Jean-Julien
Champagne died - 55 years old, of an arthritis obtrurating from the left leg, without having
accomplished the Philosophical Stone, his search of an entire lifetime.

Ren Schwaller de Lubicz died in 1961 - 74 years old.

Eugne Canseliet died in 1982 - 83 years old.

Canseliet and the Dry Way.

Eugne Canseliet, as we saw, was a direct disciple of Champagne who was an expert laboratory
operator. Therefore Champagne would transmit to him the modus operandi of the dry way. We
also know that neither Champagne nor Dujols ever achieved the Great Work.
Lubicz made a transmutation but it was a "particular" and not culminating in the Great Work.

Nor did Canseliet get to achieve the Great Work, but he arrived at the last phase of the Third
Work that is the cooking of the Remora. He doesn't explain clearly what the reason was that he
didn't finish the Work. Solazaref says that actually it is not possible to make the dry way because
of the external "conditions".

Canseliet older

The Fulcanelli's aren't generous with relationship to the modus operandi, therefore Canseliet
probably to remedy this omission published the book L'Alchimie Expliquee Sur Ses Textes
Classiques, Jean-Jacques Pauvert, Paris, 1972.

This book is considered the "Bible" of the dry way. Canseliet was not very generous in his
explanations for a beginner and it has served as the classic text to explain the dry way and in
Basil Valentine's Twelve Keys the one that we will refer to, it will be shown that there is nothing
that has to do with the dry way.

For an expert alchemist with some knowledge of the dry way the book is a precious guide for its
execution. But if you don't have knowledge of the modus operandi of this way it will be for you,
very difficult to continue without a master's help or a brother.

The dry way is difficult and of some manner a dangerous way, because we work with
temperatures close to 1000 C in an oven of gas butane or propane. That, we advise those that
don't have some experience to not attempt to do it without the advise and the help of a brother or
of a Master.

Even if we explained to you in detail the modus operandi you would need to see to learn the
necessary "hand work".
However, inside of the limitations that are we imposed, we will try to give you some
explanations of this not very well-known way being worth our experience and also of the
appropriate texts so much of Fulcanelli, Philalethes, Flamel and, above all, of Canseliet.

Our books about the Art are, fundamentally, in French. In our opinion the books that were
translated from French or because they were translated by alchemists as Poisson, Dujols,
Canseliet and other more in the antiquity they seem in the truest and they differ considerably
from the English books.

We had occasion of verifying it in Basil Valentine's Twelve Keys and The Last Will and
Testament, in the Philalethes' An Open Entrance to the Closed Palace of the King and in the
Flamel's Brvire or Testament.

For your work in the dry way, you will need, first, a place adapted where you install your oven.
The most suitable place would be outside, but that would demand the installation of a covering
and in the winter it would not be very pleasant to work.

So, you will have to choose another very airy place and with good day light visibility. It is
inevitable that the placement of a chimney with good controlled circulation that drives outside
without inconveniencing the neighbourhood the toxic smoke that is usually emanated by the
chimney.

It will limit you as presently it limits us. And this doesn't only happen with the dry way because
although the wet way doesn't emit so much amount of smoke and it can be done in a place inside
of an apartment, there are operations that will have to be done outside or in a place well
ventilated as in a balcony, because of the toxic gases that emanate certain chemical reactions.

The oven for the dry way just as you can see in the picture it was the oven used by Canseliet and
it can be built with a single block of refractory mud or for sections. Another simpler oven can be
built with refractory tiles put upon each other and united with a mass of refractory mud.
Its size can be varied - everything it will depend on the crucible size to use. Usually a crucible
with size adapted for the Separation and Mercurial Purification's has of height 12 cm and a width
of 10 cm in the mouth.

As shown in the Purge there are used two crucibles put one inside the other, an oven inner height
of the 30-cm it won't be excessive and it will be just even. The width in the inner chamber can
also be of 30 cm. You can make even a larger oven that allows you to place or to remove the
crucibles with more comfort, but you must remember that as the oven gets bigger, the more loss
of energy you will have.

In the Separation or Mercurial Purification's then we will already have to just use one crucible,
but as the hole of the blowpipe (gas nozzle) - it is above it a little for the Purge, you will have to
place one or more refractory tiles breaking at the middle inside the oven to do the height and,
like this, to allow that the fire always happens in the crucibles centre.

If the oven is being built in a whole and circular block, the fire will be more involving and you
will spend less energy. The chimney of the oven can be a simple tube of iron or iron foil with 15
cm of diameter and about 30 cm of length. To this tube should be connected another flexible or
rigid tube that drives the gases outside.

The tube of the chimney should have a system of circulation and regulation because, otherwise,
if the circulation is excessive the oven it doesn't heat up properly and it will cool too fast. On the
contrary, if circulation is reduced - the gas combustion it won't be perfect and the necessary heat
won't also be produced.

Unavoidably your oven should have an aperture sufficiently wide that allows you with relative
easiness to place and to remove the crucibles and inspect the elapsing of the operations in its
inside which will have to be shut when the oven is to heat up and to work.

A pyrometer will be for you of great usefulness, but weve been working without it for years and
we never had problems regulating ours for the different crucibles heated red colours.

In the Purge there are those who use a different system. Instead of the two crucibles, one inside
the other, they use just one crucible with a hole in the centre having also in the oven a hole in the
bottom that will allow to drop the melted metal to the additional oven outside. But in this case,
the oven will have to be placed in a metallic support.

Finally, there are many ways you can make your oven. Everything will depend on your ability,
of the place where it will be built and of the crucible's size that you will use.

For our own experience, we advise the construction of an oven that is good for all cases, placed
in a metallic support to half height that allows working comfortably.

In respect to the oven, now you will need a source of heat and the most adapted to present times,
it will be the industrial propane gas - being also the cheapest. You will need the blowpipe (torch
end) that will supply the heat that, as it is obvious, it should be regulated and the industrial type.
You will need, also, of the respective a manometer so that you always know how much gas
remains in the bottle, so you could substitute it quickly without harming the operation that is to
elapse. Therefore we advise you to always have a full gas standby bottle.

The blowpipe (torch end) should have a variable support that allows moving it in height so you
could place it in the centre of the lateral hole of the oven and, like this, to guide the fire to the
right place inside of the oven.

And in relationship to the oven it seems that I already told you everything that is necessary. If
you have any doubts, or questions, you can ask me.

Now you will need the accessory equipment that is not a lot, but it is absolutely necessary.

You will need a good iron or brass mortar, preferably of iron - being harder so you could triturate
or powder our mineral Subject with a heavy rod made of the same material. The mortar should
be well placed in a wood log that has the enough height so that you can sit down on a small bank,
and you have a comfortable position without your back being curved. Per times they are
necessary hours followed by work to triturate suitably some kilos of the mineral Subject.

To triturate in the mortar demands technique. Try to place a few materials inside every time. It is
pure mistake to try to triturate too much material at once. You will never get it done because our
Subject forms a compact mass in the bottom that is impossible to triturate more. You will need a
strong stainless steel spoon, accordingly as you triturate, you must try to get it to unpaste the
material on the mortar bottom.

When you see that it is sufficiently triturated - and only experience will show you it, pour it on a
plastic or mud plate and continue crushing until you have your entire Subject reduced to powder.
But this is not enough - when it is necessary our powdered Subject must be purged to do the
Separation. You will have to pass it through a thin net steel sieve just as used in the kitchens for
domestic use only that it will have to be a bit larger.

You can buy the net in a suitable store and nail it in a frame of square wood that has at least 30
cm sideways and 10 cm of height.

You will still need another sieve with the same dimensions but this made with nylon net as used
here in the serigraphy, of 60 lines per cm or 120 per inch.

Besides these accessories you will need tongs with a long handle that allows you to place or to
remove the crucible from the oven. You will also need a stainless steel spoon with the long
handle for you to pour the material into the crucible when its inside the oven and using the
spoon you will not take the risk of burning yourself. Another good idea is that you should also
acquire a pair of leather gloves as used by workers in the foundries.

Don't forget that you are to work with temperatures between the 800 and the 1000 degrees C.
Goggles are a must, protect your eyes against explosions

Besides the accessories already mentioned there is another one that will seem to you very
insignificant. It is a hook of iron of 5 mm of diameter with a length of 60 cm with the point bent
in right angle. That bent portion should have about 15 cm. As it should be made of iron it will
wear out little by little according to the work that you do.

This modest indispensable accessory should be made of iron and it will be good to move the
melted mixture inside of the crucible.

You will have to acquire in a store several crucibles. Usually in each country a factory that
produces them, they will usually be cheaper. We had occasion of trying several types of
crucibles but the Germans were always the best ones but they are excessively expensive.

