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Thread: Short Dry Path (Ars Brevis)

  1. #1
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    Short Dry Path (Ars Brevis)

    The Ars Brevis as Fulcanelli calls it is a variation of the Dry Path.

    The biggest advantage here is the minimum time taken to achieve the stone. Some adepts have said that this path may be finished in 3-5 hours. Hence very advantageous to the alchemist.

    I will start with relevant quotes from Fulcanelli before moving onto an Allegory which I have added here as an additional data point.

    The human forearm, which the Greeks simply called the arm (brachion), is the hieroglyph for the short, abridged way (ars brevis). As a matter of fact, our Adept, toying with words as the learned cabalist he is, hides under the substantive brachion, arm, a comparative of (brachus), written and pronounced in the same fashion. The latter means short, brief, of short duration, and forms several compounds, including (brachutes), brevity. Thus the comparative brachion, meaning brief, the homonym of brachion, arm, takes on the specific meaning of brief technique, ars brevis.

    But the Greeks used yet another expression to qualify the arm. When they evoked the hand, (cheir), they applied by extension the idea to the entire upper limb and gave it the figurative value of a skilled artistic production of a special process, of a personal style of work, in short, a tour de main, a flick of the wrist, whether acquired or revealed. All these acceptations of the word exactly characterize the fine points of the Great Work in its swift, simple and direct realization, for it only requires the application of a very energetic fire to which the flick of the wrist boils down. Now this fire on our bas-relief is represented not only by the flames, it is also represented by the limb itself which the hand indicates as being the right arm; and it is well known from the proverbial expression that "to be the right arm" always applies to the agent responsible for the executing of the will of a superior --- the fire in the present case.

    Apart from these reasons --- which are necessarily abstract because they are veiled in the form of a stone with a concise image --- there is another one, practical, which comes to uphold and conform in the practical domain the esoteric affiliation of the first ones. We shall state it by saying that whosoever being ignorant of the flick of the wrist of the operation yet takes the risk to undertake it, must fear everything from the fire; that person is in real danger and can hardly escape the consequences of a thoughtless and reckless action. Why then, one could say to us, not to provide this means? We will answer this by saying that to reveal an experiment of this sort would be to give the secret of the short way and that we have not received from God nor from our brothers the authorization to uncover such a mystery. It is already much that, prompted by our solicitude and charity, we warned the beginner whose lucky star leads to the threshold of the cave, that he should be on his guard and redouble his prudence. A similar warning is rarely encountered in the books, and quite succinct as to what concerns the Ars Brevis, but which the Adept of Dampierre knew as perfectly as Ripley, Basil Valentine, Philalethes, Albertus Magnus, Huginus a Barma, Cyliani, or Naxagoras.

    Nevertheless, contrary to the humid way, whose glass utensils allow for easy control and accurate observation, the dry way cannot enlighten the operator at any time in the process of the Work. So, although the time factor reduced to a minimum constitutes a serious advantage in the practice of the ars brevis, the necessity of high temperatures, on the other hand, presents the serious inconvenience of an absolute uncertainty as to the progress of the operation. Everything happens in the deepest mystery inside the crucible which is carefully sealed, buried at the core of the incandescent coals. It is therefore important to be very experienced and to know the fire’s behavior and power well as one could not find in it, from the beginning to the end the least of indication. All the characteristic reactions of the humid way having been indicated among the classical authors, it is possible for the studious artist to acquire indications precise enough to allow him to undertake his long and difficult work. Here on the contrary, it is without any guide that the traveler, brave to the point of rashness, enters this arid and burnt desert. No road laid out, no clue, no landmark; nothing save the apparent inertia of the earth, of the rock, of the sand. The shiny kaleidoscope if the colored stages does not brighten up his uncertain walk; it is as a blind man that he continues his path, without any other certainty save that of his faith, without any other hope but his confidence in divine mercy.

    Yet at the end of his path, the investigator will notice a sign, the only one whose appearance indicates success and confirms the perfection of the sulphur by the total fixation of mercury; this sign consists in the spontaneous bursting of the vessel. Once the time has elapsed, by laterally uncovering a part of its side, we notice, when the experiment has succeeded, one or more lines of a dazzling clarity, clearly visible on the less brilliant background o the envelope. These are the cracks revealing the happy birth of the young king. Just like at the end of incubation the hen’s egg breaks under the effort of the chick, similarly the shell of our egg breaks as soon as the sulphur is produced. There is, among these results, an evident analogy in spite of the different causes, for in the mineral Work, the breaking of the crucible can logically be attributed only to a chemical action, unfortunately impossible to conceive or explain. Let us note however that the rather well known fact often occurs under the influence of certain combination of lesser interest. Thus, for example, while leaving aside, after having cleansed them well, new crucibles which have only been used once, for the fusion of metallic glass, the production of hepar sulphuris, or diaphoretic antimony, they are found cracked after a few days without one being able to explain the obscure reason of this late phenomenon. The considerable spacing of their bulges shows that the fracture seems to occur by the push of an expansive force acting from the center towards the periphery at room temperature and long after the actual use of these vessels.

    But before we leave this masterful ensemble, we will allow ourselves to connect its teaching to that of a curious stone picture that can be seen in Jacques Couer’s palace in Bourges and which apparently can serve as a conclusion to, and summary of, our collection. This sculpted panel forms the tympanum of a door opening on the main courtyard, and represents three exotic trees --- a palm tree, a fig tree, and a date tree --- growing in the midst of herbaceous plants; a frame of flowers, leaves, and twigs surround the bas-relief.

    The palm and date trees, of the same family, were known to the Greeks under the name of (phoenix, and Phoenix in Latin) which is our hermetic phoenix; they represent the two magisteries and their results, the two white and red stones, which partake of one and the same nature included in the cabalistic denomination of Phoenix. As for the fig tree occupying the center of the composition, it indicates the mineral substance out of which the philosophers draw the elements of the miraculous rebirth of the Phoenix, and it is this work of rebirth as a whole which constitutes what is commonly referred to as the Great Work.

    According to the apocryphal Gospels it was a fig or sycamore fig tree (a.k.a. the fig tree of the Pharoah) which had the honor of sheltering the Holy Family during their flight to Egypt, of nourishing them with its fruit and of quenching their thirst, thanks to the clear and fresh water that the child Jesus had drawn out from between its roots. Fig tree in Greek is (suke), from (sukon), fig, a word frequently used for (kusthos), with the root (kuo), to carry in the womb, to contain: it is the Virgin Mother who bears the child, and the alchemical emblem of the passive, chaotic, aquatic, and cold substance, the matrix and vehicle of the spirit incarnate. Sozomeme, a 4th century author, asserts that the tree of Hermopolis which bowed before the infant Jesus was called Persea (Hist. Eccl. Lib. V, ch. 21). It is the name of the balanus (Balanites Aegyptiaca), a shrub from Egypt and Arabia, a kind of oak, called by the Greeks (balanos), acorn, a word by which they also called the myrobalan, fruit of the myrobalan tree. These diverse elements are perfectly related to the subject of the sages and the technique of the ars brevis that Jacques Coeur seems to have practiced.

    Indeed, when the artist, a witness to the fight waged by the Remora and the Salamander, steals from the vanquished igneous monster its two eyes, he must then strive to reunite them into one. This mysterious operation, easy nevertheless for whoever knows how to use the salamander’s dead body, yields a little lump, quite similar to the acorn of an oak tree, sometimes to a chestnut, depending upon how much of it is covered with the rough matrix from which it can never totally free itself. This provides us with the explanation of the acorn and of the oak tree, which we almost always encounter in hermetic iconography; of the chestnuts, specific to Jacques Lallemant’s style; of the heart, the fig, of Jacques Coeur’s fig tree; of the little bell, accessory of the jester’s rattle; of the pomegranates, pears, and apples frequent in the symbolic works of Dampierre, and Coulonges, etc. On the other hand, if we take into account the magical, quasi-supernatural characteristic of this production, we can understand why certain authors have indicated the hermetic fruit by the name of myrobalan, and also why this term has remained in the French common language a synonym for marvelous, surprising or extremely rare things. The priests of Egypt, the principals of the initiatory schools, used to ask the layman soliciting access to the sublime knowledge, this apparently preposterous question: "In your country is the seed of Halalidge and the Myrobalan ever sown?". A question that did not fail to embarrass the ignorant neophyte, but which the skilled investigator could answer. The seed of Halalidge and the Myrobalan are identical with the fig, the fruit of the date tree, with the egg of the Phoenix which is our philosophical egg. It is the one reproducing the legendary eagle of Hermes, whose feathers were dyed with all the colors of the Work, but among which red dominates, as its Greek name (phoinis) purple red indicates. De Cyrano Bergerac does not omit to speak about it, in the course of an allegorical tale where is interspersed some of this language of the birds which the great philosopher admirably commanded. "I began to fall asleep in the Shade, I perceived in the Air a strange Bird, that hovered over my Head; it supported itself by so slight and imperceptible a motion, that I was many times un doubt, whether it might not be also a little Universe, balanced by its own Creator. However by little and little it descended, and at length came so near, that it filled my Eyes with a delightful Prospect. The Tail of it seemed to be green, its Breast Azure-enameled, its Wings Incarnate, and its Head Purple, which tossed a glittering Crown of Gold, the Rays whereof sparkled from its Eyes. It kept a long time upon the Wing, and I was so attentive to observe what became on it, that my Soul being contracted, and in a manner wrapt up in the sole action of Seeing, it hardly reached my Ear, to let me hear that the Bird spoke as it sung. However, being little by little unbent from my Extasie, I distinctly remarked the Syllables, Words and Discourse which it uttered. To the best of my Memory, then it spun out its Songs into these terms,