Per times, one crucible of national manufacture it just makes one Separation and soon it is split
because it was of bad quality. An important factor in the crucible duration is the abrupt variation
of temperature that makes it to split. But that per times is inevitable. When you heat up a crucible
inside the oven it is normal you begin with a lower temperature elevating it gradually until
reaching the maximum permissible for the operation in cause.

When you remove the crucible from the oven with the melted metal there is an abrupt external
temperature change although it still stays practically at the temperature of the oven. After you
drain its content then, the empty crucible, it should be placed immediately inside of the oven to
heat up to continue with the work or, then, if the blowpipe be turned off, to let to cool gradually
so it doesnt split. It is this technique that you should observe for not destroying (to split) many
crucibles.

Finally, we still have another accessory very important without which will be you find it
impossible to work. It is the moulding mould. This mould mentioned mainly by all the
espagiristas and contemporary alchemists, as Fulcanelli and Canseliet will serve for you
moulding the melted subject and let it crystallise slowly.

It is an expensive accessory because it is made in stainless steel of an only piece at lathe. You
can observe it in the picture and if you want to order to do it at an expert worker you can see the
dimensions together in the drawing.

When you work at the oven the "cone" as it is called commonly, it should always be placed close
to the mouth of the oven to stay hot and, before draining the crucible it should be applied with oil
inside later - warmed a little inside of the oven before the moulding.

Our old masters, it seems, didn't use this useful accessory and they left the matter to solidify into
the crucible, later they break it to remove its content. This mould avoids that and it allows a more
perfect crystallization of the Subject because as it is metallic and thick, the delay allows more
time to cool. But, in special cases, in the canonical work, there is reason enough to leave the
crucible inside the oven with the matter to cool and later break it to remove its content.

There are still also other small useful accessories. The crucible covers. The crucibles don't
usually have covers and, for that we had to do them with refractory mud in a mould, or then to
acquire it at a pottery - covers destined to the other ends that they adapted. As they were not
usually made of refractory mud it frequently broke.

You will need also some bowls or porringer of common mud for you to place the matters.
With relationship to the materials to work with it seems to us that you won't lack anything.
Install your oven, acquired enough crucibles because if they are not of good quality you will
damage many and, that you will have to always have some crucibles on standby. And you will be
ready to work.

Until now we spoke just of the materials, now we will refer to the alchemist and the one that
respects us as the old masters say about what an alchemist should be.

The Cosmopolitan in his book Nouvelle Lumire Chymique, Retz, Paris, page 44 says:

"The investigators of Nature should be just as it is the same Nature: that is true, simple, patient,
constant, etc. but what is the main, merciful point, believer in God and not harming the
neighbouringBecause if your going simply to do any thing as Nature makes itself, makes it;
but if you will make any more excellent thing than Nature doesn't do. Regard in that and because
it is better and you will find that is always its likeness."

Albert the Great in Le Compos des Composs, Arch Milano, 1974, page 52 says:

"Nature should serve as the base and as model to science, the Art also works in agreement with
Nature in everything it can. Therefore, it is necessary that the Artist observes Nature in
agreement with it."

We could transcribe many more citations like this but we found it not to be necessary.

One thing seems us to be fundamental: to follow Nature. Were trying to understand transposing
everything this way for operative alchemy - what it means to follow Nature in the alchemic
operations. The only answer that we found and nobody can get us to give another description
better - in spite of the fact that we have asked it several times in the forums - it is to do certain
operations in a determined time of the year in that the external "influences" show with more
intensity.

With relationship to the philosophical part so accept in what respects to the transformation
(evolution) of the spiritual or psychic of the Artist himself as some plead, we left this to the
consideration of those that adopt that.

We are not materialistic nor atheist but we understood the things under other point of view
always respecting different ideas from ours, although not agreeing with them.

Albert the Great in the foreword of the same book page 59, also says:

"I won't hide a science that was revealed by the grace of God, I won't keep it jealously only for
me, for we have to attract its curse. Which is the usefulness of a science, kept secretly, of a
hidden treasure? The science that I learned without fictions, you transmit it without feather. The
envy overturns everything, an envious man he cannot be right in the face of God.
I was not envied by everybody, but only for those that admire the Lord in his works and that God
judged unworthy. Who has heard to understand this divine communication, pick up the secrets
that I transmitted by the grace of God and that doesn't ever reveal them to those that are
unworthy."

It is not strange, this language of a clergyman, because this great master in 1260 was Bishop of
Ratisbona.

The master gives us a great lesson of humility and charity to our brother alchemists that,
unhappily, for we have been seeing along our permanence in the forums it has not been of any
the best attribute of some that are self entitled masters.

I don't refer to the "posts" that are done at a forum because in this the Master is very clear and he
advises we transmit not these knowledge to the unworthy ones. We don't want to say with this
that the subscribers of a forum are unworthy, on the contrary, they are people interested by
alchemy or otherwise they wouldnt subscribe to a forum of this nature.

The one that we mean is that certain "secrets" should only be revealed to those that deserve them
to receive and for that he has to give proof. For a true alchemist it is very easy to know when he
is front an alchemist and, then, if there he refuses the help, this will be not accomplishing the
tradition. Some brothers who have not made it they close in excuses "ragged" of silence oaths.

Each one is free to do that to understand and we didn't censor them for that. For our part we will
help up to where it is possible but to whom it is deemed deserving. Of that we will never be
sorry, never, although some of our brothers censor us for we be many times too charitable.

Put this away now, we will continue with the work referring to the dry way.

Unavoidably you will have knowledge with that matter with which to work, the mineral Subject,
its metallic Acolyte and the saline helper.

Fulcanelli makes a lot of references to those matters - some more charitable than another. Also
Filaleto in L'Entre Ouvert Au Palais Ferm du Roy and in Marrow of Alchemy and Flamel in
Brevire or Testament still make references more charitable of the mineral subject, of its acolyte
and of the saline helper.

We will also begin with our mineral Subject called black Dragon or grizzly Wolf. Many masters
identify it and inclusively Fulcanelli to mislead the less experts he names and affirms that is not
the matter of the work: "...many times until we found it classified among the rejected bodies or
find strange to the Work."

Manses Filosofais, Editions 70, Lisbon, The Salamander of Lisieuz, page 142:

"Its traditional name, the philosophers' stone, represents that body enough to serve of useful base
to its identification. He is, with effect, truly a stone, because it presents, when leaving of the
mine, the external character common to all the minerals. It is the chaos of the sages, in which the
four elements are contained but confused and disordered. It is our old one and the father of the
metals, these owing it its origin, because that he still represents the first metallic manifestation
terrestrialCall itself black dragon covered with scales, poisonous serpent, daughter from
Saturn, and the "more its lover children's". This primary substance saw its evolution interrupted
by the interference and penetration of infected and combustible sulphur, that to past up its pure
mercury, retains it and coagulates it. And, although it is entirely volatile, this primitive mercury,
corporifyed under the action secativa of the sulphur arsenical, takes the aspect of a solid, black,
dense, fibrous, brittle mass, friable, whose little usefulness turns it vile, abject and worthless to
the men's eyes

It is the reason for which they represented symbolically its matter in its first being for the image
of the world, that contained in itself the materials of our hermetic globe, or microcosm, gathered
without order, without form, without rhythm nor measure

The philosophical matter is therefore of mineral and metallic origin."

This description adapts perfectly to our mineral Subject's main characteristics with view to its
identification for the children of the Art.

It is not necessary to be very understanding in mineralogy to know what that mineral is. The
Master tells us that it is a mineral of black colour and that "he saw its evolution interrupted by
the interference and penetration of a imperfect and combustible sulphur that to pass up its
pure mercury, retains it and coagulates it."

Our masters tell us that the minerals develop in the core of the earth till they arrive at gold. We
don't know if it is what happens and perhaps if anybody knows it exactly. We know yes, that our
subject of black colour and with scales it has incorporated an imperfect and combustible sulphur.

This, only for itself, gives us a precious indication. It is a sulphide of black colour with scales.

It still calls itself serpent, poisonous daughter of Saturn. Our masters considered this
mineral Saturn' son, for its appearance and mineral characteristics. The mineral corresponding to
Saturn, as everyone knows is galena.

Other masters call it black Dragon or, like Basil Valentine, grizzly Wolf.

The Master finally tells us that its symbol is of the world that is to say of the Earth that is
represented by a globe cruciferous.

If you consult the spagyrics alchemy symbols you will know immediately what that mineral is.
Many of you already know it but nor that dispense this description to show you that the
descriptions done by our Masters so much of the matters as of the modus operandi they
correspond to the reality we know how like this to understand them.

You already know our mineral Subject but some, perhaps most of you, you won't know its
metallic acolyte.

Alchemically our mineral Subject has incorporating pure mercury as tells us the Master, but it is
completely lacking sulphur (alchemic) because the chemical sulphur already knows that
possesses it as being of a mineral sulphide.