    "You are a Stranger, whistled the Bird, and have had your birth in a World, of which originally I am. Now that secret propensity to mutual Love, that those of the same Country have one for another, is the instinct, which Inclines me to inform you of my Life...

    "I well perceive, you are big with the expectation to learn what I am, it is I who amongst you am called the Phoenix; in every world there is but one at a time which lives there for the space of an Hundred years; for at the end of an Age, when upon some Mountain of Arabia, it has laid a great Egg amidst the Coals of its Funeral Pile, which it has made of the Branches of Aloes, Cinnamon, and Frankincense, it takes its flight, and diverts its course towards the Sun, as the Country to which its heart has long aspired. It has indeed made many attempts before, for accomplishing that Voyage; but the weight of its Egg, which has so thick a shell, that it requires an Age to be hatched in, still retarded the Enterprise.

    "I am sensible, that you can hardly comprehend that miraculous Production; and therefore I’ll explain it you. The Phoenix is an Hermaphrodite; but amongst Hermaphrodites it is likewise another Phoenix altogether extraordinary, for...

    "It continued half an hour without speaking, and then added: I perceive you suspect what I have told you to be false, but if what I say be not true, the first time I come into your Globe, may an Eagle devour me".


    Another author dwells further on the mythical-hermetical bird and points out a few of its particularities which it would be difficult to find elsewhere. "The Caesar of Birds", he says, "is the miracle of nature, who wanted to show through it the extent of her power, showing herself as a Phoenix by forming the Phoenix. She has done wonders in improving it, by giving it a head embellished with royal feathers and imperial aigrettes, a tuft of feathers, and a crest so bright that it seems to bear either a silver crescent of a golden star on its head. The robe and the down are of a shimmering double-gilt which shows all the colors of the world; the big feathers are rosy red, azure, gold, silver, and of flame color; the neck is a choker made of the stones, and not a rainbow, but a Phoenix bow. The tail is of celestial color with a gold luster, which represents the stars. Its tail feathers and its whole robe are like a first spring, rich of all colors; it has two eyes in its head, shining and flaming, which seem to be two stars; gold legs and scarlet nails; its whole chest and its bearing show that it has some feeling of glory, that it knows how to hold its rank and bring our its imperial majesty. Even its flesh has something royal about it because it only eats drops of incense and chrism of balm. When it was in its crib, says Lactantius, the heaven distilled nectar and ambrosia for it. It alone is witness to all the ages of the world, and it has seen the golden souls of the golden age turn into silver, from silver into brass, and from brass into iron. It alone has never given the sky and the world the slip; it alone scoffs at death, making it its nurse and mother, making it give birth to life. It alone has the privilege of time, of life and of death together. For when it feels laden with years, weighted down by old age and cast down by such a long sequence of years, that it saw to follow on after the other, it lets itself be carried by its desire and proper longing to renew itself by a miraculous death. Then it makes a pile which alone in the world bears no name, for it is not a nest, or a crib, or the place of its birth since it dies there; but it is not a tomb, a coffin, or a funereal urn because in it, it recovers its life; so that I do not know what another inanimate Phoenix is, being nest and tomb, matrix and sepulcher, at once a house for life and for death, which for the sake of the phoenix, work together for this occasion. And, whatever it may be, it is there in the trembling arm a palm tree, that it makes a collection of small sprigs of cinnamon and incense, and on the incense, cassia, and on cassia spikenard; then with a pitiful look, commending its soul to the Sun, its murderer and its father, it alights or lies down on this balmy stake to get rid of its trying years. The Sun, favoring the just desires of this Bird, lights the pyre and reducing everything to ashes with a musky blast, makes it breath its last. Then poor Nature finds herself in a trance and with horrible spasms, fearing to lose the honor of this great world, then orders everything in the world to be quiet; the clouds would not dare pour the slightest drop of water on the ashes nor on the earth; the winds no matter how enraged would not dare run through the countryside; alone the Zephyr is the master, and springtime has the upper hand while the ash is inanimate, and nature holds everything so that the return of her Phoenix is favored. O great miracle of divine providence! Almost at the same time, this cold ash, not wanting to leave poor nature mourning for long or to frighten her, warmed up, I know not how, by the fecundity of the golden rays of the Sun, then turns itself into a little worm, then an egg, then into a Bird, ten times more beautiful than the other. You could say that all of nature was resurrected, for indeed, according to what Pliny writes. The sky again starts its revolutions and its sweet music; and you could properly say that the four elements, without saying anything, sing the motet for four with their flourishing gaiety, as a chant of glory to nature and to mark the return of the miracle of the Birds and of the World.
    Last edited by Dwellings; 08-18-2016 at 04:48 PM.