Who will its metallic acolyte be then? We will see that the master tells us in the Philosophical
Mansions but, probably, we will have the help of Philalethes Marrow of Alchemy and An Open
Entrance to the Closed Palace of King mentioned by Fulcanelli.

As Manses Filosofais, The Salamander of Lisieux, page 148:

"This pure fire, of the same essence that the specific sulphur of the gold, but fewer digested, it is
on the contrary, more abundant than the one of the precious metal. It is that that joins more easily
to the mercury of the imperfect minerals. Philalethes assures us that it one finds hidden in the
womb of Aries, or of the Sheep, constellation that the Sun travels in the month of April. Finally,
for designating better still, we will gather that this Sheep "that hides in itself the magic steel" has
ostentatiously in its shield the image of its hermetic seal, star of six rays. It is therefore in that
very common matter, that simply seems to us useful, that should seek the mysterious solar fire,
subtle salt and spiritual sulphur"

The Marrow of Alchemy, Codex Press, 1990, The First book, pages 47 & 48.
The Sulphur you must seek in the house of Aries, this is de magic fire of the Wise...

It seemed strange indeed, that a metal so stout and fix as to withstand the thundering blast of
Vulcan, which will no relent in any heat, nor mix in flux with any metal, yet by our Art, it will in
this piercing mineral liquor be made retrograde.

Moreover Aries is known to be the House of stout Mars, in which all artists charge the to begin
in thy Work, and what can be said more plain? Surely there can be none so ignorant as not to
believe that a hidden meaning is concealed in these words, with hitherto was never better
explained.

By it we plough our land, reap our corn, dress, boil and cut our meat, and with it are horses
shoed; with many other uses in a contemptible manner upon the Earth, in old stub nails. Which
are scarce worth the finding, whereby it may be esteemed vile.

Fulcanelli tells us that the alchemic sulphur meets in abundance in a common and simply
useful matter saying, also, that Philalethes affirms that it meets in the womb of Aries or of Mars
that means the same, it wants to say, in a metal whose correspondence zodiacal is of Aries or
Sheep and of the planet of Mars.

It is normal that he who doesn't know the work makes a wrong interpretation than Fulcanelli says
that, almost always, it is not very explicit, therefore, and so that there is not any doubt with
relationship to our explanation, we also described the Philalethes text the one that he refers

Philalethes tells us although that it is strange to see a mineral so hard and fixed to be retrograded,
that is, to return to the sulphide initial state for the penetrating power of our mineral.

At the end of the Separation, the metallic acolyte is really retrograded that is, transformed
artificially into a sulphide with the same chemical designation of that from where metallic Mars
can be extracted.
After what we described it seems us that it won't be for you too difficult to know which is our
mineral Subject's metallic acolyte that will allow the Separation.

After you know the two main protagonists of the dry way you will need to still know the saline
helping ones, without them, it will be you impossible to do the Separation and other subsequent
operations

Fulcanelli is not very charitable in the saline description of the helping ones therefore we
preferred describe it basing on the description done by its disciple Eugne Canseliet in Alchimie
Expliquee, page 167 and 172.

"Which is therefore this white salt that is necessary to use preferably crystallized as the snow and
what is mixed easily to our mineral and our metal them same divided, in powdered one, another
in fillings?

If we say that he is double we don't mean that this is in its chemical combination as it is for
example the case of the salt said Seignette still of Rochelle, that is a sodium and potassium
tartrate and that for simple calcination restores the two carbonates of sodium and potassium."

"Our salt or if you prefer our melting it is double because it is physically composed of the
addition "ana" of two different salts.

If it is possible to enrich the nitre for its celestial isomerous it is also of exalting the powerful
virtue of the second salt equally. With relationship to this the philosophers did a lot of times and
clearly with allusion to the vineyard because the bush doesn't offer a positive relationship with
the accomplishment of the great physical work"

Notice this oak advises the merciful Flamel also facing the oldest barrel that substitutes the
atrocious cement vat today unable to support the invaluable tartar.

Canseliet is clear for those that already have knowledge of the Art but many of you perhaps don't
get to understand what the Master wants to explain

He says that is not a double chemical salt just as the Seignette salt but composed of the addition
"ana" (the same parts) of two different salts, one designated exactly for its name and prepared
according to the Art for the celestial water and the another picked rough of the inside of the wine
barrels and also prepared later as Art demands.

If you are sufficiently clever you will know what its salts they are because already we explained
in texts that you will find in our URL's as they are prepared canonically.

You already know all the necessary matters to begin the dry way, the mineral Subject, its metal
acolyte and the two saline helpers. Now it is only that you prepare everything properly for you to
begin the work, that is, to acquire the mineral Subject, to seek the metal and to prepare the
respective salts. In L'Achimie Expliquee Sur Ses Textes Clasiques, Canseliet describes minutely
how this way is made, so you know to how to understand it.
Authors Introduction

Who is Rubellus Petrinus?

Rubellus Petrinus (the red stone) is the nom de plume of the Portuguese Alchemist. He was born
in Bragana in the northeast trasmontano city that is a few kilometres from the Spanish border,
on March 25th of the year of the grace of 1931. At his 18th year, after having concluded an
industrial course, he went to Angola in 1951.

With a born tendency for electronics, Rubellus was one of the first ham radio operators of
Angola who's handle was CR6CW, which would allow contact with practically everyone in the
world. Then, he followed his professional career as an electronic technician in the services of the
government telecommunications, where given his special aptitude and vast knowledge, he
specialized in telecommunications for Hertzian Beam (UHF and SHF) reaching an elevated
position in the services hierarchy.
Being a great enthusiast in the practice of submarine photography and hunting, he also formed a
small group that was devoted to this activity. Some of the group components were enthusiastic,
and passionate about so-called "occult" sciences more properly considered parapsychology and
other related subject matters.

One day a friend lent Rubellus a book that would change completely his "hobby". That book was
"The Awakening of Magicians" by Jacques Bergier.

>The reading of that book woke up in him an unheard curiosity, because already for himself he
was enthusiastic for the so-called "secret" sciences.

Unhappily the environment was not favourable for development of the study of the calling to
alchemy referred by the author in the book. Africa was thousands of kilometres away from the
groups that existed in Europe and there was at the time, no Internet available as there is today.

Through a local bookstore he order Fulcanelli's book "Le Mystre des Cathdrales". Its reading
left him completely "confused", not only because the text was difficult, but also because it was
practically incomprehensible for who was a stranger to such teachings.

Later on, he ordered another set of Fulcanelli in two volumes "Les Demeures Philosophales".
The first book was confusing enough, and these they were not less so, which added difficulty that
only created a situation that required some help.

However, this experience prepared the "calling" for decolonization and, given the circumstances,
Rubellus returned to Portugal, settling in Queluz, a city near Lisbon.

In Lisbon he entered in contact with other groups dedicated to the "secret" sciences and, in
parallel with his activity of Technician of Telecommunications he manufactured electronic
equipment for so-called alternative medicines such as Acupuncture, Biofeedback and Kirlian
photography.
He continued with enthusiasm in his studies on alchemy acquiring the most well known
alchemists' books, referred by the Master Fulcanelli in his books. However they were published
in Portugal and in Spain as Manses Filosofais" and "Las Moradas Filosofales" that finally
allowed him to better understand Fulcanelli, because the learned language in French was not an
easy assimilation, above all for one who doesn't dominate the idiom.

Even after the reading of the best alchemists' books, he never got to lift completely the
allegorical veil, although he already approached the idea of some operations because of the
chemical knowledge that he had learned in the texts of Lemery and Glaser.

Later, he also met a small group that was devoted to alchemical study with whom he could
exchange impressions and inclusively they made their first experiences.

One of the members of the group had knowledge of the Solazaref Filiation in France where he
had already travelled in the past. They gathered the interested people and they took a study trip
during one week to the said Filiation in France.

Only then before the real facts, did he understand what was the true alchemy such as the dry way
and spagyrics, about which he had read so much. There he understood the reason that the masters
gave notice that, without the help of a Master or of a brother's charitable hand it is not possible to
learn alchemy.

Upon returning to Portugal the group was reduced to three people that worked together under the
great Master's Solazaref instructions.

One day Rubellus read the book "Las Palomas de Diana" written by a Spanish alchemist whose
nom de plume is Simn H. Although he already had vast alchemy knowledge learned through the
Filiation, the reading of that book and the way it was written, it was not very far beyond his own
knowledge, but even so, the group was curious with relationship to that alchemist.

Through its publisher he got into contact with the referred alchemist keeping a correspondence
exchange in which the author always rejected to give any explanation on his said "work",
knowing that it was an alchemistic group with knowledge like him or else more advanced still.

Therefore, there was no other solution except to travel to Spain to contact him personally. There
Rubellus met other Spanish alchemists with whom he still today maintains friendly relationships.
During about one year he travelled several times to Fraga a small village close to Lrida, to
attend the pupils' meeting with the so-called "Adept".

With elapsing of the time and given his great laboratory practical experience, he reached the
conclusion that to follow Simn H's teachings and its said "work" was a loss of time and money
too. But not everything was lost because he won friends and brothers in the Art.

Later he had knowledge of a very interesting book. "Apocalypse Revelation Alchimique "by
Jean of Clairefoitaine. He wrote to the publisher in the sense of contacting the author to make
"light" with some doubts about the great Master Kamala-Jnana path described in the book.
An answer came to him from an alchemist linked to "Collgiale Al-kimia" that is "Le Cercle
Extrieur des Frres Ans Rose + Croix" in France, informing that the author had died but that
he could help.

With this meeting he got to contact Roger Caro about Kamala-Jnana path with that he got at last,
the longed for results.

After a year of correspondence exchange with the referred French alchemists, they were invited
to visit the group in Portugal, where they could demonstrate the process that they described in
writing.

After talking with them he reached the conclusion that those alchemists did not come up to our
knowledge, mainly on other alchemic paths and mineral and metallic Spagyria.

In the dry way, working in a group formed by three alchemists including the Solazaref direct
disciple, he arrived to do the Eagles in the antimony dry way and he made several attempts
inclusively in another wet way exclusively in the Kamala-Jnana's way, but without the results
that allowed the conclusion of the work.

In spagyria he did everything, from the vegetable spagyrics to the metallic and mineral including
the great vegetable arcane secret the "salt volatilization" that few alchemists know and the same
as some of the ones that know it, the process was taught them by him.

With the theoretical and practical knowledge acquired along about 30 years of study and practice
Rubellus acquired the necessary "background" to understand the "modus operandi" of the ways
described in the best classic alchemists' books, as Eirenaeus Philalethes, Flamel, Basil Valentine,
Albert the Great, Raymond Llio and other modern ones like Fulcanelli, Kamala-Jnana and
Canseliet that he eventually became capable to write the books "A Grande Obra Alqumica"
published in Portuguese and Spanish and "Espagiria Alqumica" to be published shortly.

But just as Fulcanelli, Canseliet and others, unhappily he still didn't get to finish with success,
the Great Alchemic Work of the Philosophers Stone.
Lab Equipments

Laboratory Spagyrical Alchemic

First of all, you install your alchemy and spagyrics laboratory. You will need, to start, an
appropriate quiet place well ventilated and lighted for your work. In general, in an apartment, it
is not nearly as easy to get things done.

It is important that all the matters and utensils are out of children's reach, not only from the
danger that can come when breaking accidentally a glass vase, but also the dangerous handling
of some toxic substances. Always label the flasks of chemical products so you know its content
and there will be no mistakes.

You will need a table or bench. The preference is wood with a cover of formica and you will
need some shelves to arrange the materials in. Place, also, an electrical current plug near the
table.

The first thing that you will have to obtain is one or more sources of heat. Without fire there is
no matter transformation. The fire is the spirit transformer of alchemy.

Formerly, the masters used almost exclusively coal as a source of thermal energy. There didn't
exist, as today, other forms of energy more proper and easier to regulate. Imagine the
inconvenience there would be if you had in your house a stove of coal permanently burning.

Eirenaeus Philalethes, in his book The Open Entrance to the Closed Palace of the King, he
describes with great detail the construction of an oven or Athanor fed with coal.
As it is neither practical nor proper to work with coal, many artists opted for gas, it is a natural
element extracted from the earth. It is more practical, cleaner and easier to regulate.

Another source of heat also actively used, is electrical energy. There is a great controversy with
relationship to the use of electricity in alchemic operations. Some affirm that it is an artificial
energy and that the results can be altered by it.

We are not of the same opinion. Its true that an electrical energy applied to a metallic resistance
provokes an electromagnetic field that, probably, will have influence in chemical reactions, but
there is no certainty of that harming or altering the end product.

On the other hand, it is known that the electric energy although produced artificially, is coming
from natural phenomena. The current of the exciter produces the electromagnetic field of a
generator, this current is generated by the mechanical rotation and for the remaining and natural
magnetism of the stator poles.

Therefore, in our opinion, the electric energy has its origin in natural phenomena and it won't be
harmful, because an incandescent metal produces the heat.

Electricity has a great advantage over other sources of energy. The temperature can be regulated
with excellent precision and the ovens are generally relatively small and lighter than the gas
stoves and ovens.

Besides, electricity can be connected permanently without there being the concern of running out
of gas, or the mouth of the stove to fade for any reason. The gas being burned could give place to
an explosion with fateful consequences as well. For certain operations, however, a small
"camping", stove with gas with a porringer and a sand bath is good.

And the "camping" stove, it can also be used as a small portable stove of one or two mouths, fed
by a butane or propane gas container. However, in distillation's, digestions and circulation's, we
recommended an electric oven, it being easier to install, cleaner and, above all, it can be
connected for a long time.

There are digestions and circulation's that take up to one week or more to do and the oven will
have to be connected that whole time. Of course you can have an energy break and the operation
will be interrupted.

That would be serious, being particularly serious in the Third Work of the alchemic way,
because the work would be hopelessly lost. However, in most of the cases, it doesn't have much
importance, because the interrupted operation can continued as soon as the energy is restored.
Besides, the energy breaks are not very frequent.

Further ahead, we will explain to you the building of different electrical ovens, starting from
simple materials easy to find. It is evident that there are cases where you will have to use
exclusively, ovens with butane/propane gas. It is so in the case of the dry way. In this case, the
temperature of the oven will have to reach about a thousand degrees to operate and the oven will
have to be installed outside in an appropriate place.

Ovens for Stills of 2 Liters

In relation to the oven for a 2-litre alembic, we can use, with advantage, a smaller electric frying
cooker following the same norms of assembly as the oven for of 6-litre alembic.

When you acquire the electric frying cooker, take a 2-litre balloon or Erlenmeyer to verify that it
enters easily in the cooker.

You can also opt for the following solution. Acquire a pot of thick aluminium with an inner
diameter of 17 cm and 15 cm of height. Acquire, also in a store, a 1 kW small portable electric
stove without temperature selector, that is, in preference of the old model, with leg support. The
round metallic box where the refractory ceramic mould is installed with the resistance should not
have more than 13 cm of diameter.

In this stove model, after the upper metallic part that contains the refractory ceramic mould with
the resistance has been dismounted, it is separated from the metallic support that is the base of
the stove. The referred boxes are fastened together by a screw and nut.

Before dismounting it, disconnect the resistance wires from the connection terminal, marking its
position.

With an electric drill, bore a hole in the bottom centre of the pot with enough diameters to allow
the screw to pass loose.

Then, place the metallic box in the pot, introducing the screw in the suitable hole and mark the
place where the wires will go through the metallic box that contains the resistance and there,
make two holes in the pot so that those two wires can pass through.

Again, place the box in the pot, in order to introduce the screw in the central hole and in the
metallic support, then take care of passing the resistance wires through the opened holes in the
pot.

Holding with one hand the metallic box with the refractory and the resistance, place a washer on
the screw and tighten the screw to the suitable nut. Be sure to verify if the wires of the resistance
are in position to be tighten to the screw of the connection plate.

Tighten the nut in that position. Check that the wires coming out of the metallic box are well
insulated, that is, that the insulation covers the wires completely and have not been damaged.

Wrap the wires end to the suitable screws as they were previously and tighten the nuts. Verify
that the wires are not leaning against the support or the pot. Verify, also, if the electric cable that
came with the stove is connected in the same place as it was previously.
Place the lower cover on the metallic support and tighten the fixation screw. The oven will be
ready to work.

Pay attention that none of the wires make any accidental contact with the pot or with the metallic
support, because if that happens, you can get an electric shock from it when you connect the
oven.

If you can get only the ceramic mould with the suitable resistance in a store of the specialty, it
will be so much better because it will be cheaper for you, but that implies also that you have the
suitable knowledge to install it in the pot.

In the image you have an oven of that type where one can see the refractory ceramic plate with
the resistance.

In this case, as the resistance is without the metallic protection as in the ovens, it will be
necessary you to use a Ceran Shott 135 x 135 mm plate which you will have the corners cut at a
glass master so that it can enter the pot and be applied over the ceramic mould. This plate will
protect the cucurbit of the direct contact with the incandescent metal of the resistance.

In these ovens the bathing of sand won't be allowed because it would deteriorate the resistance.

This oven cannot be connected directly to the 110 or 220V power supply, but through an
electronic regulator as it was already referred to.

Those that don't want to do this work can buy an electrical "blanket" used by the chemistry
laboratory, which will allow regulating the temperature in each case.