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    The practice of Sati (Widow Burning)

    In India Sati(widow burning) was a common practice especially among elite circles.

    It was said that those women who chose to become Sati, the Lord pardons all the sins of Husband and Wife and they will remain in the paradise for a long time.

    Post the death of husband in some parts of India the woman was paraded on the streets. Sitting on a horse, on her one hand was a mirror and other hand a lemon. Post that, on the day of funeral, the widow dressed in a wedding attire will enter the pyre will keep the dead husband in her lap and the pyre is set ablaze thus they both perish.

    Though the practice was horrible, nonetheless it has special significance with relation to this thread.

    Here an example of the practice is given from begining to end, it is full of important details. I would recommend everyone to read the same http://www.ibiblio.org/britishraj/Ja...chapter02.html

    “If, on her husband’s death, she become not a Suttee, that is burn herself with the deceased, she is then to reside with his relations, devoting herself to rigid abstinence and the worship of the Almighty. They say that when a woman becomes a Suttee, the Almighty pardons all the sins committed by the wife and husband, and that they remain a long time in paradise: nay, if the husband were in the infernal regions, the wife by this means draws him from thence and takes him to paradise, just as the serpent-catcher charms the serpent out of his hole. Moreover the Suttee, in a future birth, returns not to the female sex; but should she reassume the human nature, she appears as a man; but she who becomes not a Suttee, and passes her life in widowhood, is never emancipated from the female state. It is therefore the duty of every woman, excepting one that is pregnant, to enter into the blazing fire. A Brahman’s wife in particular is to devote herself in the same fire with her husband; but others are allowed to perform the rite in a separate place. It is, however, criminal to force the woman into the fire, and equally so to prevent her who voluntarily devotes herself.”

    ‘As we returned home at night we met a Woman in the City of Ikkeri, who, her husband being dead, was resolv’d to burn herself, as ‘tis the custom with many Indian Women. She rode on Horse-back about the City with face uncovered, holding a Looking-glass in one hand and a Lemon in the other, I know not for what purpose; and beholding herself in the Glass, with a lamentable tone sufficiently pittiful to hear, went along I know not whither, speaking, or singing, certain words, which I understood not; but they told me they were a kind of Farewell to the World and herself; and indeed, being uttered with that passionateness which the Case requir’d and might produce, they mov’d pity in all that heard them, even in us who understood not the Language. She was followed by many other Women and Men on foot, who, perhaps, were her Relations; they carry’d a great Umbrella over her, as all Persons of quality are wont to have, thereby to keep off the Sun, whose heat is hurtful and troublesome. Before her certain Drums were sounded, whose noise she never ceas’d to accompany with her sad Ditties, or Songs; yet with a calm and constant Countenance, without tears, evidencing more grief for her Husband’s death than her own, and more desire to go to him in the other world than regret for her own departure out of this: a Custom, indeed, cruel and barbarous, but, withall, of great generosity in such Women and therefore worthy of no small praise. They said she was to pass in this manner about the City, I know not how many dayes, at the end of which she was to go out of the City and be burnt, with more company and solemnity. If I can know when it will be I will not fail to go to see her and by my presence honour her Funeral with that compassionate affection which so great Conjugal Fidelity and Love seem to me to deserve.’

    ‘November the sixteenth. I was told that the aforemention’d Woman, who had resolv’d to burn her self for her Husband’s death, was to dye this Evening. But upon further enquiry at the Woman’s House I understood that it would not be till after a few dayes more, and there I saw her sitting in a Court, or Yard, and other persons beating Drums about her. She was cloth’d all in White and deck’d with many Neck-laces, Bracelets and other ornaments of Gold; on her Head she had a Garland of Flowers, spreading forth like the rayes of the Sun; in brief she was wholly in a Nuptial Dress and held a Lemon in her Hand, which is the usual Ceremony. She seem’d to be pleasant enough, talking and laughing in conversation, as a Bride would do in our Countries. She and those with her took notice of my standing there to behold her, and, conjecturing by my foreign Habit who I was, some of them came toward me. I told them by an Interpreter that I was a Person of a very remote Country, where we had heard by Fame that some Women in India love their Husbands so vehemently as when they dye to resolve to dye with them; and that how, having intelligence that this Woman was such a one, I was come to see her, that so I might relate in my own Country that I had seen such a thing with my own Eyes. These people were well pleas’d with my coming, and she herself, having heard what I said, rose up from her seat and came to speak to me.

    She told me also, upon my asking her, that she did this of her own accord, was at her own liberty and not forc’d nor perswaded by any one. Whereupon, I inquiring whether force were at any time us’d in this matter, they told me that ordinarily it was not, but onely sometimes amongst Persons of quality, when some Widow was left young, handsome, and so in danger of marrying again (which amongst them is very ignominious) or committing a worse fault; in such Cases the Friends of the deceas’d Husband were very strict, and would constrain her to burn her self even against her own will, for preventing the disorders possible to happen in case she should live (a barbarous, indeed, and too cruel Law); but that neither force nor persuasion was used to Giaccama, and that she did it of her own free will; in which, as a magnanimous action (as indeed it was), and amongst them of great honour, both her Relations and herself much glory’d. I ask’d concerning the Ornaments and Flowers she wore, and they told me that such was the Custom, in token of the Masti’s joy (they call the Woman, who intends to burn her self for the death of her Husband, Masti) in that she was very shortly to go to him and therefore had reason to rejoyce; whereas such Widows as will not dye remain in continual sadness and lamentations, shave their Heads and live in perpetual mourning for the death of their Husbands.

    The Settrea and the Soudra sometimes hold it for their custom to give the women somewhat with their betel whereby they be half-robbed of their senses, so that they may not become afflicted in spirit at their approaching pain and anguish, and seek to recall their word. But the Bramin Padmanaba said that the Bramines do not so to their women, since they may not bring the women to die as with force, against their will.

    When the wife goeth forth of her house, she biddeth her friends farewell; and if she be of the Settrea or Soudra caste, she hath a lemon in one hand and a mirror in the other; and continually she uttereth the name of God. Some repeat Naraina (Narayana) and some Ramma (Rama), or any other name wherewith, in their language, they name the god they serve. But if the wife be of the caste of the Bramines or of the Weinsjaes, she holdeth not the aforesaid things in her hand, but sometimes flowers, red in colour, such as are common in their temples, to strew on and before her idol; although the flowers may be those which have already been offered to the idol. Around her neck they hang the figure of her idol, and thus the wife fareth forth of the city to where her husband is burnt, going either on foot, or, if she be the wife of a Bramin, in a palanquin. She is accompanied by her friends, who encourage her with their words, if she be of the Settrea or Soudra caste; and thus, at length, she neareth the place where her husband is burnt. But
    In Indian culture betel leaves and betel nuts have their own significance which will be obvious to any who look at the photos of the same.