The alembic to use with this oven, for the distillations and rectifications of acid spirits, can be
constituted by two cucurbits: one made of good Pyrex glass plane bottom, and the other will be a
conic (Erlenmeyer) of 2 litres, with a IN45mm female joint. The helm can be of 1 or 1,5 litre,
with a IN45mm male joint and a 30 cm straight tubular (horn) with a male IN19mm joint at the
beak. The recipient can be a 2 litre spherical balloon with capillary air hole in the belly and a
IN29mm female joint. Just as previously, the adapter of the recipient for the helm will be a
reducer of IN19mm female to a IN29mm male joint with leak.

To make the circulation, a blind helm should be used, made with a 1 or 1,5 litre spherical balloon
of 1 or 1,5 litres, with a IN45mm male joint and with a capillary air hole in the top.

We recommended to always covering the exposed part of the cucurbit that is standing out of the
oven with aluminium foil, not only to improve the distillation, but also to avoid the fact that cool
air could break it. Also, it will be always convenient to apply silicon on all joints every time that
you use the alembic.

Two or Three Litre Alembic

The alembic is the glassware that is most important in either the spagyrical or alchemical works.
Without this apparel, you cannot make the spirits that are so important in our Art. Today, it is not
easy to find a master glassmaker that can make an alembic just as the ones used by our old
Masters.

In certain cases you can use a copper alembic, but when it is necessary to make a distillation of
acid spirits, the alembic will have to be of good Pyrex glass.

The 2 or 3 litre retorts are very voluminous and more difficult to find.

Therefore you will have to seek a master glassmaker that can manufacture you a glass alembic.

A cucurbit is a balloon of round or conic bottom known as an Erlenmeyer of 2 or 3 litres with

short lap. The helm is a little more difficult to do. The master glassmaker uses a Pyrex glass
spherical balloon and heats it near the lap and pushes it inside creating like this, a concavity
where the condensed liquids are deposited. For a 3-litre cucurbit, the balloon of the helm should
be 1,5 litre.

Then he will adapt a conic tube (horn) of 25 cm of length in the concavity of the helm so that the
condensed liquids deposited in that concavity can be drained to the exterior. At the tip of that
conic tube he makes an IN19-mm polished male.

At the lap or neck of the helm, an IN45-mm polish male joint is adapted and in the cucurbit a
female joint also of IN45-mm. If the cucurbit goes of a larger capacity, the polish joint should be
of IN70-mm. Most of the times it is here that the difficulty arises. Because it is necessary to have
an appropriate machine to do these polishing and some artists don't have it.

The receiving vase will be made of a 2 litre spherical balloon with a short lap and a female polish
joint of IN29-mm. Since the beak of the conic tube (horn) of the helm is a 19-mm joint, an
adapter has to be made that allows the connection among the two. This adapter has a 19-mm
female polish on one end and a 29-mm male polish on the other end.

The receiving balloon will have in its belly an air hole, without which the alembic would explode
because of the excess pressure inside.

There are some who say that we are too conservative in our use of apparels similar to our
ancestors, but the truth is that we have not found yet appropriate substitutes that can make the
same work in the necessary amounts.

He who makes it with conventional apparels is welcome to tell us the process and the equipment
used, because if it is viable it will save us a lot of money.

The same happens with the circulators or incubators, which at present are constituted by two
vases. The inferior vase can be 1 litre glass Pyrex balloon with round bottom or an Erlenmeyer
with female polish of IN29-mm. The superior vase usually has the half of the capacity of the
inferior or 500-ml with high lap and a polish male of IN29-mm.

The superior vase will have in its top a capillary air hole to avoid that, with the interior pressure,
the superior vase jumps and breaks. A circulation takes days and sometimes months to do and
because of that, it is convenient to have two or three circulators available.

Also a 500-ml retort with tubulure (horn) will be indispensable for us to make certain metallic
tinctures and the vegetable First Being that cannot be done in another vase.

Usually in the retort, the beak of the tubular (horn) doesn't have a male polished end. It is
convenient to order one of IN19-mm and later to use an adapter for the receiving vase that, in
this case, can be a 500-ml spherical balloon with short lap and with a female polished end of
IN29-mm with a small air hole in its belly.

As a source of heat, there are two alternatives. The more economical ones would be an electric
oven or heating plate with a temperature regulator as used in the chemistry laboratories.
A small gas stove can also be used. In this case you will have to use an iron pot, enamelled, for a
sand bath. Choose a pot sufficiently large, but not in excess, and put in sifted fine sand and well
washed.

Place a layer of sand first in the bottom of the pot. Then you place the cucurbit in it and after
that, you will put the remaining sand so that it reaches the height of two or three centimetres
above the bottom of the cucurbit.

Also it is convenient to place aluminium foil around the part of the cucurbit that stands out of the
pot. This is to prevent the glass from breaking due to the temperature difference and also to avoid
the condensation of liquids on the walls of the cucurbit and to conduct directly to the helm, all of
the vapour that emanates from the matter.

You will need, also, an appropriate support for the receiving balloon of the still as used in the
chemistry laboratories.

This way, you will have a complete alembic that will allow you to distil the spirits that will be
needed in your works.

The ideal would be that you also have an identical 6-litre alembic because to distil 50 litres of
wine spirit, vinegar or essential oils of a plant in a 3-litre alembic is not very practical.

Without this apparel, you cannot make the spirits that are so important in our Art. Today, it is not
easy to find a master glassmaker can an alembic just as ones used by old Masters.

Oven And 6 Liter Alembic

Consecutively, we will explain to you how to built three different kinds of electric ovens. The
first and larger one is for the cucurbit (balloons) of 6 litres, the second one for a 2 or 3 litres and
the other smaller, for a matrass and 500ml retorts.

The first oven is made with a 1 or 2 kW electric frying cooker that will be very easy to order at a
suitable supplier. It is destined to do the distillations of essential oils, the wine and the vinegar.
This oven is indispensable, because these distillations cannot be made in a cucurbit of a smaller
capacity.

Before buying the electric frying cooker, acquire a good quality 6-litre Pyrex glass balloon, with
plane bottom. Only then, should you buy the frying cooker, so that you may verify that the
cucurbit (balloon) enters and fits well into it.

Pay attention! You should never connect your oven directly to the power supply outlet in the
wall. The thermostat installed in the frying cooker is not suitable to regulate properly the
necessary temperature for the distillations.

You will need to install, between the oven and the outlet, a 1 kW electronic voltage regulator.
This regulator can be acquired at a suitable supplier or made by an expert electronic technician.
The referred regulator will allow you to regulate the voltage of the electric current between 0 and
220V (110V in USA), in a way that you will obtain the suitable temperature in the oven for each
case. In this way, you can regulate and make the distillation of the essential oils, the wine and of
the vinegar.

With relationship to the other oven for 2 and 3 litre cucurbit, we suggest that you, in the
beginning, make it for a 2-litre cucurbit. Later, you can build another one for a 3 litre, if you
have a need for it.

The first oven will be used for an alembic composed of a 6-litre cucurbit, 2-litre helm and a 2-
litre recipient. In the 6 litres balloon with plane bottom (cucurbit), that you have acquired
already, you had ordered also to the master glass blower, a wheelwork female, IN70 mm. You
had also ordered to place along the side of the cucurbit in the upper part of the belly, a small
glass tube that is either screwed in or part of the glass, to place in a 0-150 C thermometer.

You will have to order the making of a helm with the capacity of 2 litre with wheelwork male
IN70, with a throat of 30 cm of length, finishing in a curved point or beak, with a IN19 male, just
as you can observe it in the picture.
A glass balloon Pirex of plane bottom will constitute the recipient or receiving matrass, with a
capacity of 2 litres with IN29 female end. To adapt the recipient to the helm, you will use a
reducer of IN29mm female at one end and a IN29mm male at the other end, with a small
breather placed in the body of the adapter, between the two wheelworks.

The breather is absolutely necessary. Pay a lot of attention! One should never distil in a recipient
without a breather, because when the pressure builds up inside the alembic and increase, it needs
to have an escape to leave slowly, otherwise the glass will explode.

With precaution, have a plate of asbestos of 1,5 mm in thickness, cut with a strong scissors two
strips of 50 cm of length by 5 cm of width and nail them in the centre in a cross or X shape,
with a metal staple. Place the "cross" at the bottom of the oven, so that the ribbons continue in a
vertical position, up the lateral wall.

Seat also, in the bottom of the oven, on top of the ribbons in a cross shape, a slice of asbestos, of
the diameter of the bottom of the frying cooker. This way, the cucurbit will be isolated from the
walls of the oven and will maintain an air space all around it, bottom and sides, avoiding, like
this, that the glass be in direct contact with the metal.

After having placed the cucurbit inside of the oven, make a cone of asbestos or of fine
aluminium to cover it, but take care of leaving in place two openings for the neck of the
cucrbita and the other, for the thermometer opening. Only, then will you install the helm along
with the recipient, and take care of applying silicon on all the joints.

For the circulations, we recommended a blind helm, made of a spherical balloon of 2 litres, with
IN70 male end and a capillary air hole in the top.
Authors work on Animal Kindom
Salt of Urine
Collected Urine

Fermentation in Progress
Fermented Urine

Ready for Distillation

Urine Distillation in progress
Urine Redistillation over its caput mortuum
Appearance of volatile Salt
Collection of Volatile Salt
Caput Mortuum
Sublimation of Volatile Salt of Urine
Distilled Spirit
Distilled Urine Spirit Density

Volatile Salt of Urine

Other way

Here it is, one of the great arcana of the alchemical spagyrics that only a few artists know, sought
by many and which, now, to help you, we have put within your reach.

Van Helmont, a great spagyrist converted to alchemy, refers to this salt, also known as volatile
alkali, as the base of the preparation of the Alkahest.

The volatile salt of urine is, basically, ammonium carbonate. It may seem to you purposeless and
possibly repugnant, in the end of the 20th century, to extract this salt of urine, when you can
acquire it easily in a store of chemical products.
As we already have said, and we didn't get tired of repeating it, the salts used in alchemy, if they
are to be canonical, they should be, so much as possible, of native (natural) origin, just as our
Masters used them, because actually, a great part of the existent chemical products on the market
are synthetic, and they don't have, under the alchemic point of view, the same characteristics of
the native salts.

Here it is brothers, the reason why some ignorant people stupidly denigrate our Art.

From urine there are extracted two salts basically, of which the alchemists made wide use: the
volatile ammonium carbonate, and the fixed salt or ammonium chloride. The chloride can be
extracted, also, from the volatile salt.

To prepare the volatile salt, you will need more than 60 litres of urine coming from ruminant
animals or from a human being.

For many, it would be an impossible work to extract the phlegm of the putrefied urine and to
sublimate the dregs, it being an annoying work due to the pestilential smell that exhales from the
putrefied liquid excretion. So, we will explain to you a mixed method, just as we did with the
nitre revivification.

Acquire 1 kg of rough ammonium sulphate, as used in agricultural fertilizer. Dissolve it in 1 litre

of water heated up to 40C, in a glass or stainless steel bowl.

Dissolve, in the same way, in a litre of water and in another similar bowl, 1 kg of commercial
sodium carbonate or, better still, canonical tartar salt (potassium carbonate) extracted from the
vine, of oak or of the tartar of wine.

Pour the carbonate solution into the 6-litre cucurbit of a 6-litre alembic the same as that used for
the spirit of wine distillation.

Pour, slowly, in the carbonate solution, and the whole ammonium sulphate solution. Seemingly,
no chemical reaction will be noticed, but it happens that a double chemical decomposition
happens, which results in the production of ammonium carbonate.

Connect the helm to the recipient and distil at a temperature that does not exceed 80C, on a
suitable electric oven with controlled temperature.

It will distil into the recipient a thick and transparent liquid like tartar oil that smells much of
ammonia that will make your eyes tear, if you breathe it. This is a liquid ammonium carbonate.
Just distil, 1 litre of that oil.

Some volatile salt will adhere to the interior of the helm, so when you have just distilled 1 litre,
remove the helm of the cucurbit and, remove from the inside of the helm the volatile salt, that
you will add to that which you distilled.
With care, pour 5 litres of urine into a 5 litre large plastic bottle and close it well so as not to
exhale the bad smell. Let tit putrefy well, then you will notice the dark colour that it acquires and
the nauseous smell that exhales, when you uncover the bottle.

Pour 4 litres of that urine in another large plastic bottle and join to it 1 litre of your distilled oil.
Let everything putrefy for 10 days or more.

Order from a glass blower, a special aludel for sublimation. This aludel will be made of a 3-litre
Erlenmeyer, cut around its girth 2 cm above the base. The upper part of the vase will be a closed
in cone having in its top a capillary air hole.

In the centre of the base a IN45 male joint will be placed, that will fit in the IN45 female joint, as
you can observe in the respective picture.

The cone should fit neatly on top of this base. To close the aludel tight, a rubber ring should be
placed around the whole girth of the glass cone. This cone will be safely fixed to the base by two
crossed rubber bands.

In the same 6 litre alembic, pour into the cucurbit the 5 litre mixture, apply the 40cm extension
that you know of already, with an IN70 male joint on one extremity and a female IN45 on the
other, as used for the spirit of wine rectification. Place in it the sublimation aludel, the one that
we already referred to, take care to apply silicon on all the joints.
Heat up slowly, until you reach 60C, and leave, like this, for 3 days. The volatile salt of urine
will begin to sublime in the cone of the aludel, and it will fill completely its inner wall.

If after some hours you don't observe the salts sublimation, then increase the temperature a little
more, until the sublimate appears.

When you see that the layer of salt inside the cone of the aludel doesn't increase any more in
thickness, then stop and turn off the oven.

Disassemble the aludel and remove gently, with the point of a stainless steel knife, so as not to
break the glass cone, the salt that one finds crystallized in layers. The salt emanates a very strong
smell to ammonia. Don't breath the fume of the salt, because you will feel the same unpleasant
symptoms of the ammonia smell. Keep this in a large mouth glass flask very well closed,
sheltered from the light.

Here we have, then, volatile canonical urine salts corresponding to more than 100 litres of urine,
from having been fermented in the environment from which it originates. The test of this is that
the salt emanates, still, a slight smell the urine.

If it is necessary, you can purify it, dissolving it in rainwater or distilled dew and, for the same
process, sublimate it again, until that is pure and as white as ice.

Image: Aludel
Alchemical Terms

Secret Fire, Preparation and solve

(Excerpt)

Wet Way: This is the most commonly followed path. It is also far more described than others
are. It lasts for 28 philosophical months. This dictionary will be mostly about this way. It is
relatively easier, because comments on it can be easily found. It is also the less toxic and less
dangerous.

Dry Way: This is a less known path, although quicker, lasting four philosophical months. The
main difference resides on the first Solve operations. The wise men then use their Agent in the
form of earth. This remaining unaltered by humidity in the air is more active and cooks the
matter more strongly. It is nevertheless very harmful if breathed and given the heat required it
may easily happen that the vessel explodes.

Secret Fire

Primal Agent: Secret element concealed by all Philosophers. It is their "salt", ready to be
transformed in any of the four elements. It is he who leads the whole work, as long as he is well
guided.

Alkahest: Paracelsus gave this name to the secret fire potentially concealed on rotten oak, acacia
and fern.

Alum: The name certain chemists gave to their salt because of its translucence; but one must
keep from working with this product, because one would truly err.

Natures Reach: The spagyric philosophers have thus named their Universal Agent, because
this is the body that in nature sets everything in motion. In the Great Work it is he who triggers
violent reactions. Separates the three bodies from its ore in Preparation and the amalgam in
Solve.

White Beard: The Cabalist alchemists have thus designated their primordial agent there is a
close analogy and similitude between the White Beard and the Salt of the Wise when it is treated
and exposed in a certain way. In fact, in the preliminary stage of Preparation, each particle of salt
concealed in a vessel but able to evaporate transforms itself in very white and twisted threads.
When in contact with the air, they look like frizzy and white hair on the top of the flask.

Oak: Like acacia and fern, this tree contains many calories that may be used to feed one of the
Philosophers fires.

Fifth Fire: This is the secret energetic fire that leads all the work.
Dart: The crystallization of the philosophical salt, resembling little white needles. Handling it is
very dangerous due to its harmful nature, whence the name: dart.

Dry Water: Substance extracted from acacia, oak and ferns by means of a certain operation.
This body has the property of being dry and wet at will and so it was named "dry water" due to
its opposing double quality.

Sword: A word commonly found in alchemy, which has often misled plenty, a researcher. The
sword of the wise is their saline fire. This element behaves like a piece of steel attracted by a
magnet. It is greatly attracted to the first matters with which it unites. Extending this idea of the
"steel attracted by the magnet", the saline fire now becomes its power, its knife and sword. It
stands to reason that "to cut" in alchemy most often mean, "to cook".

Secret Fire: An energy that activates all matter and keeps it at an even temperature. It is also
called fifth fire. It is he who uses the wind to temper the environment and permit the circulation
of elements.

Fire Regimen: There are four degrees of fire, corresponding to the four colors: black, white,
orange and red. The first one comes up in Solve and the other three in Coagula.

Curdled Milk: Salt of the philosophers while in a semi-liquid state.

Virginal Milk: Same salt as above, but completely liquefied.

Pearl: This word has two meanings. The first one designates the philosophical salt when in a
semi-liquid state. At this point it is called "May dew" because when the salts begin to liquefy
they look like water drops. The second one is granulation in every state.

Caustic Potash: Caustic product used in lye. Its chemical formula is KOH. It is found in the
form of white crystals that shine like glass. These crystals are very brittle, fusible and soluble.