    One of the most important puja items in Hindu rituals is the betel leaves, especially in South Indian pujas. In regional languages in India it is known as Pan, Nag Ve, Vetta or Vettila. The popular belief is that all the important deities are present in the betel leaf. It is also an important component in the Ashtamangalya items.

    In South India, Dakshina to priests and elders are given by keeping a betel nut and a coin in the betel leaf. All-most all puja talis contain betel leaves and betel nuts. In some places people also use betel leaves to adorn the mouth of the Kalash pot.
    Source: http://www.hindu-blog.com/2010/09/be...u-rituals.html

    The word Masti can mean fun, pleasure etc.
    Last edited by Dwellings; 08-18-2016 at 03:36 AM.

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    A word about "Flick of the Wrist"

    Terms like "Flick of the Wrist" are highly obscure and cannot be interpreted easily.

    So, in such a situation one must go back to basics.

    The key problem in Alchemy IMO stems from a lack of understanding of Nature. Adepts were well aware of this shortcoming. To solve this problem, they always demonstrated the long path where you work with common gold at some point. Contrary to popular opinion where the writing of the long path was attributed to the malicious intentions of the adepts, their intention was to show the possibilities of the nature, her workings so that once understood their discpiles or readers will have no problem in Alchemy. The trouble arose when adepts started writing in extremely perverted ways. Should you encounter such treatises, set them aside and move on to some other treatise.

    If you are able to understand the path properly and is able to explain away everything related to the same without issue, you will have no problem deciphering other paths or terms that the adepts are using. In fact, the entire Alchemy lays open the moment you are able to understand the long path.

  4. #4
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    sorry but with alchemy of dry way that have to do ? this very very discutible "archaic" caste ritual of the sacrifice woman maired ?

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    Quote Originally Posted by alfr View Post
    sorry but with alchemy of dry way that have to do ? this very very discutible "archaic" caste ritual of the sacrifice woman maired ?
    The aim was to offer another data point in the form of Allegory so that it might become easier for the readers to understand Ars Brevis.

  6. #6
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    bho ? I think his wife's human sacrifice on the pyre of her husband has no consistency and is only one caste ancestral rite and imho it is totally unacceptable and abject and total crazy and and made by fanatic and insane mind of one total insane old atavims and certainly not followers of the path of light and justice
    but it is mhio now i try with mind open so i like know if there a some congruence relation of this abbject fanatic rite of casta and succeed and so if there are thanks can so explication it congruence wiht the methods of he ars brevis at all as vey thanks

    BUT if not it have ANY congruence maybe is better forgot this primitive and oscure total crazy rite but is good can you say us that you think on opreativity and methods matter fase step by step etc about way short in alchemic that perhaps this is sure better

    regards alfr
    Last edited by alfr; 08-18-2016 at 04:39 AM.

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    Quote Originally Posted by alfr View Post
    but it is mhio now i try with mind open so i like know if there a some congruence relation of this abbject fanatic rite of casta and succeed and so if there are thanks can so explication it congruence wiht the methods of he ars brevis at all as vey thanks

    BUT if not it have ANY congruence maybe is better forgot this primitive and oscure total crazy rite but is good can you say us that you think on opreativity and methods matter fase step by step etc about way short in alchemic that perhaps this is sure better
    If I understood you correctly, you wanted information about the operative practice. I have given sufficient enough details to know the ingridient(s). What is missing throughout my posts was information concerning the "Flick of the wrist". If you understand the ingredient(s) then you can easily come to understand what is the flick of the wrist without thinking twice.

    Once everything is ready, throw everything into a crucible and set it on high fire since this is a dry path.
    Last edited by Dwellings; 08-19-2016 at 03:26 PM.

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    ok now back better go seriously short way to alchemy (and leave aside imho the incongruous and obscure and disgust ancient rite obscure atavism of his wife's human sacrifice)

    and now rightly focus on the short route but you since you're proposing indication BUT on it short way that concrete results did you get with this short way ?

    regard alfr

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    If I got it right, you learned those ingredients from Fulcanelli, right?

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    Quote Originally Posted by alfr View Post
    and now rightly focus on the short route but you since you're proposing indication BUT on it short way that concrete results did you get with this short way ?
    No, I have not performed any lab experiments related to the same. All I have done is figure out the path and share it here.

    Quote Originally Posted by Hellin Hermetist View Post
    If I got it right, you learned those ingredients from Fulcanelli, right?
    Yes.

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