May Dew: Its the salt of the philosophers when each crystallization starts to liquefy and forms
what looks like a water drop due to the humidity in the air.

Philosophical Salt: This salt is obtained in a purely chemical way. Given the fact that it has
exactly the same characteristics (except for the color) than the philosophers salt, the Wise Men
produced their philosophical salt in order to distinguish it from the former. Those who dedicate
themselves to the Work cannot ignore this salt.

Foliated Earth: Contrarily to what D. Pernety says the foliated earth is not Putrefaction.
Foliated earth is the Philosophers Salt when it starts to melt. The crystals are joined together in
layers. So we must not forget that the foliated earth is the salt.

Word: The world, they say, was created through the Word. And if we would believe in some
Indian and Tibetan Temples, the Great Creation was composed of three Words, since the
beginning considered holy and sacred. Here they are, in the order we have received them:
Kshra, Ogs and Hingula. It stands to reason that the one who penetrates their meaning will see
the mystery clarified. While the first word actually represents the Primordial Agent, the second
stands for the Secret Fire and the third the First Matter. We would like to note that grouping the
first letter of each word would enlighten the meaning.

Preparation

To Amalgamate: Operation permitting the union of two or more bodies. The whole Work
consists in initially splitting the matter dissolving it after the sublimation, in order to unite it
afterwards (once it has been purified) and to coagulate it.

Art and Skill: These are two essential qualities in every investigator of the Work. In
Preparation, for instance, as to obtain the separation of the three components without the aid of
common fire one truly needs to be a genius artist in order to be successful.

Aries: Zodiacal constellation related to April. This alchemical sign is frequently seen on top of
images. It means this is a favorable month to collect the mineral.

Chaos: A name given to the ground pulverized mineral one must use in Preparation. Thus it is
written: "Light came out of chaos".

Cinnabar: This mineral is a quicksilver sulphide, from where the commercial sulphur and
quicksilver are extracted. These are dead bodies, touched by the fire used to separate them from
the dregs. Some Philosophers such as Hermes have referred them as the First Matter, but one
must understand this statement as a "comparison point" because the ore of the Wise is not treated
alike. Analogous, but not equal, similar, but not identical.

Cucurbit: The secret Athanor of the Philosophers. Its within the cucurbit that the primordial
matter is divided into three bodies of equal necessity.

Oven: Heating device that works on wood, coal or oil. One must not confuse oven and fire.
When the Philosophers speak of fire right before the Preparation they are speaking of the
common fire. But as soon as they start to speak about the Work, the oven is not a common oven
anymore it signifies their "secret fire".

Put in another way, it can be used for three times: the first one, to eventually reconstruct their
ore; the second one in order to extract the calories contained in acacia, oak or fern, and the third
one to operate the final transmutations. Aside from these, the five fires they use have nothing to
do with common fire. The researcher must thus understand that the common fire is used to
reconstruct the main bodies, and the secret fire in order to dissociate, purify and coagulate them.

First Matter: The First Matter (singular) designates the ore of the Wise. This ore which contains
their salt, sulphur and mercury. When this denomination is used in the plural form it then denotes
the salt, sulphur and mercury of the Philosophers. Put in another way: the three bodies separated
from the dregs.
Mercury of the Philosophers: A body similar to common quicksilver, but possessing its natural
qualities, not having suffered the damage caused by common fire when separated.

Mortar: A vessel made of sandstone, cast iron, porcelain or glass, which is used to triturate the
bodies, in order to pulverize them afterwards. This device is used in the Preparation stage, in the
end of Coagula and during the Multiplications.

Nostril: Going back to this image, some Cabalist Rabbis represent the Preparation stage with
this allegory. This is the stage when the First Matter transforms into three quite distinct live
bodies. Given the fact that these bodies have not suffered death by common fire, but on the
contrary have received the natural revitalizing spirit (being the vital sulphur a heat and not a
fire), they are full of life and strength in order to carry out the Great Work.

Operations: The Work is composed of six operations: a strictly chemical pre-preparation, the
Preparation, Solve, Coagula, Multiplication and Projection. The last five are rigorously
alchemical.

Weights: When the researcher is in possession of its ore, and has already extracted the elements
from it, he is able to verify that for each 100 gm of matter there is generally: 50 gm of Mercury
of the Philosophers, 37,5 gm of Sulphur of the Philosophers and 12,5 gm of Salt of the
Philosophers. These are nevertheless not the correct weights, since they come from a
manufactured ore and not from an ore to be reconstructed. Now the alchemist must reconstruct
this ore while better purifying it.

Preparation: First stage of the Great Work considering that everything required is at hand. It
consists in triturating pieces of the First Matter in a mortar and put the result together with
philosophic water in the Athanor, applying the fifth fire. Under the violence of this heat, the
three bodies are separated into two groups: the sulphurous body remains in the Athanor and the
saline and mercurial bodies (which are volatile) are collected into a receiver that communicates
with the Athanor through a long neck (the horn).

Reincarnation: This concept will later on be helpful to explain in detail the role of vapors in the
Preparation and Solve. One must not forget that it is actually the same vapors that dissociate the
elements in the first step and re-amalgamate them in the second.

What happens then, and why is it that a completely opposite phenomenon takes place when the
same vapors are used? The answer is quite simple: everything depends on the Vessel where these
vapors are elevated.

In the Preparation, the three primordial bodies after being triturated and mixed are placed in a
philosophical Athanor, as Geber mentions in his Summa. At this point, under the conjugated
action of the fire in them contained, they tend to sublimate, i.e., to elevate in vapors, as long as
they reach ebullition. Now, given the fact that salt evaporates at 165C and the mercury of the
philosophers at 360C, two things happen:
1st Both the salt and mercury of the philosophers, sublimated through the intense heat that
comes from the sulphur, evaporate into a contiguous vessel to the Athanor. Here, by means of a
temperature break down, they are condensed and overlayed in the order of their density.

2nd The sulphur of the philosophers however does not boil below 450C and sees its way in
blocked at this temperature because of the exiting of the other two bodies that no longer excite it.
From this point on he stays intact, with all of its strength in the bottom of the athanor and its a
childs play to operate the triple operation. Lastly, we remark that it is because of the sulphurous
strength being intact and never getting to sublimate that the Solve reaction will be able to restart
afterwards.

Salt of the Philosophers: Shining substance found in the ore of the Wise. It is found more in a
homeopathic than chemical state. This being the reason why certain authors name no more than
two bodies: the king and the queen, or better yet, their sulphur and mercury.

Therefore without this salt that gives the ore its cohesion, the latter would not exist. Thats why
in the Preparation one must add the philosophical salt to compensate for the lack of salt of the
philosophers.

Taurus: Zodiacal month that corresponds to May. It is favorable to the extraction of the ore. It is
one of the months when the matter is richer in philosophical mercury.

Cooking Time: The Preparation stage lasts for two Philosophical months. Solve, 8 months;
Coagula, 16 months; Multiplication, 2 months, being the sum 28 Philosophical months.

Philosophical Month: This has nothing to do with ordinary months. Ordinary months represent
a conventional period of time. They are calculated in such a way that the four fourth parts of
each lunation when reduced to 24 hours coincide with the four stations of the Great Work,
starting with Winter.

Solve

Adam: This second Adam that comes from heavens is nothing but the fluid, revitalized and
revitalizing granulation that is born out of the union of the three vapors that meet in the upper
part of the flaskor heavens. Now, in like manner that Adam was expelled from the earthly
Paradise after having tasted the fruit of Knowledge, so the granulation thickens and falls into the
unamalgamated compound. This "fall" represents the image of Adam falling over the ground.
Meanwhile, since the granulation gets harder in time and forms a body, it is natural that some
compared it also to Adam whom God covered with fur clothes.

In short: the first Adam (stained ore) transforms into a second (similar to one from God);
nevertheless since it lacks Eternal Life (before being expelled off the high spheres), this second
Adam precipitated over the earth will not be able to redeem by purifying himself and revitalize
everything around him. This is why the second Adam "coming form heavens" falls upon earth
and possesses a Revitalizing Spirit.
Love: The first matters before being placed in a sealed flask and later on excited by the 5th
firethey start boiling and rising because of the high temperature. As the sulphur proportion is
bigger than salt and mercurys, the first body divides into two different parts. One of them unites
with salt and mercury through sublimation (it is the amalgam in natural proportions); the other
one (unable to find its equivalent part in salt and mercury) produces nothing but a heat that
quickly gets lower and lower. The sulphurated remainder then goes from the gaseous to the solid
state (looking like a gray compound).

Apparitions: Who would say that some solid bodies could "appear" inside a sealed flask that
doesnt contain anything besides smoke from three bodies destroyed by fire? These more or less
thick vapors do not look granulated at all, and might remind one of the primitive ore containing
salt, sulphur and mercury of the philosophers. Meanwhile, little by little, the "vaporous"
spherical bodies dissipate in smoke and this state (where the germinating granulation as a body, a
soul and a spirit is but a fluid state) can be compared to an apparition or a celestial contribution.

The same happens when the granulation, still jelly-like, hardens due to the lowering
temperature it can be compared to materialization, it is in fact a real materialization or even a
re-materialization, which perfectly explains the phenomenon of apparitions.

Beast: In Solve, the male beast or sulphur of the Philosophers is called red lion, in opposition
with the philosophical salt that is called green lion (not because of its color, but due to its acid
virtue which signifies something unripe). As to the female beast, or mercury of the philosophers,
it is called eagle due to its volatility. Some times, the sulphur and mercury are also called
dragons and the salt Armenias dog. From their deadly combat the quintessence of Innocents
blood is born. Lastly, at the end of Solve, the granulation is sometimes called Phoenix, because it
looks like it is born again from the ashes of the compound from where it was generated.

Car: What exactly happens inside the sealed flask in Solves beginning? We have seen it often:
under the action of an excitement produced by the contact of salt, sulphur and mercury of the
Philosophers, a powerful caloric energy is released and sublimates the three bodies, projecting
them in the upper part of the flask. Thick vapors arise and little by little in the midst of this
smoke a "fluid granulation" emerges, and seems sustained and elevated by the sulphurous
volatile part that is not amalgamated. The sulphur (male element) represents Fire; it is thus a
sulphurous fire rising as vapor that sustains, carries, drags, transports the emerging "granulation".

Compound: Pestilent slit born of the impurities and the part of sulphur of the philosophers
unable to amalgamate. It is on this muddy earth that the granulation strengthens and hardens. The
compound offers different colored aspects: dark brown from the first coction on until it reaches
black, gray and finally green. One must note that these color changes are responsible for its many
names: putrefaction or calcination when it is black, vegetation when green, etc.

Deluge: Born of the condensation that is formed in the flask when the vapors fall down like rain
due to the cooling of the flask. The excess of liquid covers the whole matter and thus the Wise
speak of deluge.
Mercurial Water: Philosophical Salt at the time the first chemical reaction of Solve is about to
begin.

Red Sea Foam: Under the action of the fifth fire, the liquid matter boils and this ebullition form
a kind of yellow emulsion. At this point it is called Red Sea foam because it surnages the sea of
the philosophers, also called "Dragons Blood".

Energy: Caloric power that rises as soon as the salt, sulphur and mercury of the Philosophers are
put together and submitted to the action of the fifth fire. Its power is so strong that it will
suddenly blow the flask up unless one was careful to leave 2/3 of it empty. We firmly
recommend all investigators to be extremely careful in their operations because even when it
does not explode the risk of serious burnings subsists We have seen a heat-resistant vessel
become red-hot and completely burn the cloth it was placed upon. Prudence is rigorously
required.

Faeces: Sulfurated residue unamalgamated that remains in the bottom of the flask together with
impurities.

Granulations: Stone of the Wise. They are generated in Solve, finish in Coagula and acquire
generating strength in the Multiplications. They are called granulations because (in the
beginning) they are spherical, like little pearls. Because of this, they are also called "little
worlds" and "eggs".

Saturns Oil: Name given to the seal of Hermes. It is a greasy liquid that surnages the
compound in Putrefaction. It is formed like a watertight isolating cover.

Unbeatable: When the matter is on Putrefaction, i.e., right in the middle of Solve, its smell is so
infect and venomous that its impossible to breathe it. This nauseating smell is responsible for its
many names: grave, cesspit, stable of Augias, etc.

Jupiter: Gray matter in the stage of Solve; also called "ash" because it looks like a very thin
dusty sand. Its corresponding metal is tin.

Lepra: Excess that stains and infects the granulation in the Solve stage.

Levitation: As soon a body gets sublimated it always tends to elevate into air. Is it not this
what really happens in a sealed flask when the pulverized ore is destroyed by fire? Is it not then
observed the granulation floating upon the vapors, like an image of the "mortified and
sublimated" ore? This image, is it not that of a Solid Body containing philosophical salt, sulphur
and mercury, i.e., the image of a Body having the same constitution of Man (body, soul and
spirit)?

World Making: The action of creating worlds or favoring their breakout. In Solves
sublimation, little by little a vaporous granulation is formed; thanks to a lowering temperature,
this granulation becomes jelly-like and then solid. The Wise say then they are making worlds out
of their matter because the Stone then looks like a miniature globe.
Mountains: In the beginning of Solve, now that the dregs are submitted by one side to an
increasing humidity and by other to a continuous fire, an boiling is produced that in a sealed
vessel results in the breaking out of two laws: the first one is that the fluid elements of salt,
sulphur and mercury of the Philosophers gets volatilized; the second one is what permits the
union of these three elements. Since this strong heat lowers with time, the three volatile spirits
rightly united are condensed in a spherical form and fall down into the compound that did not
turn solid.

Black: First color observed in Solve. This color corresponds to the first fire degree.

Number of Colors: There are four main colors, namely: black in Solve, white, orange-like and
red in Coagula. Equally there can be found three intermediary colors: gray and green in Solve
and yellow in Coagula.

Number of Fire Degrees: There are five fires: the latent fire in the sulphur of the Philosophers,
the latent fire in salt and the latent fire in mercury; these three together that form a fourth; and
the permanent energetic fire.

Orange: Third main heat of the Work, corresponding to the third degree of fire. This is the
closest color to the red. Nevertheless, if this color shows up before the black then it is a sign that
the fire was set too high. The matter got lost and everything must be restarted.

Putrefaction: First stage of Solve. It lasts for around four philosophical months. This is the
kingdom of Saturn. Its smell is nauseating. Everything turns black, deeply black. This is the
stage where the golden crown and the dragons blood show up.

Reincarnation: Solve, Coagula and Multiplications are the last stages. At this point,
alchemically speaking, the three purified bodies, correct by themselves but still separated are
placed in a sealed flask. Under the action of the fourth fire, the salt and mercury of the
Philosophers are at first again sublimated. This time, however, since they cannot escape, they
stay in touch with sulphur, thanks to the fifth fire indispensable to their mixing. Afterwards,
since the temperature rises, the sulphur is now able to sublimate, leaving the dregs in the bottom
of the flask.

Meanwhile, since these three gaseous bodies come from the same substance and have thus an
irresistible attraction towards each other, a natural mixture intimately proportioned is created
amid these vapors.

This way, as the temperature cools down, one may see in their midst a given quantity of
translucid bubbles that little by little gets thicker and harder. The new granulation was born. It
includes a new body, a new soul and a new spirit more pure.

Separation of the Elements: This operation goes in the beginning of Solve, at the time where
the matter tends to darken till black. It really starts as soon as the primordial agent gets in touch
with sulphur and mercury of the Philosophers. Earth becomes water through the action of fire
then transforms into air to again become earth.
Superfluous: Sulphurous residue that stays in the bottom of the flask, after the sublimation in
Solve. One must note that although "superfluous" it is indispensable until the seven purifying
baths.

Dregs: What we call "dregs" are the sulphurous parts (unamalgamated) that contain the ores
impurities. These dregs, which are very useful in Solve, are later on called "superfluous".

Union: The precise moment when during the sublimation the saline, sulphurous and mercurial
vapours are attracted towards each other and form a new body. This new body is the rising
granulation. At the time of their formation inside the flask one can perceive through the vapours
some little transparent bubbles. Afterwards, as the temperature lowers, these bubbles become
jelly-like and at last they get hard.

Vapours: Vapours play a great role in the spagyric art. On Preparation they separate the bodies
and in Solve they reunite them. One who opens his flask when these vapours are manifest will
loose his work into smoke. These vapours are harmful, strong smelling and acre. They represent
also the air of the Wise, the subtle part of the three compounds that the prudent alchemist must
be able to re-embody.

Womb: Under the action of the spermatic fire of the male element, the matricial fire of the
female awakes. A chain reaction breaks out: it is the beginning of the sublimation of the three
bodies, which is denoted by the elevation of vapours in the upper part of the flask. Afterwards
when these three bodies discover a natural attraction between each other they unite. Since one of
them tends to turn into earth when separated from its mass, the result is that little spheres are
formed within the vapours.

Old: They are three. Three bodies extracted from the primordial ore. Sometimes they are called
the "Old Kings". They say they die in order to resuscitate full of life, strength and youth. In this
case, the reference concerns sulphur and mercury of the Philosophers, which are mortified during
the Preparation. This mortification or dissolution called "death" is followed shortly after by
sublimation that reconstructs these three purified bodies. This sublimation is then a real
resurrection for these three matters, so that as soon they see their selves free from their dregs
they once again find a new look and new strength.